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lynaiss · 2 years

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My contribution for the Autumn Season of @tgtw-project with the Trostenwald dark ales!

There's a few CR C2 easter eggs peppered all over the piece, can you spot them? 😀

Notes about my process for this are under the cut!

I've been learning a bit about how to make my process more manageable and helpful to me, so I thought I should share! This post isn't so much a walkthrough as it is just some general ideas and techniques that work for me. Hopefully some of it gives you ideas for your own workflow too or an insight into how I approach things.

So lets start off with getting the prompt for Trostenwald ale (part of Critical Role Campaign 2 setting lore) while working on a fan project. The first thing I did was go on wiki and read up on Trostenwald in more detail to figure out what vibe and props should go into the piece. I'm mostly looking for "what" and "why" to build a scene around.

After doing so I came up with a rough mental checklist of things I wanted in the piece: barrels (because beer is a common produce), a fish and grains based dish (also a common produce), bottles representing the three named breweries (it is directly linked to the prompt) and a warm golden hour-like atmosphere (to convey the cozy tavern vibe I was aiming for).

Before I started on a sketch I looked at images of beer ads to get a sense of how they arrange things composition-wise and what are common props.

As I made a rough sketch I was largely concerned with the color palette and light, and some general shapes and elements of the composition, like the barrels framing some of the bottles and foam of the drinks creating a fun pattern that guides the eye to the palest bottle. I wasn't concerned with details or prop design, just getting my idea down quickly while using all the ideas I got from my beer ad research. Note that I forgot to add a third bottle for the last brewery that we know of by name from the show. Whoops.

After having the sketch down, I realized I had no idea what kind of shadows this type of lighting would cast or what angle would be best to show the scene, so I mocked it up in Blender. This was the first time I fully did it and it helped so much with lighting and perspective! Cycles render takes a bit to render but all the reflections and shadows it shows are very handy for realistic lighting.

3D is such a great tool and it can truly help tackling complex lighting scenarios and unusual perspectives. It's okay to not know everything; that is what reference is there for!

The Sketchfab plugin was insanely helpful in this because I could just import models other people made and adjust them - as someone who doesn't know how to model and texture things from scratch effectively yet that saved me so much time because I only had to nudge things around. I arranged everything as close to my original sketch as possible and rotated the camera to find the best angle. During this I realized some things (like the barrels) would work better composition-wise in a different position so I just moved them until I got something I liked. The tankard was rotated as well because the shape its handle was creating in the sketch was overly confusing and made the eye focus on it too much.

(and I also remembered that there should be three bottles rather than two!)

With the 3D model there to guide me and my collection of refs ever expanding, I made a much tighter sketch. I even traced some parts of the render with slight adjustments because I was content with where they were. There is actual item design now and lighting is more firmly defined. I finally added in the third bottle and figured if Trostenwald is also known for fishing to include some fishing net decor in there.

This is where the idea of adding some easter eggs as clutter started to form. I knew I needed more stuff in there to make it feel less staged and adding something fun seemed, well, fun. Spaces in real life are rarely perfectly orderly, there is always some clutter or things are at odd angles. In pieces like this finding balance between clutter and readable composition is something that can make it work as a piece and sell the atmosphere!

(yes, I forgot to add foam in the tankard...)

After this majority of planning is done and there is pretty much some 10% of work left to do but time-wise this step takes the longest because there is a lot of fine work to do. Rendering is where a good piece can become a fantastic piece if important things are touched up properly and less important ones are touched up just enough that they do not seem "unfinished".

I have very mixed feelings about rendering because on one hand I enjoy capturing very fine detail of various materials but on the other, a lot of the time it feels like you are making very little progress and you're working on the piece for hours on end. It does end up worth it in the end, though!

During this stage I made some small changes like finally adding foam to the tankard, and flipping the candle so it points the eye into the piece rather than out, along with a lot of detail work. I also finally tackled designing the beer labels. Graphic design is absolutely not my area of expertise but it was a fun challenge.

And some 15 hours later we end up with this! I'm sure that would've been a much lower number if I could've worked on the piece more consistently but instead all progress was stretched over several weeks so I often struggled with getting back into the swing of it and wasted a lot of time.

I'm fairly happy with how it turned out and it made me really push texture work, but one thing I realized I should definitely improve on is where I put detail and how much of it. Quite a ways into painting the background I realized it had a ton of visual information and was competing a lot with the focal points (the bottles and glasses), and then when I reduced the contrast a lot of the detail I spent hours working on got lost - wasted. I easily could've been looser and avoided the entire issue to begin with. Finishing this piece provided me with a roadmap to further improvement and I don't think I would've spotted my weakness if I haven't completed the work on this.

A note that I didn't know where to put - through the entire painting process I kept adding more references because there are always things that I need more visual info on and know that I won't do my best off the top of my head. No matter how many times I draw something, I only retain 20% of the actual information and need refs to get it right.

By the end of it, I ended up with a reference board that looked something like this. I often keep several images for items or materials that are important so I can spot as many features of it as possible.

If someone got this far and is still reading, here is some technical info: I probably spent around 25 hours working on this piece, not counting putting together a Blender scene. That one probably took another 8 because I'm still very slow at using the program. I did all of my painting with Wacom Intuos graphics tablet, in Clip Studio Paint, with 2 custom brushes.

#tgtw #tgtw project #critical role #critical role fanart #Illustration #my art #lynart

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mybg3notebook · 3 years

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Lore: Details about the “Orb”

Disclaimer Game Version: All these analyses were written up to the game version v4.1.104.3536 (Early access). As long as new content is added, and as long as I have free time for that, I will try to keep updating this information. Written in June 2021.

Let's start with the context, because everything related to Gale is packed heavily with Forgotten Realms lore, and since the game is not fully released, whatever extra information that the game could provide to help us understand this is not there yet. Also, it's always important to keep in mind this post about "Context, persuasion, and manipulation" to be sure we are talking in the same terms.

The lore

I'm going to enumerate some objects or elements related to Forgotten Realms lore that I personally see worth checking out in addition to other “orbs” that I've seen the fandom put attention on. All this information can be expanded using the references and sometimes wiki, even though I personally distrust forgotten realm wiki, unless I can check that info from the original sources.

Shadow Weave

The Shadow Weave is the space between the strands of the Weave. If the Weave is a spider's web, the gaps in between are the Shadow Weave. Shadow Weave reaches everywhere the Weave does, and more. It is not subject to Mystra’s laws or state of well being. If Mystra were to die and the Weave collapses, the Shadow Weave would persist. [Magic of Faerûn 3e. Personal Comment: Yes. It explicitly says in the book that it’s independent of Mystra’s well being. Clearly this has been modified in 4e since the Shadow Weave needs the structure of the Weave to be somehow stable. It collapsed when the Weave did so, so we can see this begins a series of inconsistencies]

Shadow Weave is a dark and distorted copy of the Weave created by Shar, more suited for spells that drag life or confuse the mind (necromancy, control, illusion schools), and gives more difficulty to cast spells that manipulate energy or matter (evocation or transmutation schools). It can't sustain spells that produce light. Both Weave and Shadow Weave are means to use Raw Magic (see at the end of the post). The more familiar a mortal becomes with the secrets of the Shadow Weave, the more detached they become from the Weave. Shadow Weave is NOT a part of Mystra, so Mystra can't block people from accessing magic via Shadow Weave.

It’s a common mistake to make the analogy that the Shadow Weave is to Shar the same way the Weave is to Mystra. No. Shadow Weave is NOT Shar, while the Weave is Mystra. Shar never developed that level of commitment, making herself one with the Shadow Weave. This is one of the reasons why she could not sustain the Weave during the Spellplague when she tried to corrupt it completely into Shadow Weave.

All this information belongs to Magic of Faerûn 3e and the Forgotten Realms Campaign Setting 3e and novels of 4e. There is nothing about Shadow Weave in 5e. If it weren't for Ed Greenwood's twitter, we should have guessed it disappeared from the lore. So far we know it's slowly recovering in the same way the Weave is. And the Shadow Weave doesn't feed on Weave. For some mysterious reason, fandom started to think so due to BG3.

Death moon orb

This artefact belongs to the 3rd edition, created by a Netheril wizard. From him, it passed to the hands of Szass Tam, who saw it destroyed when the Spellplague corrupted the magic in it. I won't give more details about this object because it looks so unrelated to what Gale has in his chest. Not only is its shape inconsistent with what we see in-game, its powers and properties are unrelated to what is explained in EA. The object is cursed, compelling its owner to cause greater acts of evil; it has a size that changes and looks like a violet-black sphere. In my opinion, the only detail in common with Gale's “orb” is the name "orb". Which is a fallacy, since Gale says explicitly that he uses the word "orb" for the lack of a better one, because clearly what Gale has in his chest is not an orb, but a mass of Black Weave.

Netherese orbs

These objects are found in Neverwinter MMO in the quest Whisper in Darkness:

The Netherese are foul plague upon this world, corrupting everything they touch. They have cursed the Gray Wolf Tribe, turning them into bloodthirsty monsters. We must find what the Netherese intend to do with their werewolf slaves. The Shadovar Emissaries use the Netherese Orbs powered by Soul Shards to communicate orders from the Prince of Shadow.

This is all the information we have of this object. That's all. It comes from a Neverwinter MMO game which belongs to 4th edition. Once more, the concept that Gale's “orb” is not an orb but a black mass of untamed magic makes me believe that these objects don't apply either. The nature of their magic is compatible though: Netherese orbs are made from shadow magic by Shadovar, descendant of Netheril stuck in the Plane of Shadow (called Shadowfell later on, read more in the post of "The Netherese in 1492DR"). This plane is the source of Shadow Magic, they don't use Raw Magic. Ethel explicitly said in BG3 that Shadow Magic is Netherese Magic, so maybe we can consider this object filled with Netherese magic? In any case, these Netherese orbs are used for communication... which has nothing to do with Gale's “orb”'s properties. There is also no reference of consuming Weave to remain stable.

Devastation orb

The mention of a "devastation orb" happens only in Yartar in Princes of the Apocalypse (related to the god Tharizdun, the mad god):

In page 5 we have some context: Four elemental cults grow in power in the Sumber Hills, claiming abandoned keeps that connect to an underground fortress once part of an ancient dwarven kingdom. The leaders use elemental magic to create devastation orbs capable of ravaging the countryside. They’ve been testing these magic weapons, bolstering the cults’ ranks, and infiltrating various communities, all directed by visions the prophets receive from the Elder Elemental Eye (Tharizdun). These orbs are plainly described as: essentially bombs of elemental energy to unleash natural disasters.

In page 222 we have a more detailed explanation of what these elements are:

Devastation Orb: (Wondrous item, very rare) A devastation orb is an elemental bomb that can be created at the site of an elemental node by performing a ritual with an elemental weapon. The type of orb created depends on the node used. For example, an air node creates a devastation orb of air. A devastation orb measures 12 inches in diameter, weighs 10 pounds, and has a solid outer shell. The orb detonates 1d100 hours after its creation, releasing the elemental energy it contains. The orb gives no outward sign of how much time remains before it will detonate. Regardless of the type of orb, its effect is contained within a sphere with a 1 mile radius. The orb is the sphere’s point of origin. The orb is destroyed after one use.

Again, I don't see a real connection with Gale's “orb”. These devastation orbs are not netherese-based, they have elemental energy, and despite the explosion, they don't have any mechanics that resemble the consumption of Weave to remain stable. However, I do find a link between these devastation orbs, their process of construction, and the book that Gale found out. The remotest concept I can scratch here is that, whoever crafted the book with that piece of blackest Weave, could have used the knowledge of the construction of these devastation orbs. Instead of filling them with elemental magic, they filled it with a blackest weave of netherese magic. A procedure that could have been applied to the netherese tadpoles as well.

That's all the information I could gather that remotely is called “orb” or has some vague chance to be that blackest weave.

The Game BG3

In the game, all the info that Gale provides in EA about the “orb” is given before his revelation. The what it is, the how it works and the how it feels. In the revelation scene we only learn the details that are personal and intimate for Gale: the why he ended up with the orb, and potential solutions he can guess so far. To show proofs:

During the meeting:

Tav [Wisdom/tadpole] Try peering into his mind. If he won't open up, you'll sneak in. [Success] Narrator: For a split second you see a swirl of untamed magic – then his defences drop like a portcullis.

During the Protocol:

Tav: I simply want to know what it is you're keeping from me Gale: I'm dangerous. Not because I want to be, but because of... an error I made in the past. [before Gale speaks of his loss] It makes me dangerous – even in death. [after Gale speaks of his loss/tadpole intrusion] I told you how I sought to win the favour of Mystra. I did this by trying to control a form of magic only one wizard ever could. I failed to control it. Instead it infested me. It makes me dangerous... even in death. […] Tav: The darkness inside you, what is it? Gale: It's magic from another time and another place. It is something that is beyond me, yet inside me. That makes me dangerous... even in death.

During the stew scene or the ask for artefacts in neutral or lower approval

Tav: [Wisdom/tadpole] you sense secrecy and danger. Use your tadpole to probe Gale's thoughts. [Success] Narrator: you become one with Gale's mind and you can feel something sinister oppressing you. It's... inside of you, a mighty darkness radiating from your chest. You could try to push further, but your hold over Gale feels brittle. It won't be easy delving deeper without him noticing. Delve deeper: [Success] Narrator: “ you see through gale's eye, staring down the corridor of a dread memory. A book, bound, then suddenly opened. Inside there are no pages, only a swirling mass of blackest Weave that pounces. It's teeth, it's claws, it's unstoppable as it digs through you and becomes part of you. And gods, is it ever-hungry.

Gale: The only way to “appease” said condition is for me to take powerful magical artefact and absorb the Weave inside. [...]Tav: What happens if you don't consume any artefact? Gale: Catastrophe. [...] Think of it as... tribute. The kind a king might pay to a more powerful neighbour to avoid invasion. As long as I pay there will be peace. But should I ever stop, along comes a war. I can assure the battlefield would extend well beyond the borders of my body alone. [...] I will consume the magic inside. What was a powerful artefact will be rendered no more than a trinket. But it will save my life- even if only temporarily.

Tav: That condition of yours is a very expensive one. Gale: I obtained it in Waterdeep. Nothing there comes cheap.

Artefacts scenes:

Gale: I can feel the storm abating. [...] I will feel it stir again – like a distant thunder sending tremors through the soul. I will need to consume another artefact before the lightning strikes. There's no choice but to find more. [...] It's good to perceive this constant fear repressed into a quiet scare. Let's hope it will last a good long while.

During Revelation scene:

Gale: The gist of it is that he sought to usurp the goddess of magic so that he could become a god himself. He almost managed but not quite, and his entire empire – Netheril – came crashing down around him as he turned to stone. The magic unleashed that day was phenomenal, rolling like the prime chaos that outdates creation. A fragment of it was caught and sealed away in a book. No ordinary book, mind you; a tome of gateways that contained within it a bubble of Astral Plane. It was a fragment of primal Weave locked out of time – locked away from Mystra herself. ‘What if’, the silly wizard thought. ‘What if after all this time, I could return this lost part of herself to the Goddess?”

Narrator: You feel the tadpole quiver as you realise Gale is letting you in. Into the dark. You see through Gale’s eyes, staring down the corridors of a dread memory. A book, bound, then suddenly opened. Inside there are no pages, only a swirling mass of blackest Weave that pounces. It’s teeth, it’s claws, it’s unstoppable as it digs through you and becomes part of you. And gods, is it ever hungry… [...] This Netherese taint.. this orb, for lack of a better word, is balled up inside my chest. And it needs to be fed. As long as it absorbs Weave it remains stable – to an extent. The moment it becomes unstable, however.. [...] It will erupt. I don’t know the exact magnitude of the eruption, but given my studies of Netherese magic, I’d say even a fragment as small as the one I carry…. It’d level a city the size of Waterdeep

Tav : I should godsdamned kill you GALE: Perhaps that is what I deserve, but you deserve no such thing. To kill me is to unleash the orb.

So far, if we don't use the tadpole, we learn from Gale that he is unwillingly dangerous, there is an ancient magic stuck in his chest—acquired in Waterdeep—that he never could control and it inspires a dreadful state of mind (constant fear). It requires Weave to stay stable, and if it is not fed, a catastrophe will happen that will extend past his body.

With the Tadpole we learn, in addition, part of the details we can learn during the revelation scene: it's a swirl of untamed/chaotic magic which is an ever-hungry "blackest weave".

During the Revelation Scene all the information acquired by the tadpole intrusion is given, in addition to describing this mass of magic as an "orb" despite its inaccuracy. We also learn that killing Gale will only unleash the orb instead of putting an end to the problem.

Gale said everything that is important related to the orb before the party scene, excluding only the personal information since he is a private person. This was exactly the boundary he set when he promised during the stew scene that he was going to explain the what, not the why. With the use of the tadpole we only learn details, simple extra descriptions; all information that Gale will willingly share during the revelation scene anyway.

We can learn a bit more of the “orb”'s function if we explore the goblin party. There, Gale explains part of the mechanism of the “orb” in a "poetic" way, that may or may not be taken exactly as such:

Gale: Two shadows are darkening my soul.The shadow within and the shadow without: you. You led me down this path. [...] I don't know myself anymore. All this... It's not who I am. Around you, I'm not who I want to be. I should leave.

Tav: [Insight] Stay. We make each other stronger. We make each other survive. /OR/ [Deception] You don't stand a chance alone. You're free to go. I dare you.

[Success][DC15] Gale: [...]. Few things are more powerful than the will to live. But carnage such as this.... the shadow within is spreading like poison, corrupting kindness and compassion. [...]. Tonight I need to wash my hands of blood and my mind of shattering memories.

This shows that when playing an Evil Tav who sides with the Goblins, we have an extra description for this “orb”. Again, I ponder every bit of information with its context: Gale is a poet, and he tends to speak with metaphors specially when it comes to emotional painful states of mind or when it comes to the “orb” (which puts him in a very emotional state that even the tadpole doesn't), so these lines can perfectly be understood as a poetic way to describe his deep regret for participating in massacring the Tieflings. However, there is this detail that I can't overlook: the shadow within, understood as the blackest Weave, is spreading across his body, corrupting his good essence. As we saw in the post of "Extensive list of Gale's approvals", compassion and kindness are key elements in Gale's personality. This scene shows a potential that is not explored in EA: the “orb” seems to set a path in which it will corrupt Gale.

Now this could be considered as a potential beginning of a shift of alignment, but it goes against what Sven said several times in interviews and presentations: he stated that they were not considering to change alignments in the companions (if you can imagine all the extra branches that it opens up, it makes sense not to allow it given the already colossal proportions of the game), so it's hard to suspect how Gale would evolve from here, or if this situation will give him reasons to attempt to kill this Evil Tav eventually (which is my personal guess). Sven suggested many times that companions could potentially kill Tav or other companions during their sleep. We saw this happening in EA with Astarion. Using datamining content, we saw the same with Lae'Zel and Shadowheart. I don't see why not to give in-character reasons to make this mechanism work with Gale as well.

As an extra (datamining) detail, we have Ethel's vicious mockery line emphasising the concept of "the shadow within":

Ethel: I can smell what's under those bandages wizard, you're all rot and ruin.

Putting aside the unnerving detail that Gale's concept art has bandages on one of his hands while the game is oblivious to this, the idea of Gale's “orb” as a source of rot and ruin, in combination with that necrotic aura when he dies, gives us a sure idea that there is a “disease” spreading in Gale's body as a consequence of this blackest weave stuck in his chest.

All the in-game information was presented, so now let's drag conclusions: Comparing all the information extracted from the scenes, we can now consider how much potential has the lore object named before:

Shadow Weave: Could Gale's “orb” be a fragment of Shadow Weave?

Strengths of the argument: Gale's “orb” is described as "blackest weave". It could barely be a hint, even though the Shadow weave has no canon colour nor physical description in the corebooks. So this is a very weak strength.

Weaknesses of the argument: Shadow Weave doesn't feed on Weave (this is a fallacy so far I've checked. It would make no sense to feed on the same object that it needs to exist.) Shadow Weave doesn't explode nor is chaotic.

Death moon orb:

Strengths: It's called an "orb". And it was made by a netherese arcanist, so it must contain “netherese magic”.

Weaknesses: This object was destroyed during the Spellplague. It's a physical orb which changes size, but it's not an "amorphous mass" of magic. It doesn't consume Weave.

Netherese Orb:

Strengths: It's called an "orb". It's made of shadow magic (which is not netherse magic in corebooks but in game Ethel used both denominations as synonymous). We know Shadovar are masters of Shadow Magic. Read more in the post "The Netherese in 1492DR".

Weaknesses: This object doesn't appear in the corebooks. It's used for communication. It doesn't seem to have any explosive properties nor consumes Weave.

Devastation orb:

Strengths: It's called an "orb". They explode with the intensity to destroy a city.

Weaknesses: It's made of elemental magic (not netherese magic). It's a solid object, a bomb (not an amorphous mass). It doesn't consume weave.

Personal speculation

I don't think any of these canon objects are or inspired Gale's “orb”. If we take the descriptions in-game as they are, and considering the importance that Karsus and his folly have been given in the whole game (to the point that Larian added ingame books explaining part of it) I support two hypothesis that, by now, they must be obvious for lorists since I want to work with what the game (and datamining) gives me:

1- The concept that this is a piece of corrupted Weave that Karsus' Avatar allowed to have access to when he disrupted the Weave. Gale calls it “primal weave” as well, which is a concept that doesn't exist so far in the corebooks, and one could relate, very barely, with raw magic. Maybe.

2- Heavy magic (key concept during 2e)

To understand this we need MORE lore (I know, this has no end; this is why I think a lot of misunderstandings with Gale’s character come from the big holes of lore that EA leaves, which is obvious, it's EA) So, allow me to clear out the concepts:

Karsus' Avatar is the name of the spell that caused Karsus' folly and made him a god for just an ephemeral moment. The notes regarding the spell’s essence were nowhere to be found. It’s believed that Mystra, the reincarnated form of Mystryl, snatched the spell information from the ruins of Karsus’s enclave and sent it “on an eternal journey to the ends of the universe” (who knows what this means). Besides, as if this were not enough precaution, Mystra changed the rules of magic on the material plane making it impossible to cast spells over 10th level. Karsus' Avatar was a 12th level spell.

Raw Magic is “the stuff of creation, the mute and mindless will of existence, permeating every bit of matter and present in every manifestation of energy throughout the multiverse. Mortals can't directly shape this raw magic. Instead, they make use of a fabric of magic, a kind of interface between the will of a spellcaster and the stuff of raw magic. The spellcasters of the Forgotten Realms call it the Weave and recognize its essence as the goddess Mystra.” [Player's Handbook 5e]

The creation of the Weave allowed all mortals to have access to magic through study. The Weave works like a barrier and an interpreter to use the real source of magic: Raw Magic. For more information on this, check the wiki (otherwise each of these posts will be mini books of lore). Few mortals can tap magic from the raw magic. Spells like silver fire are part of the raw magic. Some wild mages can tap into it as well, but at the cost of making their spells very random. Only Weave-disruptive events can allow an uncontrolled influx of raw magic into the world (which can be considered what happened during Karsus' folly)

Mythalars are immense artefacts that work like intermediates of the Raw Magic. They don't use the Weave, they have direct access to Raw Magic and were used to power up magical artefacts around them (thanks to these objects the Netheril cities floated in the air). Touching a mythalar causes instant death since Raw magic is harmful for most mortals.

So the first hypothesis (corrupted Weave) means that when Karsus cast this spell and became the Weave itself for a brief moment, he may have access to Raw magic directly. His spell Karsus' avatar started using common Weave, but in the second he connected deeply with the Weave and with Mystryl's powers, he had access to Raw magic as a god. His spell may have changed the source of its power from the Weave to Raw Magic, adding the latter's randomness and chaos to the spell itself and therefore, corrupting the Weave. The transition, so violent like the whole event, may have corrupted part of the Weave that was being used while casting the spell. According to Gale's description, the “orb” stuck in his chest is a piece of Weave with the active effect of Karsus' Avatar (the spell), but the Narrator gives us the extra information that it's corrupted. Apparently Gale never realised this object was corrupted, or may have known it and he tried to cleanse it so he could return it to Mystra. Either way, the source of the corruption may have been the sudden transition to Raw Magic during the casting. My main problem with this hypothesis is how a spell can be stuck in a piece of Weave, since Gale's “orb” maintains Karsus's avatar's effect.

On one hand, Karsus' Avatar main effect is “to absorb god-like powers”. In that moment of history, this spell was aimed at Mystryl, and therefore to the Weave. The disruption of the event “stuck” the effect of “absorbing weave” in a piece of Weave, while the chaotic nature of this “orb” could be attributed to the direct presence of Raw Magic, also stuck in it. Now, another weakness of this hypothesis is that nothing of this causes a "corruption disease" as Gale implies it (we only know that the failure of the spell turned Karsus into stone). So we don't have a good argument for this effect beyond the one “I believe that since the moment was disruptive, it must have corrupted something, and that corruption is quite unhealthy in a mortal body”. Which it's not of my liking, but this is what we get up to this point in EA.

The second hypothesis I talked about is another lore concept intimately related to Karsus in 2e: Heavy Magic (which I personally prefer over the first hypothesis).

Heavy magic is physical, tangible magic, usually presented as a viscous mass of chaotic nature. It can crawl, entering into cracks of a wall or a body, for example. Karsus created a distilled version of this magic called super heavy magic, and experimented with people. The subject eating a bit of this magic will have heavy magic spread on all the inner walls of their body and will kill them (it's not a disease, but it spreads inside and kills). The usual effect of the stable super heavy magic was to magnify the powers of a spell or enchantment (it allowed spells to be stuck in it), however it could be used for everything.

Karsus used this element to enhance enchantments on walls, for example projecting illusions endlessly. This means that this product has the ability of keeping a spell functioning in it (as we see that this black weave keeps the function of the Karsus' avatar). [Dangerous Games, 2e]

Naturally, heavy magic absorbs life energies (maybe another characteristic fitting the concept of disease and necrotic effects). There is an event (2e) related to this aspect in which the renegade arcanist Wulgreth became a lich after heavy magic overflew him [Power and Pantheons, 2e]

As it is easy to see, this concept shares a lot of similarities with the object stuck in Gale's chest. But there is still more:

In the novel Dangerous Games (2e), strongly focused on how Karsus experimented with Heavy Magic, it is explicitly said that Karsus infused himself with super heavy magic before casting Karsus' avatar (probably to magnify the spell power but we also know that heavy magic can get spells stuck in it). He grew taller, and glowed in a white-silver radiance. Babbling arcane chants, the super heavy magic raged within him until he came into a state of being between a man and deity. Then it followed his folly. Karsus “died”, turning his body into red-hued stone, bound in eternal torment to relieve repeatedly the moment he became aware of his folly.

So there exists a chance that a pieces of super heavy magic (in which Karsus was infused when all this happened) may have kept Karsus' Avatar effect stuck in them. One of these pieces could have been recovered later around the red stone where Karsus is now. This could potentially be the object or, at least, in what it had inspired Gale's “orb”. It's also worth noticing that one of the main characters in this novel Dangerous Games was looking for ways to safely contain heavy magic and avoid its damaging effect, so there is extra lore information about vessels that could justify the sealed book that Gale found in Waterdeep.

As an extra detail on this matter, we know that the runes of teleportation may have been made with heavy magic: "Gale: See that rune? Netherese, I think. Weave's so thick on it, it's almost viscous."

Since Gale is calling "Weave" to the element attached to the teleport runes, it makes me wonder if this was a slight variation that Larian made of the canon concept of Heavy Magic to not add new concepts to the already complex world of Forgotten Realms. Maybe, in the end, both hypotheses are the same: the second one is strictly more canon-related than the first one, which is more or less the same but simplified in terms and concepts.

As a last conclusion from my personal point of view, I see no much sense in calling this thing “orb”. In game it's clearly described as an amorphous black mass, not an orb. And it made me remember Gale's original description, when the EA was not released yet: it's the only way where I can see its nonsensical origin, which was done in a completely different context.

Gale has one ambition: to become the greatest wizard Faerûn has ever known. Yet his thirst for magic led to disaster. A Netherese Destruction Orb beats in his chest, counting down to an explosion that can level a city. Gale is confident he'll overcome it, but time is not on his side.

After the game was released in EA, Gale's description changed radically, and therefore his current description has a different approach entirely, removing the concept of "orb" for what we know in the game: “ancient chaotic magic”.

Wizard prodigy: Gale is a wizard prodigy whose love for a goddess made him attempt a dread feat no mortal should. Blighted by the forbidden magic of ancient Netheril, Gale strives to undo the corruption that is overtaking him and win back his goddess’ favour before he becomes a destroyer of worlds.

This is one of the many details that make me believe that Gale's original concept/character was changed significantly before the EA release. But this is a mere personal speculation. For more details on netherese magic, read the post of "The Netherese in 1492DR".

Source:

2nd edition: Powers and Pantheons, Netheril: Empire of Magic, Dangerous Games by Emery Clayton. 3rd Edition: Faith and Pantheon, Magic of Faerûn 4th edition Player's Handbook 5th edition: Player's Handbook, Sword Coast Adventurer's Guide

This post was written in May 2021. → For more Gale: Analysis Series Index

#bg3 meta #bg3 lore #bg3 early access #gale #gale of waterdeep #bg3 gale

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spooky-activity · 3 years

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Just a little update on Cassandratopia 2: Electric Boogaloo (Or as it stands in my Google Docs folder rn, A Helping Hand). I’ll put it under the cut cuz it’s kinda long.

I just wanted to say that I’m still planning on actually doing it, despite all evidence to the contrary lol

I did Cassandratopia in a haze of graduating from college(where I was studying animation) and just having ended my first dnd campaign as a dungeon master (which went 3 years!). I was fishing around for internships, but since the pandemic had just kicked off I wasn’t having much luck. So I had a lot of creative energy that wasn’t getting channeled anywhere, and a lot of free time when I wasn’t applying to places. Which is how I did 4 pages a day several times per week. Which was insane.

As it stands, I’m running 2 dnd campaigns(one meets weekly, the other every other week or so), and just scored a full-time internship at a video game company! The campaigns I’m running are a homebrew open world, which, for those of you who aren’t too familiar with dnd, is a metric fuckton of work to prep for each session because I have no idea what my insane friends and siblings are going to try and do every time we play.

Anyways all this to say that my storytelling itch is kinda. Sufficiently getting scratched atm and I have a lot less free time. I’m still plucking away at the setting/refining the story of A Helping Hand, but it’s largely on the backburner. Cassandratopia was also, uh, like the first story I’ve ever told in any sort of format besides the give-and-take of dnd, so... I’m not used to having so much control over the narrative. Oddly. I’ve never thought of myself as much of a writer of stories; my main focus is character animation, so someone else is usually writing the stories I’m telling anyways, which is super cool with me. Honestly I’m surprising myself with how much I want to tell this story, which is why I’m still sure I’m doing it. Just. Slower. Than Cassandratopia got done.

But I’ll share a bit of the lore I’ve been cooking up! Specifically about Zhan Tiri and The Drops. The story will be told in an extremely dnd type setting, because that’s the kind of narrative I’ve told before and am comfortable telling: hard magic rules, neat fights, scary monsters, a dash of eldritch horror, and huge emphasis being put on magical artifacts(kinda like in the show!). Here’s some stuff that’s basically locked-in.

Zhan Tiri

Zhan Tiri is one of the many Demon Lords of the Abyss. She’s kind of a mashup of two of my favorite Demon Lords, Zuggtmoy, the Lady of Rot and Decay, and Pale Night, the Mother of Demons and Queen of the Night(with just a dash of Hannibal Lecter because who doesn’t like helpful, polite, manipulative-ass bitches lksjflkja;fj). Her domain sits almost exactly between the Sundrop and Moonstone, largely being the new growth that comes from death, and the endless cycle of life and death. Places where her influence is strongest includes the cracks in... Well anywhere really, from society to the planet’s shell, where metaphorical or physical rot could grow; musty, mostly ignored places where something could fester. Iconography related to her would include endless mazes, fungi, grasping skeletal hands, and rotting/blooming corpses. Her spores can animate corpses, which she likes to use as mindless minions when she doesn’t feel like sending one of her Acolytes. She shares a scrap of her power with those few mortals she likes. She appreciates ambition and the desire to Grow to be bigger than what you were to start with, as those are qualities she herself possesses.

Incredibly intelligent and merciless to those she deems her enemies, her main thing is pulling the strings from the shadows and seeing just how far she can push people to act with as little prompting from her as possible. She does, however, have the power to kinda bulldoze her way through things if she needs to, but she doesn’t like to because where’s the fun in that?

She first gained interest in the Material Plane when a Wizard with too much hubris from said Material Plane(Named Demanitus) contacted her trying to figure out more information about The Drops and how to control them. After indulging him for a bit, she started preparing to make a summer home on the Material Plane because it’s New and Fun here and Wow These Mortals are Really Fun to Mess With! And some of them she even genuinely liked! Demanitus then realized his mistake and locked her away in Pandemonium for what he hoped was forever, but turned out to be only around 1,000 years, due to the efforts of her followers. Her little stint in Pandemonium magnified the more... Chaotic aspects of her personality, so now she wants to cover the Material Plane in blooming mazes of fungal crops that she can break people with at her leisure.

The Drops

The drops are two semi-sentient pieces of one original artifact, whose original purpose was to be a tool of creation for the gods. Which, through some great calamity(still deciding that one), got sundered and settled into the two basic aspects of creation: the nearly unlimited well of life-energy which organizes stardust into planets, cabbages, and kings, and the “you gotta crack a few eggs to get an omlette” destructive force which breaks down what the sundrop makes so that it can make more.

The main goal of the drops is to reunite. I would want to as well if I was ripped in half! This manifests as a... General tug in the direction of the other drop. A desire in the host to Go That Way. It can be resisted, and even ignored for a bit, but it’s always there. Like being hungry if starving wasn’t a danger. Just a bit uncomfortable if you aren’t going That Way, but ignorable.

Both drops generally try to be as helpful to their wielder as possible, as originally they were a tool of creation to the gods. They are innately obliging. They’re also REALLY UNSAFE FOR MORTALS TO BE MESSING WITH. The Sundrop is a little safer because the most it can do is kinda. Overcharge you into something distinctly not human but still alive, and King Fredrick was lucky he made the Sundrop into soup before giving it to Arianna. But King Edmund got his wholeass arm blasted off for touching the Moonstone.

The Sundrop

Best I could whittle it down, the Sundrop has power over life energy, like the sun’s light. It also has power over the energy derived from geothermal activities, so deep sea creatures Are Not Immune To The Sundrop, which was a funny thought that crossed my mind that they could be, but that will likely never come up anyways salkdjf;ljsf It is, in its basest form, Growth and Progress.

It’s a little sentient, but very much entrenches itself into whoever is holding it at the time. Like another mind looking through your eyes and seeing what you see/feeling what you feel while still retaining a bit of individuality from the host. It’s not... Parasitic because it’s in its nature to give, but it’s generally pretty firmly attached to whoever is holding it until they die( which isn’t usually for a WHILE. It ’infects’ a new host when one dies, usually a plant near their grave...) or until a solar eclipse. It wants what they want, but it’s very fussy so they have to ask it for power exactly correctly(like singing an incantation every time you want to heal someone, or doing a Ritual involving lots of very specific ingredients, Celestial Alignments, and Secret Words) or it won’t listen, like an orchid dying if the ph balance is off in the soil by a little bit. But it’s generally pretty intuitive to use, because it wants what you want and (as long as you ask right) is willing to help.

Anyways basically under the influence of the Sundrop you get a few things:

Basically limitless energy coursing through your body while you’re in a place with sunlight, which equates to rapid healing, mostly, because every cell in your body is being supercharged with free energy. Never getting exhausted in direct sunlight. (If Rapunzel lived in a place that was sunny 24/7 like near one of the poles she wouldn’t have to sleep like. until it started to get dark in the opposite half of the year. Then she’d have to sleep like a regular human being)

You stay at your prime, or if you are past it, revert to your prime. Someone who is holding the Sundrop, or who has regular access to the Sundrop’s magic can’t die of old age or illness. They have to be hurt beyond the Sundrop’s ability to heal or have it taken away from them.

The ability to share this rapid healing with others (if you ask right)

The ability to freely draw on the raw, near-limitless energy of the sun to shape into things like cool-looking energy blasts (only if you ask right)

The Moonstone

The moonstone has powers over varying levels of destruction: from destroying things by ripping them apart/ to Not Letting Things Be Destroyed(also known as protecting) by freezing them in indestructible rock. Like the moon, it can ‘reflect’ a bit of the sundrop’s power, so it can kinda provide energy, albeit a lot less than the sundrop can provide. It’s the inevitable march of The End of All Things, fertilizing the fields of time with the ashes of the old so the new can take root.

The Moonstone is a bit more in the dark(pun intended hehe) when it comes to bonding with someone, it can only try to figure out what is going on based off the emotions of its wielder, and through anything directly touching the Black Rocks. Because of this it’s... Kinda dumb? It tries to do things to help(Like shooting red fear-rocks to try and scare away whatever must be scaring its wielder so badly) but often fails spectacularly at helping.

Under the influence of the Moonstone you get:

Mortals get Neat Body Armor that’s actually just you being turned into a rock! They are very fragile! They need to be protected! The best the Moonstone can do to try and preserve you is to Stop All Destruction by.. Pausing all bodily functions indefinitely. Rocks don’t need to eat, sleep, or breathe, and almost nothing can destroy you if you’re solid Black Rock. The weak reflection of the Sundrop’s energy keeps the host animated, but they’re not exactly alive anymore. Like cryostasis. Wounds (if any) acquired in this state won’t be a problem because they’re not messing anything up, because nothing is technically working in the first place, but they will be a problem when you’re not protected in this way anymore. It’s a cosmic ‘I’ll deal with that later’ button, essentially.

Like the moon, the Moonstone can reflect the light of the sun. It uses its rock crystals to do so, which can even split the sun’s power into different shades, like a prism. Essentially, different colored rocks can mean new and exciting power sets.

Blue Lightning! The Moonstone can reflect the Sundrop’s power, so it also has access to pure bursts of energy, even if it is weaker and colder.

The Moonstone is very helpful, but usually has no idea what you want. ‘Asking’ the Moonstone for more control over its power in the same way you would Ask the Sundrop for more power reminds it of the perfect bond it used to share. The Moonstone’s incantation deepens the bond between wielder and Moonstone in such a way that it actually knows what you want from it, giving you near perfect control of its powers.

*This is kind of just a side note of the Drops: While the Moonstone is weaker than the Sundrop in an head-on fight, it could hold its own if it were on the defensive. Redirecting the power instead of trying to overpower and such.

** Cass made of rocks means I get to draw her skeleton :) not in every picture that would be fucking nuts and way too much work alskjdf;lkjs;fv

#helping hand #a helping hand #casstopia #cassandratopia 2 #mine #so yeah next comic is happening still #but I can't promise when #maybe in like 6 months when one of my dnd games wraps up #my siblings are the ones who play weekly #and I said i'd run a shorter campaign for them #like half a year campaign #then I'll only be running one game!#and I'll have time to draw comic stuff and finish finalizing my draft #I'd also like to apologize in advance for my clunky storytelling #I've literally never done this before lakjs;dlkcvj;lksjf

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irandrura · 3 years

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The Elder Scrolls - a disclaimer and rant

I am going to make some posts about The Elder Scrolls, and in particular, its background, setting, and characters. That means that a disclaimer is probably necessary.

Here’s the tl;dr version: yes, I know about the lore. Please trust me when I say that I was really super into it about a decade and a half ago, and I’ve kept an eye on it since. I have read the Michael Kirkbride forum posts. I have read C0DA, The Seven Fights of the Aldudagga, Sermon Zero, the Loveletter from the Fifth Era, and so on. I know the forum roleplays like The Trial of Vivec. I know that Ayrenn is really a time-travelling mining robot from outer space. I think all the stuff I just referenced varies widely in quality, opinions quite reasonably differ on it, and it’s frequently at odds with what’s actually depicted in the games, but at any rate, I promise that I know it.

So when I go on and talk about Psijics – I know, all right? I know. I am choosing to engage with the setting on a level that focuses more on characters, human stories, and, well, the narratives of the games. The TES apocrypha is interesting, but of limited relevance to the things I’m interested in. There are many valid ways to enjoy TES. Okay?

Now, the longer part:

If you haven’t played TES, and… actually, scratch that, for like 90% of people who’ve played TES, none of the above needed to be said. The thing is, when you play a TES game, it is a fairly straightforward elves-and-wizards-and-dragons fantasy setting in the D&D mould. Indeed, the earliest versions of it, back in the 90s, were based on a D&D campaign. So there’s relatively little surprising about it, and “it’s like D&D” will carry you most of the way towards understanding it.

However, TES games are also renowned for containing lots of in-game books you can read, which are often some of the most striking and evocative parts of the games. These are supplemented by a large library of apocrypha: often unofficial material, posted by developers (and ex-developers) on the internet. The most infamous of these writers is Michael Kirkbride, who has some… very unusual tastes and interests, but there are a range of other names as well. In any case, the result is that TES has an ‘expanded universe’ composed of these non-canonical writings. Often canonical texts in-game hint at some of this vast, unofficial hinterland, and sometimes ideas invented in the apocrypha sneak back into the games themselves.

Further, the apocrypha often hints at what seems to be a very different setting to the one directly experienced in the games: one that’s less about warriors and wizards and adventure and more one about divine magic, transcendence, myth, and meaning. The descriptions often seem to be somewhat at odds. This can best be demonstrated with some examples.

For instance, here is Michael Kirkbride’s description of a High Elf warship, written before any game had depicted the High Elf homeland:

Made of crystal and solidified sunlight, with wings though they do not fly, and prows that elongate into swirling Sun-Birds, and gem-encrusted mini-trebuchets fit for sailing which fire pure aetheric fire, and banners, banners, banners, listing their ancestors all the way back to the Dawn.

This is Old Mary at Water.

You will immediately notice two things. The first is that this sounds really cool. Some of it you need some context to parse (the old elven homeland is called ‘Aldmeris’, hence ‘Old Mary’ as a mocking nickname given by its foes; the High Elves believe that they are literally, genealogically descended from the spirits that created the world at the Dawn), but even so, man, that warship sounds awesome. This Kirkbride guy can write. The second thing, though, is that it is extremely unclear what any of this even means. Given that descriptions… what does this ship look like? Try to picture it! What the heck does ‘crystal and solidified sunlight’ look like? How exactly does a trebuchet throw fire? What?

You might then go on to play a video game where the High Elves are taking part in a war to conquer the continent. If you’re like me, you’re probably keen to see one of these fabled warships. But then it turns out that in-game, High Elf ships look… like this. Or like this.

(Indeed, the High Elves are often a good example of this. An earlier written text, in a pamphlet enclosed with the video game Redguard, described the elven capital of Alinor as “made from glass or insect wings” or “a hypnotic swirl of ramparts and impossibly high towers, designed to catch the light of the sun and break it into its component colours”. Needless to say, should you visit it in a game, it does not look like that.)

After a while, you start to notice that there is very little connection between the world implied by the apocrypha and the world experienced in the games. Kirkbride says that the “closest mythical model” for the ancient knight Pelinal “would be Gilgamesh, with a dash of T-800 thrown in, and a full-serving of brain-fracture slaughterhouse antinomial Kill(3) functions stuck in his hand or head”, and says “Pelinal was and is an insane collective swarmfoam war-fractal from the future”. Indeed in Kirkbride’s descriptions Pelinal seems to have been an ultraviolent schizophrenic who led a wild, genocidal band of anti-elven warriors, was very definitely gay, and who had only a red, gaping hole where his heart ought to be (which in turn is a reference to the missing heart of the creator-trickster deity Lorkhan, whom Pelinal was in part a mortal incarnation of). You might find that really cool or you might find it banal, but there’s no denying that it’s extremely different to the Pelinal whose ghost you can meet in-game. The apocryphal Pelinal is a mad butcher whose closest mythic model, contra Kirkbride, actually seems to be Achilles; the game Pelinal is a straightforwardly sympathetic chivalric knight. This is complicated somewhat by the in-game books being written by Kirkbride and therefore being gonzo bananas insane, so the ‘canon’, such as it is, is unclear – but at any rate it is impossible to deny that there’s an incongruity.

I could go on with examples for a long time. I haven’t even mentioned the most famous – the 1st edition PGE description of Cyrodiil compared to what it actually looks like in Oblivion – or more recent ones, like the gulf between Alduin the mythic dragon who will consume the world and indeed time itself in its terrible jaws and the frankly quite underwhelming beastie you fight in Skyrim. The point I’m making is that there are effectively two TES settings: one relatively down-to-earth, immersive, and depicted in great detail in the video games, and one that’s this absurd mash-up of magic and science fiction and whatever psychedelics Michael Kirkbride has been taking this week.

I write this long disclaimer because it has been my experience discussing TES in the past that people who are mostly interested in the former – in the relatively grounded setting experience in the games – sometimes run into an elitist attitude from people who are interested in the latter. Sometimes fans of the apocrypha can come on much too strong, or gatekeep the idea of being a fan of ‘TES lore’. Any sentence that starts with “actually, in the lore…” is practically guaranteed to go on to be awful.

My point is not that the apocryphal TES is bad. As I hinted above, in my opinion its quality varies extremely widely: there are things that Kirkbride has written that I think are pretty cool (I unironically love the Aldudagga) and there are things he’s written that I think are indulgent tripe (C0DA stands out). Ultimately it’s all about what you enjoy, and I would never try to tell anyone that they shouldn’t have fun reading or speculating about or debating the zaniness of some of these texts. Indeed, as far as online fandoms and video game fan fiction goes, TES probably has the most fruitful ‘expanded universe’ that I’ve ever seen, and I think that’s wonderful. Kirkbride himself has said that “it’s really all interactive fiction, and that should mean something to everyone” and “TES should be Open Source”, which is a position I wholeheartedly endorse – and does a lot to take the edges off some of the worse things he’s said.

Rather, my point is that everyone should enjoy what they feel most interested in, or most able to enjoy. Further, I argue that there is absolutely nothing wrong – and for that matter absolutely nothing less intelligent or less intellectual – about a person preferring to engage with the version of TES most clearly depicted in the video games. Part of this might be defensiveness on my part, because in my opinion what TES has always done best is a nuanced depiction of cultural conflict: this is particularly the case in Morrowind and Skyrim, and ESO’s better expansions tend to deal in this area as well. As such I take relatively little interest in the metaphysical content of much of the apocrypha. For me, Shor, say, is most interesting as the protagonist of several conflicting cultural narratives, rather than as a metaphysical essence.

I would also argue that the most recent game content has taken a good approach by going out of its way to legitimise a range of possible approaches to the setting. The latest chapter of ESO, Greymoor, includes a system where the player can dig up ancient artifacts, and a number of NPC scholars will comment on them for you. This allows the game to indicate in-character scholarly disagreement over issues fans have previously debated. One item shows disagreement over whether the mythical character Morihaus was literally a bull, or a minotaur, or whether he was a human allegorically referred to as a bull. Another one points to disagreement over the possibility of magical spaceships: apocryphal materials have referred to ‘Sunbirds of Alinor’, ‘Reman Mananauts’, etc., as sorts of magical astronauts, but that seems so ridiculous given what we’ve seen in the games as to be easily discounted. I like items like this in-game because they seem to say to players, “It’s okay to disagree over questions like this – no one is doing TES wrong.”

That said, I am reasonably positive that I’m in the minority here, because I am in the camp that usually says that legends exaggerate, and so Morihaus probably wasn’t a bull and magical spaceships don’t exist. This is not a popular position. My reason, of course, is that I think tales are more likely to grow in the telling rather than shrink, and I have a dozen of what I think are hard-to-deny examples of this happening in TES (e.g. heroic narratives of the War of Betony are very different to the grubby reality you uncover in Daggerfall, or Tiber Septim is almost certainly from Alcaire rather than Atmora). However, this means that I openly take an opposite methodology to Michael Kirkbride. Kirkbride was once asked by a forum poster whether some in-game writings are exaggerated. His reply was: “I prefer, "It is very possible, as is the case throughout this magical world, that some of the exaggerated claims made about some subjects pale in comparison to the Monkey Truth. ZOMGWTFGIANTFEATHEREDFLUTYRANTS."”

Needless to say, I find this implausible, and it means that, for example, I interpret the Remanada as an obvious piece of propaganda, inventing a story about Alessia’s ghost in order to retroactively explain why Reman, probably born the son of a hill chieftain with zero connection to the previous dynasty, really has imperial blood. This is a very different but in my opinion more historically plausible take than Kirkbride’s, who has a naked thirteen year old Reman standing atop his harem and slaughtering recalcitrant followers.

I’m not saying that my approach is objectively correct. It’s all fiction – and as Kirkbride said, TES is open source. The only thing that matters is what you the reader, player, or interpreter find the most interesting. For me, that means generally favouring what is seen in the games over the developer apocrypha, which I can take or leave.

At any rate.

I’m going to go on and make some more fannish posts about stuff in ESO that I liked.

Just… if it’s relevant, be aware that I am familiar with the zany stuff. Some of it I like, a lot of it I don’t like, and I feel no obligation to use it if I don’t like it.

There. Disclaimer over.

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echodrops · 4 years

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The League of Villains Plays DnD AU

(Saw a post by @bunny-loverxiv last night that reminded me I’ve had this stupid thing in my drafts unfinished for over a year now. I’m not sure I’ll ever have time to come back and finish it, but in the spirit of what I posted earlier, here it is, in all its unfinished.. glory...)

Since I asked for a League of Villains plays DnD AU and no one delivered, alas, I guess I’ll just do all the work myself!

So, without further ado:

Shigaraki Tomura’s Character Sheet:

Race and Appearance: Fallen Aasimar, with hair pale as the flesh of wraiths and eyes like two burning pools of blood, reflecting out from the infernal pits of the abyss. His rippling muscles under his bone-white skin carry the scars of his uncountable victories, and when his corrupted celestial powers radiate forth, ghostly skeletal wings rise--

( “Do I have to keep reading? This is really long...”

“It’s important!”)

Alias: “Zephiroth”

(”Isn’t that the guy from Final Fantasy?”

“No! That was Sephiroth! My character’s name is totally different!”)

Class: Oath of Conquest Paladin/Hell Knight

Motto: Dim the Ray of Hope

A dread knight whose armor is black with the blood of his enemies; to stand against him on the field of battle is to know true fear, and none have called themselves his equal and lived to tell the tale. His menacing aura is a cloud of evil righteous murder that spreads across the land as he advances, and everywhere he travels is seeped into the deepest of despairs. Civilizations tremble before the darkness of his impossibly dark darkness.

(“Did you run out of adjectives?”

No, I meant exactly what I said.”)

Also, collects the severed hands of his conquests.

(”Tomura-kun, this isn’t a character, this is just you!”

“Collecting body trophies is standard lore for conquest paladin; you’d know if you read Xanathar’s Guide.”)

Alignment: Chaotic Good

(“Shigaraki Tomura, I am not sure this alignment fits with the character you’re describing--”

“I wrote the campaign, so good’s whatever I say it is.”

“Boss, doesn’t playing in your own campaign defeat the purpose? Knowing everything ahead of time’s a great idea!”

“Shut up, I don’t care about spoilers.”)

Backstory: Zephiroth the Bloody swore an oath to complete the conquest of his father, King Jenovo, who fell in battle to his eternal rival and estranged foolish younger brother, Nimbus Might ( “You know, I really think I’ve heard these names before...”). Jenovo’s quest was undoubtedly a noble one: to reunite the brothers’ separated kingdoms under a single legitimate banner--and its single legitimate ruler. The two brothers clashed in a battle of titans that shook the entire world, and though he was in the wrong, Nimbus Might reigned supreme in the end, and took Jenovo’s life and kingdom both. The death of his father crushed the last remnants of joy and love in young Prince Zephiroth’s black heart and now he will stop at nothing to put an end to Nimbus Might’s reign by turning every symbol of his false kingdom to dust.

Notable Stats and Weapon: +5 Intimidation, +5 Persuasion; greatsword and shield wielder.

Tomura is a quintessential min-maxer; he made everyone else take the standard array for stats but... “rolled” for his.

(”This old man’s been reviewing the character sheets, Shigaraki, and couldn’t help but notice some discrepancies in the party’s stats compared to yours--”

“You’re welcome to not play. Ever.”

“Must have been a trick of the light!”)

Carrying: The holy relic “Lavos”

(”Isn’t that just from Chrono Cross?”

“I think you mean, Khrono Kross, Spinny.”)

The relic is a glowing black and red container imbued with a hellish aura, containing magical bullets said to be formed from the blood of the time goddess, allowing Shigaraki to permanently unwind his opponents’ powers. Limited use, 5 times.

Dabi:

Race and Appearance: Tiefling.

(“Did you not even bother to write an appearance?!”

“My character has the same appearance as me.”

“That’s not even possible. Tieflings are supposed to have horns!”

“Okay, my character has the same appearance as me with horns.”)

Alias: “Dabi”

(”You can’t name your character after yourself!”

“But I’m not named Dabi.”)

Class: Phoenix Sorcerer

Motto: Ashes to Ashes

(”You can’t play this class either, it isn’t canon.”

“You told me to pick one from the wiki; ain’t my problem you didn’t specify.”

“I said no homebrew!”

“And that means... what?”)

Alignment: Chaotic Evil

(”You ignored my instructions about our alignment too, didn’t you?”

“Yeah, but you said ‘good’ so I assumed I misheard.”

“We’re the protagonists of this story--our cause is just!”)

Feats and Skills: ...Hmm, for some reason, many things have been written and then crossed out?

(“W-What have you done?! You can’t just modify things however you feel! Why would you even swap out Nourishing Fire for an Elemental Affinity that deals ice damage?! And did you just scratch out ‘long rest’ and put ‘short rest’ here? That’s OP!”

“When the hell have any of you let me get a long rest?”

“Animal Handling as a skill, seriously?!”

“Figured you’d give me some monsters to tame.”

“Go fuck yourself!”

Shigaraki was, in fact, planning on there being monsters for Dabi to tame.)

Backstory: A traveler with a shadowy past.

(”That’s... your whole backstory? Are you freaking kidd--”

”Aww, come on Dabi, this bio is lame! Oh, I know, I know! You’re actually a prince in disguise, exiled from his kingdom and seeking vengeance on his father, the one who left him horrifically burned and on the brink of death, which caused you to be rescued by the soul of a lonely phoenix, and at the end of your quest, after reclaiming your rightful throne from your evil father, you free the phoenix who possessed you to save your life, but then it returns and swears its eternal love to you! Eehee!”

“We’re...not doing that.”

“You can’t do that anyways, it completely undermines my lore. There are only two kingdoms in this world, and I’m going to be the ruler of both of them.”)

Notable Stats and Weapon: +3 Deception, +4 Insight; wields darts.

(”But why do I even have to pick a weapon? It says right there I have Burning Hands.”)

Carrying: A shard of never-melting ice in the shape of a three-petaled flower; it exudes a calming chill even when wreathed in the wildest of fires. Looking at it makes you feel... melancholy?

(”Why is this the only section with detail?! If you could put this much effort in here, you should have taken the rest seriously too!”)

Mr. Compress:

Race and Appearance: Human, a man in the prime of his life, with a roguish glint in his eye and a rakish gold mustache above his mysterious smirk. There’s an artfully placed scar below his right eye that speaks to a life of the blade and adventure, and his pressed linen and metallic brocade doublet belies his nature as a man of impeccable taste. His jaunty black bandana is always pulled low over his eyes, but mischief seems to twinkle out from beneath the accompanying black mask nevertheless.

(“Oh, I like it! A lot! Hey, hey, will you rewrite mine for me? Make it like yours but cuter!”)

Alias: The Dread Pirate Roberts

(“Huh? The first part is good, but why “Roberts”?

“Well, no one would surrender to the Dread Pirate Westley.”

“What are you snickering about, Kurogiri?”

“Nothing at all, Shigaraki Tomura.”)

Class: Multi-class Swashbuckler and School of Conjuration Wizard

Motto: To the Pain!

(“These two classes don’t compliment each other at all. You should change to Hexblade at least!”

“As you wish.”

“Kurogiri’s laughing again. What are you two hiding? Tell me!”)

Mr. Compress knew full well the classes he picked didn’t mesh; he just lives for the shits and giggles. He’s actually been playing DnD longer than Toga’s been alive, but where’s the fun in telling Tomura that?

Alignment: Chaotic Neutral

Skills: Acrobatics, Persuasion, Performance, Sleight of Hand

(“Okay, but am I the only one who actually created a real character instead of a self-insert? DnD’s a role-playing game; isn’t the whole point to use your imagination?!”

“Ain’t our fault your real self is too boring to be a decent character, Lizard.”

“You never miss an opportunity to insult me, do you, asshole?!”)

Backstory: Although he came from unremarkable origins, Westley Roberts found himself thrust on to the path of great destiny when the merchant ship on which he was employed was attacked by the Dread Pirate Roberts--

“How can he attack his own ship? You forgot your own name, didn’t you?”

“Not all, Shigaraki! I’m not that old!”

--but when Roberts heard the tale of Westley’s quest to prove himself for the one he loved--

“Wait, who is this other character now? There was no love interest listed before!”

“Just let me tell the story!”

--Roberts was overcome by the depth of Westley’s tale of woe and decided to name him his successor, passing down the title of Dread Pirate Roberts--

“Can I change my character to a Dread Pirate?”

“No, Dabi!”

“I’m just sayin’, why was I not informed of this option?”

--sothathecouldmildlyterrorizethewatersaroundhishomekingdomandfinallyamasstherichesneededtoimpresshischarminglove. PHEW! Thank you for letting me finish!

Notable Stats and Weapon: +4 Dexterity, +5 Charisma; wields a rapier with impeccable skill. Is definitely not left-handed. Carrying: A Rodent of Unusual Size. Excellent distraction. Also edible.

“What is wrong with everyone in this room?!”

And the rest of the League I didn’t finish, but:

Spinner: A gorgeous lady Argonian who spits beams of pure light--

“No, this is too cool. Change it.”

“Awww come on, Shigaraki, just let me have this--”

“Change it.”

Toga: Tabaxi assassin. ON A QUEST FOR LOVE. (May or may not have decided this after peering over Mr. Compress’s shoulder during character creation time.)

Twice: Halfling wizard. None of his stats make sense because he couldn’t make up his mind where to put them.

Hawks: Aarakochra bard. Entirely useless. That asshole who rolls to seduce everything.

Kurogiri: The DM. But not by choice.

There’s no Giran or Gigantomachia because I started writing this before either of them were really “part” of the League. Use your imaginations~

#League of Villains #Dungeons and Dragons #DnD AU #boku no hero academia #Shigaraki Tomura #Dabi #Mr. Compress #dabihawks #but like only as a joke #because I can't take anything serious #dabi is a todoroki #BNHA #these are like completely and totally official #don't @ me

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nerdarchy-blog · 4 years

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The follow up to 2017’s Xanathar’s Guide to Everything, on Nov. 17, 2020 fifth edition Dungeons & Dragons upcoming Tasha’s Cauldron of Everything must indeed possess powerful magic to contain so much stuff in 192 pages — the exact page count of its predecessor according to Jeremy Crawford, principal rules designer of the game. The product of 18 months work the book includes material for Dungeons Masters and players of 5E D&D alike. I had an opportunity to join the press briefing with Crawford and Greg Tito, communications and press relations director for D&D and let me tell you, sitting on this was really exciting. Reading and hearing what players speculated on and wanting to say, “You’re all right! It’s all in the book. All the character options and new stuff you’re guessing about are inside!” So let’s get into Tasha’s Cauldron of Everything.

On the cover for Tasha’s Cauldron of Everything Tasha holds an ornate grimoire covered with symbols from the planes of existence in stunning art by Magali Villeneuve.

A delightful conversation about 5E D&D

No sense burying the lead — all the options and fresh new modular content you thought might be in Tasha’s Cauldron of Everything is there. Subclasses for all the classes are in there. Alternate class features from the most popular Unearthed Arcana in the entirety of 5E D&D are in there. The artificer class is in there — including some tweaks, new infusions and the Armorer subclass that was loved by people, according to Crawford. The Aberrant Mind sorcerer, UA’s most highly rated content ever, is in there and so are many from the past year. Spell Versatility and new Beast Master Companions are in there and I know there’s untold numbers of players stoked to hear this. There’s new artwork for the Artillerist Artificer Specialist that was shared during the briefing too.

A human artificer balances his Eldritch Cannon on his shoulder as seen in Tasha’s Cauldron of Everything. [Art by Brian Valeza]

Like XGtE the book explores the titular character’s wonderfully complex point of view in comments on the content throughout, with nods to Tasha’s history in her comments and captions. One clue about Tasha’s mysterious origin reveals itself on the cover. The tattoo on her cheek is a chicken leg, which Crawford explained is an “echo of the chicken-legged hut that Baba Yaga lives in.”

A bunch of subclasses and class features only chicken scratches the surface of the scope of material. Tasha’s Cauldron of Everything is organized into four chapters. While perusing the material in the book readers learn more about Tasha and the lore surrounding her. Tasha’s life has involved the fantastic since the very beginning of her origins in the fey realms. As she became a brilliant and powerful wizard her adventures took her to other planes and dimensions so she is unfazed by beings of any sort, least of all her frenemy Mordenkainen.

Character options

Spells and magic items

Group patrons

Tools for Dungeon Masters

Customizing your origin is an important part of the development of the book and something the design team seems particularly proud of, for good reason. Players love the idea of more personalized character origin stories. I use This Is Your Life stuff from XGtE all the time and TCoE builds on that tremendously. Like, seriously a lot. The design goal was tools for players to create truly unique characters with amazingly magical origins and backstories.

This includes modifying traits during character creation to better reflect the story players want to tell and offers a lineage template with fill-in-the-blanks tools to totally personalize characters. The Lineage System introduces a new way to approach creating and playing characters and adventures in 5E D&D, a responsibility the design team takes very seriously as stewards of the game. During the press briefing Crawford and Tito explained how TCoE is one of multiple books demonstrating a shift in how D&D handles things like race.

Other changes include the removal of negative racial modifiers for certain races from Volo’s Guide to Monsters via errata. Crawford explained how their original intention for races like kobold and orc was as Monstrous Adventurers, separate from standard character options. This is why those options are included in their own section in VGtM along with options considered more powerful than standard in some cases, like yuan-ti and to a lesser extent goblins. Because this context is lost through the way so many players engage with 5E D&D through online tools and resources like D&D Beyond, it became a pain point for players and TCoE will include updated versions. Hooray for kobold and orc enthusiasts!

The Lineage System offers tools to create characters not bound by a species archetype. I love the way Crawford explained how this modular piece of content interacts with existing 5E D&D material. The core game, what is presented in the Player’s Handbook and other sources, illustrates an archetypal adventuring character like an elf. Choosing this option for your character represents playing Elfie McElferson in other words — the exact kind of elf that comes to mind when you think of D&D elves. The Lineage System gives players and DMs tools to disentangle characters’ personal traits with cultural traits. And worry not! The path to customization is very smooth according to Crawford, who emphasized it is not complicated at all.

Along with the new class options and alternate features players can customize how each class feels. This includes something that worms its way into the mind of every edition of D&D sooner or later.

Psionics! The Aberrant Mind is just one of the psionic themed subclasses from UA. Along with a few others, these psionic subclasses use a modifed version of the playtest mechanics, which Crawford described as “evolved.” I’m pretty middle of the road when it comes to psionics, neither thrilled to use them or abhorred by their inclusion in the game but I’ve got to say I really dug that Psionic Talent die so I hope that’s what he meant.

During the press briefing they did not get too deep into new spells and magic items in TCoE but there are some tidbits to share. For starters Tasha adds new spells of her own design to D&D canon. Tasha’s caustic brew and Tasha’s otherworldly guise are two mentioned and I’m excited to see more. Spells named for the wizards who created them evokes a sense of mystery and wonder in all D&D players and after all her incredible excursions and magical experimentation I’m certain Tasha’s influence on 5E D&D will be immense.

Spellcasters can boost their power with new spell focus magic items too, which sounds awesome. There’s got to be a magical cauldron, right? One of the magic items Crawford talked about sounds totally awesome — the Tarokka Deck. Not like, any old prophetic card deck though. This is THE Tarokka Deck, an artifact capable of trapping spirits. Can I tell you I lost track of what they said for a moment because I was daydreaming about a Ghostbusters inspired 5E D&D campaign.

Sidekicks (remember them?) get expanded in TCoE too. Resources to create your own customized sidekicks sounds like a lot of fun new toys to play with. When asked what the most surprising thing about the book is, Crawford revealed there’s a sidekick class. You can play as a Warrior, Expert or Spellcaster, which offers a slimmed down experience for perhaps new players or those looking for less complexity. This sounds awesome to me. I’ve used the Sidekicks content from UA several times and it is terrific, so more of that and more ways to use it can’t go wrong.

More than that though Crawford was surprised by “how much liberty players have to customize.” The Lineage System, tons of new class options and alternate features, spells, feats (wow I didn’t even mention those!) all combine to create more levers and dials players and DMs can use to tailor our game experiences and tell the kinds of stories we want with exactly the kinds of characters we imagine.

“Our work on the game is a delightful conversation with the community that never ends,” as Crawford put it. With tremendous amounts of fun, cool sounding new content like they’re brewing up in Tasha’s Cauldron of Everything, I don’t doubt it.

#gallery-0-3 { margin: auto; } #gallery-0-3 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 33%; } #gallery-0-3 img { border: 2px solid #cfcfcf; } #gallery-0-3 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

A tiefling sorcerer levitates several feet off the ground. [Art by Kieran Yanner]

A lineup of four homunculus servants. [Art by Irina Nordsol]

The young wizard Tasha studies her spellbook in front of Baba Yaga’s hut. Looming nearby is Baba Yaga herself, watching her adopted daughter intently. [Art by Brian Valeza]

This is a massive tome holding secrets of ultimate evil. The exterior of the book reflects the evil within. The covers are made of dark demon scales, which are trimmed in rune-carved metal shaped to look like demonic claws. [Art by David Sladek]

Two wood elf lads swim in a glittering pond, which is fed by a waterfall that pours out of a face carved in a bluff. [Art by Robin Olausson]

A youthful merfolk king lounges on his throne underwater. [Art by Andrew Mar]

Using a psychic spell, a wizard battles a troglodyte underground. [Art by Andrew Mar]

Sidekicks will be expanded in the fifth edition Dungeons & Dragons Tasha’s Cauldron of Everything. [Image courtesy Wizards of the Coast]

An alternate cover art version is only available through local game stores. [Art by Wylie Beckert]

A heavy, ominous storm brews at sea as clouds gather. But these are not normal storm clouds. These have formed into a churning mass of enormous skulls in the sky. [Art by Titus Lunter]

Oh! Are you still here? One last thing I’ll mention is the section on Magical Environments includes Eldritch Storms, magical fruits and magical roads, a Mirror Realm and a Mimic Colony. Stay nerdy.

Congrats! That new #DnD stuff you thought would be in Tasha's Cauldron of Everything is in there. #staynerdy The follow up to 2017's Xanathar's Guide to Everything, on Nov. 17, 2020 fifth edition Dungeons & Dragons upcoming…

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calebsbian · 4 years

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puts on my tin hat...Here’s the essay i drunkenly sent to my friend who asked why I think Molly’s body may walk back into CR2

Spoilers for the most recent episodes lmao here we go:

essentially, as a character without any memories, Molly’s backstory was free to be woven throughout the lore of the campaign, and it seems it was: eye tattoos, the number nine, back of the neck power areas, themes of rebirth and iterations/continuations of the self, etc are pretty prominent this campaign. Nonagon/Lucien/Mollymauk REALLY reads to me as the natural momentum of a pact with something powerful, and 🅱️erhaps also evil. Can’t die, forced to keep climbing out of graves without any memories, etc. I’m just thinking: if I need to do something that requires immense secrecy, deception and obfuscation, (Tharizdun’s whole deal, Yasha adjacencies, etc.) I need to make it so that not even I can ruin it. I need to assure the loss of the autonomous self.

so, whether I’m a big powerful god or a weird-ass tiefling with a plan, I’m gonna do this shit in stages. And once each stage is done, I have to make sure the parts stay unconnected, at least to the casual observer or adventurer on the lookout for evil or whatever. No one should be able to come looking for whoever carries out the plan. So they’ve gotta die. Not in any meaningful way (contract’s not done 🅱️erhaps?) but the people they’ve hired should bury them, and not hear from them once they inevitably crawl out of the grave. So they shouldn’t be able to remember anything about their past, and maybe should even develop a drastically different personality for this iteration. But, dammit, even with all this, they still remembered that they crawled out of a grave. That could ring the alarm bell for the old crew if they’re still in the area. How bout a grace period of sorts: for a week after, they can’t really talk or develop clear new memories.

AND here’s a mysterious magic user woman from Rexxentrum with whom he’s working on this ritual who disappeared after (and there’s a mysterious magic user woman from Rexxentrum who healed Caleb’s madness and disappeared after, and there’s a mysterious magic user woman who told Beau’s dad what would make him successful and disappeared after, etc.) ANYWAY. Re:Yasha adjacencies, if the ritual is in a specific area, and Obann/the Chained Oblivion pseudo-own Yasha and track her, it can guarantee the body’s left in her path. No fuckin clue what that could mean but it’s true and it could be related.

we also have barely scratched the SURFACE of the Molly Lore. As @mollyglock once posted, “molly's death is so funny to me. all his lore was in shady creek run. lucien was buried by shady creek run. gustav is from shady creek run. according to cree one of lucien's pals is in shady creek run. and he died RIGHT before they reached it! and by funny i mean infuriating.” And Shady Creek Run is being mentioned time and time AGAIN....as they say...the lorecuckery IS real. What in fuck was Gustav up to? He ended up with TWO AMNESIACS with POWER AREAS ON THE BACK OF THEIR NECKS and then TRIED TO GO TO—and FOUGHT TO STAY IN—JAIL. And then the Jagentoths are tied in with ALL THE FUCK SHIT HAPPENING...they’re rivals of the Marduns/the Gentleman (who work with Cree and the Tomb Takers) and they employee The Iron Shepards AND Avantica, and then Reani said they’re fucking with UTHODURN...Imagine me gesturing wildly at my Pepe Silvia board.

final thing that has rung some bells in my head was those 3 bigass murals they found in the temple during the piracy arc. One of them had a giant purple and red bird, with multiple eyes on it, and its feathers were burning and reforming like a phoenix. (Tal also signs stuff with “A bird thought to be extinct, but isn’t. -Molly.” I don’t really factor that into my consideration at all, but it IS interesting.)

i could be super wrong and I’m open to that, but even before his death, I figured that, what with bloodhunters’ whole purpose being to sacrifice their own vitality to destroy enemies, Molly’s arc is so closely tied to death that dying doesn’t really end his momentum with regards to story. (Not to mention Bloodhunters, especially older orders, like Ghostslayer, have direct ties to the Raven Queen. Not saying Molly is part of the Claret Order or anything but it’s something to keep in mind, and also I just love some delicious bloodhunter lore.) I don’t know if Mollymauk as we know him is alive, but his body probably is, and whoever made him probably isn’t done with him yet. Re:Nonagon, the nines of the tarot mean a completion and fulfillment of the suit’s meaning, and Molly got cut off early. Doubt that’ll just end it all.

that’s basically it. Ik it’s very much a conspiracy—Fellow Molly Truthers Rise Up—but Matt’s storytelling has ways of weaving back around on itself, and, as he’s said, just because Molly died doesn’t mean his story is over.

#if this is fucking incomprehensible and/or inaccurate although i fact checked it I THINK? My apologies i was literally sloshed.#Fight me in the replies about it let's have fun #critical role #mollymauk tealeaf #cr meta #My posts #gustav literally haunts me every single day WHAT WAS HIS STEEZ. WHY DID HE START NICE AND BECOME BASTARDER #WHO #REFUSES #BAIL #WHAT IN GODS NAME. DO YOU HAVE TO DO. TO TAKE REFUGE IN PRISONNNNNNN #also sorry rob for tagging you in this its just that theres no way i could have voiced that sentiment better than your post.#This is so many words its 3am idk TLDR: i dont think molly is ALIVE but i think he is NOT DONE

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solarianradiance · 6 years

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Jellyatinous Rose

Calliope: Welcome lovelies, to oUr little get together for an adventure throUgh the Use of a Role-Playing Game system called DUngeons & Dragons! Tonight we have a new player joining in oUr dUngeon delving, oUr lovely friend, Roxy.

Roxy: hey erebody, its ur gurl roxy!

Dave: hey rox

Rose: Welcome to the game Roxy, nice to see you came tonight~

Kanaya: Pleasure To Have You Dear Roxy!

Jade: nice to see you again!

John: glad you could make it tonight!

Roxy: tnx 4 the warm welcum gaiz, makes me feel good bout this venture here

Roxy: so, when do we start playin?

Calliope: Shortlym bUtt first, we shall introdUce oUr varioUs party members for the road ahead, so that we may give oUr newest addition a chance to Understand her new chUms? Jade, why dont we start with yoU?

Jade: ok!

Jade: im a level 5 chaotic good gnoll ranger called groche’a, and i was ousted from my tribe for not wanting to plunder tombs for bones because i was scared of waking the dead and having them get revenge on us... which they did! im the only survivor!

Roxy: wats a goll? Roxy: *gnoll

Jade: a gnoll is a dog person

Jade: like this!

Roxy: oh so ur a hyna furry basically then?

Jade: well no, im more like a malamute husky, i actually based my character off of bec and what jake told me about my scratched other self

Roxy: yeah, ur gilf self was pretty smokin for an old lady, so i can c y u chose her

Jade: ...what?

Calliope: Lets keep this train of introdUctions going, Dave YoU’re Up love!

Dave: im dave, and im a barbarian. im a level 4 chaotic good guy i guess, gettin my rage on with my magic shit talking sword and doin all kinds of awesome shit!

Roxy: u men like connan the barbarian?

Dave: no, not liek conan Dave: *like Dave: fuck

Roxy: wats ur backstory?

Dave: im a kickass barbarian, i showed up one day and started kicking ass, what more backstory do you need?

Roxy: that sunds lame

Dave: youre lame

Calliope: Moving on, John, how aboUt we introdUce yoUr character?

John: im Salamon of the Hearthlands, a level 4 neutral good halfling jester!

Roxy: wats a halflin?

John: they’re pretty much just hobbits but a bit more... “earthly” i think would be a good word to describe them? they’re sort more vice than virtue and do things like eat a lot of food, take whats not theirs and breed like rabbits.

Roxy: le gasp, ur a bunny boy! that sounds adorable!

John: heh, no, im not a bunny, but i guess i am bunny-like in that sense

Jade: you know, that would actually be a good fursona for you

John: eh, nah, its not really my thing, besides im more like a tiger

Jade: hahahaha! no you’re not!

John: in fact i think would be more like tigra from thundercats

Jade: i said no. you’re fucking. not.

John: uuuuh!!!

Roxy: calli!

Calliope: Yes Roxy, what is it?

Roxy: can u make jon into a bunny boy?

Calliope: I... can, bUt I need a good reason like a magical invocation or something like that, I cannot simply do as I wish with the players whenever I wish.

Calliope: Besides, the game has not started. Rose, why dont yoU go next?

Rose: 𝐼 𝒶𝓂 𝒶 𝒩𝑒𝓊𝓉𝓇𝒶𝓁 𝐸𝓋𝒾𝓁 𝒟𝓇𝑜𝓌 𝒩𝑒𝒸𝓇𝑜𝓂𝒶𝓃𝒸𝑒𝓇, 𝒞𝓎𝒶𝒾𝓃𝑒 𝑜𝒻 𝐻𝑜𝓊𝓈𝑒 𝒢𝓊𝓁’𝒢𝒶𝓃. 𝑀𝓎 𝑀𝑜𝓉𝒽𝑒𝓇, 𝓌𝒽𝑜 𝒹𝑒𝓈𝒾𝓇𝑒𝒹 𝒻𝑜𝓇 𝓂𝑒 𝓉𝑜 𝒷𝑒𝒸𝑜𝓂𝑒 𝒶 𝒫𝓇𝒾𝑒𝓈𝓉𝑒𝓈𝓈 𝓉𝑜 𝐿𝑜𝓁𝓉𝒽, 𝒶𝓃𝒹 𝒻𝑜𝓇 𝓉𝒽𝒾𝓈, 𝐼 𝓈𝓁𝒶𝓎𝑒𝒹 𝒽𝑒𝓇 𝒶𝓃𝒹 𝓊𝓈𝑒𝒹 𝓂𝓎 𝒩𝑒𝒸𝓇𝑜𝓂𝒶𝓃𝒸𝓎 𝓉𝑜 𝓇𝑒𝓈𝓊𝓇𝓇𝑒𝒸𝓉 𝒽𝑒𝓇 𝒶𝓈 𝓂𝓎 𝓅𝓊𝓅𝓅𝑒𝓉, 𝒷𝓊𝓉 𝒶𝓁𝒶𝓈, 𝓂𝓎 𝓅𝓁𝑜𝓉 𝓉𝑜 𝓉𝒶𝓀𝑒 𝒸𝑜𝓃𝓉𝓇𝑜𝓁 𝑜𝒻 𝓂𝓎 𝐻𝑜𝓊𝓈𝑒 𝓌𝒶𝓈 𝒻𝑜𝓊𝓃𝒹 𝑜𝓊𝓉 𝒶𝓈 𝐼 𝓂𝒶𝒹𝑒 𝒶 𝓂𝒾𝓈𝓉𝒶𝓀𝑒 𝒾𝓃 𝒸𝒶𝓈𝓉𝒾𝓃𝑔 𝓂𝓎 𝓈𝓅𝑒𝓁𝓁 𝒻𝑜𝓇 𝓀𝑒𝑒𝓅𝒾𝓃𝑔 𝒽𝑒𝓇 𝒻𝓇𝑜𝓂 𝓇𝑜𝓉𝓉𝒾𝓃𝑔 𝓉𝑜𝑜 𝓆𝓊𝒾𝒸𝓀𝓁𝓎, 𝒶𝓃𝒹 𝐼 𝒽𝒶𝓋𝑒 𝓈𝑒𝓃𝓈𝑒 𝒷𝑒𝑒𝓃 𝒾𝓃 𝑒𝓍𝒾𝓁𝑒 𝒻𝓇𝑜𝓂 𝓂𝓎 𝒽𝑜𝓂𝑒 𝑜𝒻 𝓉𝒽𝑒 𝒟𝒶𝓇𝓀 𝐸𝓁𝒻 𝒞𝒾𝓉𝓎, 𝑀𝑒𝓃𝓏𝑜𝒷𝑒𝓇𝓇𝒶𝓃𝓏𝒶𝓃, 𝒶𝓃𝒹 𝓃𝑜𝓌 𝓅𝓁𝑜𝓉 𝓂𝓎 𝒾𝓃𝑒𝓋𝒾𝓉𝒶𝒷𝓁𝑒 𝓇𝑒𝓉𝓊𝓇𝓃 𝓉𝑜 𝓇𝑒𝒸𝓁𝒶𝒾𝓂 𝓂𝓎 𝒷𝒾𝓇𝓉𝒽𝓇𝒾𝑔𝒽𝓉 𝒶𝓈 𝓉𝒽𝑒 𝓈𝓊𝓅𝓇𝑒𝓂𝑒 𝓇𝓊𝓁𝑒𝓇 𝑜𝒻 𝓂𝓎 𝐻𝑜𝓊𝓈𝑒, 𝒶𝓃𝒹 𝓅𝑜𝓈𝓈𝒾𝒷𝓁𝓎 𝒶𝓁𝓁 𝑜𝒻 𝒟𝓇𝑜𝓌𝒹𝑜𝓂~

Roxy: ur kinda given me the willies theres rosie

Rose: Hah! Thank you! I try to accentuate the nature of the Dark Elves as much as possible~ I am a Level 5 Necromancer by the way, just so we are clear.

Calliope: That was a nice sUrprise, always good to see dear ole Rose to give Us a performance and bring a little life throUgh characterization. Now, for oUr last member, Kanaya!

Kanaya: Salutations, I Am Mildred Of Baldurs Gate! A Neutral Good Human Cleric Of Lathander. I Am Level Three And I Am Looking Forward To Keeping You Out Of Trouble, As I Am The Primary Healer Of The Group. Though I Can Take A Swing With My Shredder Axe If I Wish, I Can Be More Than Helpful In Most Situations!

Roxy: i dunno boit that but i think ill be hpy 2 have u round when the magical shit hits the fan! Roxy: *about

Calliope: Well, now that we have oUr standing party’s introdUctions oUt of the way, how aboUt we have Roxy introdUce Us to oUr newest member?!

Roxy: what bout u calli, whats ur character?

Calliope: I am the DUngeon Master, I recant the tale to the party based on the actions and decisions they make. Technically, I am all of the characters that are not part of the party! BUt I do have a rather sUltry lass that i have been meaning to play for a while. When my tenUre as DUngeon Master is Up, I shall pass the responsibility of rUnning the game onto others and break her oUt!

Roxy: rly? what is she? tell me!

Calliope: She isn’t finalized, but shes a YUan-Ti Magician, specifically an assistant. Haven’t qUite figUred oUt if shes a fUll-blood or a half-blood.

Roxy: a yankee?

Calliope: A YUan-Ti is more or less a snake person, mUch like myself I sUppose. I’ll admit shes a bit of a self-insert, bUt I made her for immersion for flarping. John helped me in crafting her!

Roxy: oh... he did now, did he?

John: yeah! it was actually pretty fun! learning about the lore of the snake people was kinda neat!

Calliope: Indeed! And in retUrn, helped John create another character to pair alongside with her! He is also a Magician, and she acts as his assistant!

Roxy: assistant huh? does that mean you can make his magic wand

Roxy: disappear?!~♥

John: whoa! roxy!

Calliope: Making a Magicians Magic Wand disappear is childs play.

John: uh calli, thats not what she mea-

Calliope: BUt making his wand spit magical glowing seed, now thats the magic~

Calliope: Mwah!~♥

Dave: whoa-ho, damn!

Rose: Ooo, how racey~

Kanaya: I Must Admit, That Got Quite Raunchy Awfully Quickly!

Jade: you can do that?!

John: ok! moving on! time for your introduction rox, before this turns into a smut campaign.

Roxy: how do u know that it wont turn into 1 when i do get my intro on? ;)

John: rox!

Roxy: relax! im jus teasin y Roxy: *u

Roxy: ok, my character is xerox gundalf the pink! shes a level 1 chotic good gun wizard!

John: gun wizard?! that actually sounds cool!

Jade: that actually sound cool, maybe ill roll one next campaign!

Dave: gotta admit, that does sound pretty bitchin rp as

Rose: Um, Roxy, as creative as that is, “Gun Wizard” isnt a valid class within the ruleset of DnD.

Roxy: wat? naaah, its fine! got xeroxs character shit filled out and everything! even drew her!

Roxy: c? kickass sex witch! put a spell on u make u her enchanted slav! put a magic bullet in ur butt and set her enemies on fire! abraka-sexbang!!

Rose: But we already have a Wizardess! Why don’t you be another class, a legal one such as a Rogue or a Thief?

Roxy: those dont sound legal 2 me sister, sides im a rogue in real life! i dont wanna play a rogue i wanna b a badass gun wizard! calli help me out here

Calliope: Mmmmm, well, while technically “GUn Wizards” are not what they are called, “GUn Mages” are in fact an actUal class! So I sUppose thats no significant issUe

Roxy: gasp YAYS!

Rose: Wait, “Gun Mage” is an actual class?

Calliope: Why yes, it is! QUite the interesting one too, might even roll a character to play as one myself at some point!

Rose: Well, anyways, as I said, we already have a Wizardess, which is myself. So how about you roll Up a Rogue? John can moonlight as one, but he isnt able to specialize as one. Here, lemme just get you started and roll you a character right now!

Roxy: uh, no, imma play a wizard!

Rose: We’ll make her Neutral Good, for maximum opportunity while still being approachable. Some good Dexterity for all of that lockpicking you’ll be doing.

Roxy: rose, water u doin?

Rose: Dump all the skill points into stealth, traps, and lockpicking!

Roxy: ross! Roxy:*rose

John: you know i could just spec into those skills myself, i was planning on doing it anyways!

Rose: We can make her pink, with some blue trimmings~

Roxy: stahp!

*Roxy latches onto Rose’s pen hand, preventing her from drawing further. The two devolve into a bit of a struggle*

Rose: Stop... getting... in the... way, Roxy!

Jade: you do know you can multi-class in this game, right? as in you both can have both.

Roxy: well i don.. wann play... fuckin rogue, i wan be... a wizard of bullets!

Rose: We need a Rogue to-*is bitten*-FUCK! ROXY!

Kanaya: What Is Happening?

*Roxy and Rose devolve to a mother/daughter/sister squabble between petty bitches who both want the same thing, but are unwilling to share, complete with hair pulling, bites, scratches, clothes ripping and an assortment of name calling.*

*Its a good ole fashioned cat fight yy’all!*

Jade: shouldnt someone stop this? like kanaya, isnt this your thing?

Kanaya: ...I... Want To, But I Think I Am Enjoying The Sight Of This Conflict? Should I Do So Anyways?

Dave: with them? nah man itll sort itself out eventually. just let em get tuckered out.

John: ... roll for initiative?

Calliope: Haa! Hahahaha!

#homestuck #jade harley #kanaya maryam #rose lalonde #roxy lalonde #john egbert #dave strider #the barbarian #calliope #long post

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foodreceipe · 3 years

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Humans may have invented the croissant. But machines perfected it.

Last week, I ate a wonderful croissant. Shaped in a familiar crescent, with the points fused in the center, this croissant was buttery but not oily, light but still substantial, and its layers peeled and flaked off without reducing the whole thing to a pile of sharp shards and crumbs. The first bite was pleasantly sweet, all the better to complement its savory filling: a sausage patty and a slab of too-yellow egg, just warmed through in its greasy wax paper packaging. I was at a rest stop off the New Jersey Turnpike, and the Burger King Croissan’wich, which has been in rotation on BK’s menu for longer than I’ve been alive, was the obvious and best choice for a meal on the road. A breakfast sandwich made between two halves of a croissant? Say no more.

At this point in my life, I’ve eaten croissants from just about everywhere that I can get my hands on one, but as is often the case when a food is deeply connected to a country’s national identity, the experience of eating a croissant in France can feel like communing with the height of the form. The dingiest boulangerie in the neighborhood in Paris where I lived for nine months had croissants that could make me tear up, even though I knew deep down that they weren’t really that good. A French croissant made with French butter by a real French baker always had that certain je ne sais quoi.

“It has to be a thrill for anyone,” Jim Chevallier, a food historian of French foods and the author of August Zang and the French Croissant, tells me by phone. “You have a whole confluence of people’s emotional expectations and nostalgia.” That experience is due in part to France’s historically good PR campaign for itself, he says. “Part of the image of France, and one of France’s big selling points, is that the French version is better,” Chevallier explains. “There’s a certain amount of national pride in it.” A Croissan’wich—having been invented in America in the 1980s by a fast-food chain—might not, by extension, seem as legit.

When you start to peel back its buttery layers, you’ll learn that even this quintessentially French pastry is itself dubiously French.

But when you start to peel back its buttery layers, you’ll learn that even this quintessentially French pastry is itself dubiously French. In Larousse Gastronomique, an encyclopedia of food history, croissants are said to have originated in Budapest in 1686, “when the Turks were besieging the city.” The story goes that the Hungarian bakers, who worked underground, sounded the alarm that the Turks were coming, and as a result of their patriotism, they were permitted to make pastries in the shape of a crescent, the emblem of the Ottoman flag. Other sources claim the pastry was invented during the siege of Vienna years earlier. Chevallier writes that if either of these stories were true, the bakers would have made a buttery roll based on an Austrian kipfel, not a flaky croissant, and that roll was invented long before either siege. Chevallier also debunks the well-circulated myth of Marie Antoinette bringing the pastry with her from Austria.

Chevallier links the arrival of the Austrian kipfel in Paris to August Zang, an enterprising Austrian businessman who opened the Boulangerie Viennoise around 1839. “Zang was very much a hustler and an entrepreneur,” Chevallier explains, and his savvy marketing made the kipfel explode in popularity across Paris. French people called the Austrian kipfels “croissants” because they were crescent-shaped (“croissant” is the French word for “crescent”). It was near the end of the 19th century that French bakers began incorporating thin and buttery laminated dough into their kipfel rolls—the kind of dough that makes croissants flaky. “The croissant changed, but people still thought of it as Viennese.”

Partly because of its labor-intensive preparation and partly because of its extreme butter content, the croissant has been elevated to an almost mythological status for food fans around the world. Its dough is pressed firmly (or laminated) with layers of butter, refrigerated, and proofed for long hours, then cut into precisely measured identical shapes. Its particularity and precision are qualities we tend to associate with Frenchness. Aurélien Legué, head chef instructor at Le Cordon Bleu Ottawa Culinary Arts Institute, writes by email that Le Cordon Bleu defines a croissant as “a buttery, flaky viennoiserie made with a pâte levée feuilleté (layered yeast-leavened dough), rolled and shaped in a half moon.”

In the early 1970s, the first industrialized croissants steamrolled right over this careful process and caused an uproar. Just as fast food was proliferating in France (the first McDonald’s arrived in France in 1972), Jean-Luc Bret opened the first La Croissanterie in 1977, where croissants were mass-produced on machines and cranked out all day long, not only for breakfast. This evolution from meticulous, handmade preparation to a machine-mixed, kneaded, laminated, and shaped croissant began to spill over into other countries, bringing the Croissan’wich to Burger King in 1983 and similar items to other chains like Starbucks, McDonald’s, Wendy’s, and Dunkin’ Donuts soon after. Now, you can get a vacuum-sealed croissant just about anywhere, as long as you’re content with it being eerily shelf-stable.

The act of making a croissant, Chevallier says, is meticulous, “but most things that are meticulous about it can be industrialized.”

“There’s a point where it’s like the emperor’s new clothes,” Chevallier says about the difference between a handmade and a machine-made croissant. “You’ve got a continuum from really disgraceful things like these French cafés that sell crescent-shaped bread—that’s almost fraud—and then the other end, where things are really pretty good, and people are claiming that they can taste the very exquisite nuance in this thing.” The act of making a croissant, Chevallier says, is meticulous, “but most things that are meticulous about it can be industrialized.”

In America, you can’t get fresh, perfectly crafted and human-made croissants on every corner, like you can in France, so the mass-produced options more than scratch the itch, even if they’re not made with high-fat Breton butter and farm-fresh eggs. At Dunkin’, croissants have been on the menu for “decades,” Mike Brazis, director of global culinary innovation at Dunkin’ Brands, wrote by email. “They are baked fresh every day in a process of folding thin layers of dough, sometimes until there are more than fifty layers.” Doesn’t that make them just as much a croissant as a croissant produced at the legendary Boulangerie Utopie in the 11th arrondissement? “We think our croissants are a great expression of the form, with a light, flaky texture, delicious aroma, and delicate but satisfying flavor,” Brazis says. “They are the most popular way our guests enjoy breakfast sandwiches.” (Personally, I prefer a Croissan’wich.)

“A preoccupation with authenticity all too often masks privilege and power,” explains Rachel Hopkin, a radio producer and folklorist who has written several papers on the lore of the croissant. “In the case of croissants, this privilege could involve having the resources to go chasing around France in search of the best croissant, or study at a top pâtisserie school, or get imported ingredients, or say what is authentic and what is not.” But the reality is that our personal relationships to croissants are what make them croissants.

Does a croissant have to be born and bred in France to truly be considered a croissant, if the original croissants weren’t born and bred in France in the first place?

“It comes down to the quality. Is it well made or is it not?” Chevallier says. “People have found various ways to reach that goal. How much do you care that what you’re eating in 2020 is not the same thing you’d be eating in 1920?”

https://tastecooking.com/the-industrial-croissant-deserves-your-respect/?utm_source=pocket-newtab

Most Recent features New Year, New Melt January 5, 2021 The Future of the Food Magazine? Four Teenagers May Have the Answer. January 1, 2021 Kaya Is More Than a Toast Topping December 17, 2020 View All Most Recent recipes Pork Sausage Patty Melt January 4, 2021 Pandan Kaya Swiss Roll December 16, 2020 Matcha, Black Sesame, and Kinako Neapolitan Cookies December 2, 2020 View All

#croissant

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goliathbetagamer-blog · 4 years

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The Walking Dead: Saints and Sinners Review

Imagine what would happen if you took a half-season of The Walking Dead TV show, mashed it together with a Deus Ex or System Shock style of exploration and decision-making, and then drizzled it with the best aspects of a modern VR game.

What you might end up with is a survival horror game that’s oppressively tense and brutal, but also tugs on you relentlessly to explore every corner of its post-apocalyptic world for hidden loot and nuggets of lore. The Walking Dead: Saints & Sinners is exactly that, and it absolutely nails the mix, delivering it with a level of detail and a depth of interactivity that feels like a genuine step forward for virtual reality.

You play as the Tourist, a storied survivor and living urban legend who seems to be immune to the fictional virus that makes everybody else a little bitier in The Walking Dead universe. You’ve rolled into the sunken remains of New Orleans following a rumor about a buried hotbed of limitless supplies called the Reserve, and the rest is up to you. It’s a simple setup, but one that's perfect for the size and scope of Saints & Sinners because it doesn’t immediately saddle you with any presumptions about your character’s morality.

You’re introduced to New Orleans by your old buddy Henri, but the moral choices you’ll make while navigating its several open-ended zones are yours alone. As an Obsidian fan, I was pleased to find that there were several major factions fighting for control of the Reserve, each with their own perspective on the bleak situation around you. One such moral choice involves a mission where a faction member will send you to rescue their brother in exchange for an important item, and it’s fantastic that you can then choose to upend the original mission and kill the brother, earning his captors as allies and instead taking the item by force – if that’s the path you prefer, of course. Saints & Sinners’ ending depends entirely on the decisions you make throughout the campaign too, few of which are decidedly ‘good’ or ‘evil’.

All that choice makes the Tourist primarily a shell for you to insert your own personality into, with decent voice acting that gives life to each dialogue option, much like Commander Shepard in the Mass Effect series. By comparison, Telltale’s The Walking Dead accomplished some truly great feats of cinematic storytelling and meaningful decision-making in its hostile and zombie-riddled world, but it never gave me free rein to do whatever I wanted. That’s something I had craved for years when I was a regular watcher of The Walking Dead TV series, and while Telltale’s take on The Walking Dead certainly made me care about Clementine, it never made me feel like I was in that world.

Saints & Sinners scratches the itch for a truly explorable Walking Dead world with the grace and confidence of a well-lubricated bowie knife

Saints & Sinners scratches that itch with the grace and confidence of a well-lubricated bowie knife. The portrayal of killing zombies – or walkers – has never been as satisfying as it is here, and the abject terror of an unexpected walker swarm has never been as palpable. Zombie guts and brains are rendered with great detail, but what really grounds you in this world is the fact that weapons have appropriate weight and heft. Heavy weapons like axes and rifles require you to grip them with both hands for stability, while small weapons like shivs are much lighter and easier to land precise blows with. It’s not as nuanced as a game like Boneworks; you can’t wield just any item as a weapon, but this combat system is far more tactile and exciting than if you were doing it remotely with a gamepad or a keyboard.

Diseased walkers explode and unleash poisonous gases that lower your health pool when killed up close, meanwhile helmeted walkers are far tougher to kill, requiring a complete decapitation or extremely precise blows to exposed parts of their heads. This increased challenge only adds to the intensity of fighting an entire pack of walkers at once, a common occurrence later on, as you need to quickly pick and choose which walkers need to be killed in which way and in which order to preserve the durability of your best weapons. Rapidly juggling my inventory in real-time to acclimate to each fight forced me to be smarter and, as a result, Saints & Sinners never fell into that Action-RPG trap of becoming repetitive. I spent a little over 18 hours in the campaign – the story itself is a few hours shorter than that, but it was just loads of fun to complete scavenging runs and hunt for secret recipes on my own.

The walkers and human NPCs themselves have their own agendas too, often interacting with one another in interesting and useful ways. While the AI isn’t always the most bright, causing enemies to sometimes get stuck in hilarious and vulnerable positions, an impressive amount of the unfurling drama that makes Saints & Sinners exciting is simulated in real-time rather than deliberately scripted. To my satisfaction, I found that many of the quests allowed me to choose my own path to a solution, and it was a delight to discover alternate routes and secrets, even if the map can feel a little nondescript or claustrophobic at times. Even when I was presented with straightforward options for moving through a group of wary human NPCs or solving a quest with diplomacy – or simply by attacking an NPC directly – I could just as easily avoid interacting with certain characters altogether, either by attracting a herd of walkers and sneaking past the ensuing carnage, or by climbing over the side of a wall or up the side of a house. That freedom to tackle a situation so many different ways is fantastic.

And though the bigger story about breaking into the Reserve can sometimes feel pretty thin between long periods of exploring, looting, killing, and crafting my way through the streets of New Orleans, it was refreshing for a VR game to let me define my character through my own decisions in a setting as meticulously detailed and open-ended as this. While Saints & Sinners isn’t exactly the first of its kind, this caliber of storytelling reaches a height that VR had otherwise yet to achieve.

Zombalaya

Central to the tension of Saints & Sinners is that you only get so much time each day to do things before the city’s bells are rung and the streets flood with ravenous corpses. Once you head back to safety you can go to sleep and skip to the next morning, but the number of undead you encounter the following day increases. This creates a compelling risk-reward choice between pushing your luck past dark or playing it safe at the cost of worse odds tomorrow, driving the tension of the entire game.

That dilemma would be perfectly manageable if not for the fact that you only have a limited amount of inventory space, pushing you to think more carefully about what you grab. You also have to continue crafting or finding new weapons as your old ones tend to fall apart at a distressingly high rate. That forces you to make each attack count, which is easier said than done since you actually have to swing and aim with your real-world appendages. With a ticking clock looming behind all that, Saints & Sinners quickly becomes the perfect storm for adrenaline junkies.

Luckily, the inventory management is intuitive and feels great. Picking up items and placing them into your backpack is as simple as throwing them over your shoulder, and to access them again you simply grab the pack off of your back and pull items out of their neatly arranged slots. Meanwhile, weapons can be holstered in convenient slots on your waist and back while your journal and flashlight fit snugly on your chest. This style of physical inventory management has existed in VR games like Rec Room and Township Tale for some time, and it’s far more interactive and interesting than simply tapping on a menu screen with your fingers or pointing at some text with a laser pointer.

This is the perfect formula for some of the most terrifying moments I’ve had in a VR headset

Limited stamina is also a worry. Running out of stamina makes you slow and unable to swing, aim, or run away, meaning it’s all the more critical to land each and every blow with finesse. Likewise, having a strong weapon or beefed up stamina pool makes you feel satisfyingly powerful, but never so much that you can let your guard down, keeping combat engaging even as you get stronger.

If you do die to the shambling hordes, you’re forced to respawn at the start of the map while the day’s clock is still ticking, and you only get one chance to reclaim your inventory before it’s gone forever. As time wears on, high-quality supplies and weapons can become so difficult to find that scrounging up a broken bottleneck or screwdriver in the nick of time is sometimes the difference between life and death. This, mixed with the fact that your health and stamina pools are temporarily decreased when you die, is a perfect formula for some of the most terrifying moments I’ve had in a VR headset – but that terror was met with an equal amount of satisfaction if I could make it back to my loot and come out alive after.

It is disappointing that character progression is fairly linear, with only a few tech trees to branch into – Gear, Guns, and Survival – and no mutual exclusivity between them. There’s nothing stopping you from unlocking every possible upgrade at the crafting stations in short order, just as long as you can find the right components from scrapping items you find in the world, similar to Fallout 4. It’s plenty of fun to use newfound upgrades like the Nail Bomb and the Grass Cutter, and there are some recipes that you first have to uncover the hidden nooks and crannies of New Orleans to find, but it’s too bad that there’s no real way to personalize your Tourist beyond the story choices you make.

Verdict

The Walking Dead: Saints & Sinners is a noteworthy step forward for VR gaming, proving that a Deus Ex-like Action-RPG can feel right at home in a headset. Every one of its many interwoven systems clearly has a level of thought and care behind it, swirling survival horror and roleplaying staples together with nuance. Even though character customization can feel limited and the story is a bit short, The Walking Dead: Saints & Sinners is a fantastic example of what VR can be.

Developer: Skydance Interactive

Publisher: Skydance Interactive

Release: DateJanuary 23, 2020

Platforms: PC, PlayStation 4

- Joystick Buff 🕹️🧡

https://www.destructoid.com/--581333.phtml#post

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aurelliocheek · 4 years

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A Year of Rain: Writing Strategies

How to build a new world for an RTS Game.

So, you wanna write this? A question I’ve been waiting for. When Nick, the captain of our daring endeavor, approached me, A Year Of Rain was supposed to become a Fantasy RTS based on a well-known IP; and to be honest, I was more than fine with that. See, I like that IP, I am very familiar with it and just from a cerebral logistics standpoint, I’ve always been comfortable settling in an established system and give it my own spin. All I’d have to do was looking for one of the more obscure places and events of that world, work with that foundation, and tell an interesting tale.

Which I did. Vigorously.

Then we had to discard that approach. The world for our game would not be an established one. We needed to build it from scratch, every nook and cranny. And here’s how we did that, or rather, my first-time experiences with RTS narrative design and maybe some survival tips on how to navigate that minefield.

Super rough worldbuilding draft.

A new IP. Well… We took that turn of events in stride. After all, even if existing worldbuilding provides you with nomenclature, systems, a fan base and many more convenient tools in your box, it’s all double-edged: you can’t slip on lore, the systems restrain you, while gameplay and game design boundaries are sneaking up from behind. You also owe the fans maximum accuracy anyway to avoid alienation. Put like this, building your own world from scratch sounds a lot more appealing, doesn’t it? It’s a gorgeous blooming field of nearly endless possibilities and free of any veto you wouldn’t give yourself.

Right…?

The whole world in your hands I’ve done this for plenty tabletops and homebrew Pen & Paper systems. It’s important to have an interesting world for an interesting tale you want to tell. Doing this for a very specifically tagged game is a different beast altogether. To keep the field analogy going, when first thinking about a world for a Fantasy RTS game, I felt like I arrived a week after the harvest.

Staring into the abyss of fantasy intertextuality made me uncomfortable right from the start, when I was asking myself: ‘What kind of world is this going to be?’

Creating a new, compelling world for an RTS game is a challenge.

Standard globe, massive Midlandia continent where all the people hang out and fight each other or whatever? It’s been done – ad nauseam and to death.

A shattered world, with drifting pieces and… Shit, this has been done. Pocket dimension? Done. Flat, you could say, a disc-like world? Yeah, good luck.

Okay, but what if it has layers like an onion… Septerra Core? Who even remembers that?! I do, it was a very charming game, actually. Anyway, a world needs people. People are easy! Species, races, cultures, there are so many cool fantasy folks… which… have all been utilized to exhaustion.

Even as I am writing this, a game cropped up that is so eerily similar to the core ideas I eventually developed for my world and story that it snaps the credibility of parallel evolution and makes me reconsider my general stance on psychic spies. I came to terms with the notion long before that announcement, but it confirmed my take on worldbuilding I had to adapt if I wanted to keep my sanity: There are many, many worlds out there and chances are high you won’t reinvent the wheel. Take solace in the fact that you can craft a very efficient, aesthetically pleasing wheel!

For here comes the twist: Intertextuality is a good thing. Since I’m throwing that word around like I think I know what it means, here’s what it is… “The relationship between texts, especially literary ones.”

It’s the reason why references work. For example, why Pride & Prejudice & Zombies exists, and you still get what that title implies. It’s why Banner Saga doesn’t need to explain the language, cultural setting, or apparel of the world they created because we have read about or seen media featuring Vikings. Darkest Dungeon draws a lot of its appeal from weird fiction, gothic and cosmic horror and you understand that connection. It’s why many people love it when fictional characters or worlds reference the real world, or pop culture or even quote from other movies and works of literature. Because we get what that means. Because it’s a nod to what we, and probably the creator of that fiction, love (the latter being strictly speaking an allusion, but it fits under the same umbrella, bear with me here). In broad strokes, it means that people understand connections and baselines without your explanation, because someone, at some point, did a very similar thing and established a widely known convention with it.

Yes, we’ve made a papercraft map.

It seems like the bane of innovation You may feel like everything has been done already, or even get conflicted because a line you wrote is similar or identical to something that already exists. However, just like tropes, archetypes, and cliché, it’s a boon for your world’s foundation if you swing it with precision. Best case, whatever you decide: On a very basic level, your audience will have a fond connotation to many of the things you do. There’s a catch, of course. You’ll need a lot of lipstick for your intertextual pig. The real work for me started after laying the foundation when I decided what type of world I wanted and who populated it. Both choices, at a glance, weren’t too special, admittedly.

What I hoped made them special was thoroughly fleshing out every race, species, and culture, applying some twists here and there… I tried generating credible systems and all the bones and beams that not only support the worldbuilding but also telegraph and highlight what made this world compelling, comfortably familiar, yet also refreshing.

You can do a lot if you stick to some fantasy guns and bolster them with nuances. In A Year Of Rain, for example, dwarves are the most competent spellcasters and considering how this world is designed, it even makes sense, though it’s not something you see very often. And it escalated pretty easily from there: What are the consequences for other species? What is their strategy? And how would that other adjacent fantasy race act or evolve and so on? I did that for, I think, 16 species concepts and there was a point when there were more connections and ideas than I actually wanted.

After fleshing out all the cultural dynamics, historical angles, rules of magic, justifying dwarven rune-powered railguns, establishing how many terabytes of memories a sentient fungus could store compared to divine lichen and what kind of weed lizardfolk prefer to smoke, I was finally ready to apply all this to the game itself.

Or not.

Strategic Writing Turns out, an RTS has comparatively limited narrative space. I would go as far as to call it claustrophobic. Design and format of an RTS tend to isolate the parts of the world you build. You have one single map at a time to establish whatever you want to transport narratively. And you only get one shot, because there usually is, by design, no backtracking.

It’s fair to assume that’s one reason why this genre often struggles with thorough worldbuilding and story in its campaign and multiplayer. Everything you can show, tell and narrate has to fit in roughly 15-30 minutes of tiny people murdering each other in real time. Then, you move on to the next area where, you guessed it, you train tiny people and have them murder each other for 15-30 minutes.

There is little room to breathe, or significantly manipulate the game flow, or show the inhabitants of your world doing anything other than fighting and killing to do more fighting and killing. That’s where the majority of anything you’ll write will be focused on. The units you command have no narrative agenda, almost no space to reflect on what they’re doing or want to do; they fight and die and obey the great cursor.

“But Blizzard!” you say?

Campaign is a different horse. It’s easier there. You can, to a certain degree, pace what happens, insert cutscenes and design a fantasy, a goal, and establish what drives this narrative… And at least your characters get to talk and express opinions, motivation, broader personality and all that, so: Yes, Blizzard cracked the code in most of their campaigns and will probably remain on that throne till the flippin’ sun burns out. But looking at virtually all other RTS games, there’s a trend to keep the world simple, the greater worldbuilding or story potential unexplored (Warlords RTS, Grey Goo) or exaggerate other aspects enough that they tilt from ludicrous to awesome and thus make for a satisfying campy story (looking at you, Command & Conquer). There’s a reason why even master craftsmen like the folks at Blizzard preach the mantra: Gameplay first in RTS.

All that doesn’t mean you can’t tell a compelling story, it doesn’t mean you can’t build a fantastic world, but it means that it may feel awkward at first. It’s a much greater challenge than in an RPG, an adventure or something similar where you can weave both things easier into a nice colorful tapestry. For our game, there is no after-mission hub to talk to characters, no codex to look up things like history and lore, no audio logs, books or scrolls, no close-up first- or third-person perspective to do advanced intrinsic storytelling. RTS has a fast, relentless pace. Your opponent, be it a human or AI, won’t wait for you to absorb subjects declared second priority like a narrative or worldbuilding details. So, whatever you tell is ideally right there when you play.

Some rules and tools you know still apply accordingly. For example, each of our units has 17 standard response lines. You better believe I tried to cram as much character as I could in there, tried my best to give them personality you can relate to in a few clicks and with allusions to the world around them.

Daedalic’s development team is building the A Year Of Rain world.

Then there are our phenomenal art, design, sound and SFX people Worldbuilding is, of course, not only writing. How characters look, what gear they carry, how their magic or tools of trade manifest and interact, their body language, animation, and voice work… all that blasts open a welcome breach into the walls you run into with an RTS, just like with any other game. Though the world is delivered in chunks in this genre, you can still do plenty of environmental storytelling, be it through biomes, architecture, weather, or ambient sounds and how the whole palette interconnects through the game. The tools are there; they just need lots of attention. The more you have prepared, the better. Whatever you came up with, whatever your vision is, don’t use a crowbar. Listen to the other departments and let them work their magic, even, or especially when that means letting go of your brainchild because they came up with a cooler solution. I’m a writer. What the hell do I know about shapes and the right visual impact, or the finer points of ability synergies and level design? Try to trust people as they trust you.

This is a good time to point out that 50% of all my conceptual resources won’t make it directly into the game. Some things are just too intricate/niche and have no business being there considering the very tight space that’s rightfully conceded to the gameplay. Adjust that percentage further north, actually, since some visual ideas don’t make good silhouettes for in-game models, because they’d be too small, too noisy or just a pain to animate you could never justify. It’s fine, though. Compare it to an actor who’s told to come up with a backstory for a bunch of tiny props on their costume. They’ll never get any big reference in the movie, but they help the actor getting into the role.

As I’ve mentioned, the characters’ role is basically to fight and die, above all else. It creates a dissonance, intuitively. Telling war stories is no hard sell, but it adds a new layer to the worldbuilding itself. Is this a new conflict? Where will you locate it? Is it a flashpoint or a global affair, and how much sense does that make? How do you plan for the future, i.e., at the end of your campaign, is your world fixed or broken, and where does it go from there? Or is it even beyond fixing and stays in a constant, vicious cycle of warfare?

The one luxury I had here was that I got to have my cake and eat it too: I made a world that’s broken, and I elected to focus on one conflict on a very specific piece of land. It leaves enough breathing room to tease a much bigger playground around the elaborate nice sandbox we’ll ship with this game.

Narrative Design for an RTS is a wild ride. And despite the pinch of salt in the lines above I definitely enjoy the chance I’ve been given with this. This article is honestly a slapdash work of professional opinion, advise, and direct dirty development experience. It’s a rough field guide for those treading these grounds for the first time, informative entertainment, or a good foundation for discussion.

See you in that world we’ve built, if you’re so inclined!

Ben Kuhn

Ben Kuhn is a writer and narrative designer at Daedalic Entertainment. Seven years sailing for Daedalic, mostly as a translator, dialogue writer, and voice director, packing a Master of Arts in English literature and creative writing acquired at the University of Bremen and Maynooth. Signed up due to his love of the medium and good stories and continues to be happy about that choice.

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achrisstevenson · 5 years

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Reviewers—Our Lifeblood.

After having sent out and received (cold) over 1,370 personalized review requests, I think I’m qualified to depart a little information on the topic of Book Review Requests. I’ll start the salvo off with a personal letter from a reviewer who happened to discuss some problem areas wherein authors were disrespectful and/or intimidating. I have her permission to post this material. Below her letter is my reaction and thoughts.

Hi!

So nice to hear from you again! I read the blurb at Amazon, and this one sounds much more to my liking. Go ahead and send the MOBI whenever you like. My reading schedule is pretty busy until the 15th, but I'll see what I can do.

Surprisingly, about reviewing, it can be trickier than you think! Previous to 2019, I had been a casual reviewer. Voracious reader but only reviewed books now and again if I felt strongly about them (one way or the other). My new year's resolution this year was to read 200 books and review each one of them. After some bad reverses at work, reviewing became a bit of an obsession. I have started to question my sanity about reading so many books, but I do love to read as it provides refuge.

What makes it tricky is that sometimes authors can do bad things to reviewers, either publically or privately. If I give what an author perceives as a bad review, I often get long diatribes about why I was wrong. A few authors have even commented (or had friends comment) on my reviews at Goodreads, saying that I misunderstood something or other; my favorite was when an author stated I should have inferred X about the book from its blurb (if you want me to know something... tell me... don't expect me to have to figure out your meaning if you're not clear). I don't like the private notes, but the public calling outs are uncalled for. In two days in mid July, I was targeted by two different authors, one publically and one privately. The private one was a "publisher" asking me to take down a review at my site because they hadn't given me permission to post it! Seriously! He used all sorts of legalistic language and was mildly threatening. The other author took my public review on Goodreads, made a screenshot that included my name, and posted it on her blog (which she broadcasts all over her social media channels), where she shredded my review and me. Over the course of a week or so, she continued to make defamatory remarks. I continue to get harassing emails from her friends; I received another just today. Sigh.

All this over book reviewing!

I joined a FB group for book bloggers just share my tales of woe and get feedback, and it was amazing how many came back with similar stories. Some have actually gone so far to never accept private requests for reviews because they don't want the potential to be harassed by an author who knows their email address.

How sad that it has come to that. I think that's why your lovely little line resonated with me. Balm for my wounded reviewer soul!

Regards,

Jamie

(My Response) Hi, Jamie.

Soulful words indeed. I've have seen instances of a total lack of respect for the reviewers, comments and emails comprised of hate speech, claims of stupidity and demands. I've been at this for the last 15 years straight (29 total), and I've mellowed with just about all literary pursuits. Everyone has to understand that this is all a collaborative effort and there are HUMAN beings with lives on the other end of these emails, especially reviewers. In my view, reviewers perform an impossible task by reading books from cover to cover and then writing about them and then linking them to all their social media sites. FOR FREE. For the enjoyment of it. I could Never do such a thing! The workload would topple me, frustrate me, hurt my feelings and take up enormous amounts of time. And even yet, reviewer's mission statement are filled with enthusiasm and gratitude for the opportunity of reading someone else's book. They are honored. Astonishing.

I've written articles on the proper way to query for reviews--this involved all aspects. I have a powerful writer website, and I'm about to really nail this subject again. I've enlightened every one of my publisher's authors (with little comments) to abide by these tasks and pass them on. Read the policies through and through. Then read the bios and see who this person is and if you can click with anything of interest with them. Yes, it's time consuming. But look at the time they take with you. And any author who sends a cold copy of a book to a reviewer should be automatically scratched. It's discourteous. If they want one off the bat, they ask for it.

Sorry, but this advanced age publishing glut has hobbled the entire industry. Supply has eclipsed demand. Reviewers are overworked to the breaking point. How can they sift through trash without finding the true gems? I’m not talking about the majority of indies who are really setting the industry afire with true talent. I also believe that small and large press editors should redouble their efforts and weed out those mistakes in format, grammar, structure and all else

Nice conversing with you. You have confirmed my feelings. I promise to blast a message about this subject. I want you to know that you are valued as a pro reader and a person, and that you are real to me.

Kindly,

Chris

Let’s lay down some simple ground rules: read their bios and policy/guidelines. You’ll know exactly what to expect from every individual human reviewer. You can even read some of their reviews to check out their style and voice. You can tell a lot about a person from their background; job occupation, loves, hates, hobbies and wishes—and just look at all the baby, children and animal photos and references! You’re digging. This brings you close. It’s intimate, and it should be. Granted that most of your request package will be a cut and paste, but it is subject to change with every reviewer, and none of them are specifically the same. Give them, honor them with the first paragraph of your opening letter. You don’t have to pander. Politely disagree with them on a point or topic if you feel the need. Just communicate in real time.

Some reviewers will ask for a cover photo, a certain subject line heading, the best way to contact them; form or email. Some want paperbacks only, with many specifying their e-copy formats. Address them by name—if it isn’t listed go find it in their social media contacts. Don’t judge them by the number of their blog followers—this is a level playing field.

Find out what their policy is for DNF (did not finish) or low 1 and 2-star rankings. Many will give you the option of not publishing a very low rank. If you don’t want that low score, ask to opt out of the review. (This just happened to me with a paid review and I had no option to opt out. It shredded me. More about paid reviews later, or what they disguise as “marketing and social media expenses.”)

Target their genre. What’s their top pick? What are their secondary choices? What are their marginal genres? If you have a YA fantasy with a lot of violence and death in it, the reviewer might say they love YA fantasy, but say they can’t stomach horror in any fashion. That leaves you out, if that’s what you have. Don’t try to get by as an exception unless they ask you to explain those types of contents. If you have trigger warnings, spell them out up front. (I’ve made some mistakes with this).

If you don’t have a new release, don’t tell them you do. Generally, a new release can be less than a year old, but more commonly, three monts. If you are weeks within a release, state that up front and politely ask for an ASAP review. I’m over three months old with my release but I’m not asking for a quick review. I’ll take my place in line with the rest of them. In my mind, the reviewer is the pilot/captain—I’m the passenger with seat belt on and the tray in the upright. I’m not running this show. The reviewer is not your employee. They are an advocate for your product—not theirs—yours.

As an aside, I’ll pay for a cup of coffee as a donation, but I’m refusing to pay for any low-cost reviews. You can find out if they list services other than free reviews that might cost you, but those are generally legitimate services that involve extensive social media promotion campaigns. Just feel comfortable about what you’re getting into.

I could go on forever about this topic and I’ve left so much out that it will require another long blog post. For now, I’ll show you my request package. It’s a disorganized mess, but it’s working like a charm. Only because it covers just about everything they ask for. BUT remember your opening hello letter at the top.

I’ll red-shift outta her. Thanks for reading—Christy J. Breedlove and Chris H. Stevenson.

ETA: I doff my fedora to all the reviewers I’ve had contact with. So many of you are now my friends and subscriber buddies. You are the treasures in our industry.

(THIS IS YOUR HAPPY TO MEET YOU PARAGRAH)

I know you must be swamped, and I’d like to just take the time to thank you for your unselfish service and dedication to us writers. The TBR piles are higher than K-2 out there. I don’t know if you are up for a review right at this time, but I thought I’d ask first. I abide by and honor your review policy. (A review on Amazon would be fabulous, but not a requirement).

Well, what makes this tome stand out? I think my book Screamcatcher: Web World is unique in that I have never seen a dream catcher used as a prop or device in the plot or theme of a book on the Internet. I had to create the inside reality of a web world. My book has shades of Indian lore in it, and I think the characters are diverse and well-drawn. It has a slow-burn sweet romance. I see this as a mash-up between Jumanji and The Hunger Games. I've included the cover blurb in this email for your perusal. For a deeper probe, you can click on Christy's Amazon page. I hope you like this idea.

Most Kindly Yours,

Christy Breedlove (pen name)

AMAZON SCREAM PAGE: https://www.amazon.com/Screamcatcher-World-Christy-J-Breedlove-ebook/dp/B07QDK5M75/ref=sr_1_1?keywords=Screamcatcher+Web+World&qid=1555016089&s=books&sr=1-1-spell

Amazon.com: Screamcatcher: Web World eBook: Christy J. Breedlove: Kindle Store

Screamcatcher: Web World - Kindle edition by Christy J. Breedlove. Download it once and read it on your Kindle device, PC, phones or tablets. Use features like bookmarks, note taking and highlighting while reading Screamcatcher: Web World.

www.amazon.com

The pub date was officially 4-23-2019, so it’s a recent book. You can get to it whenever you please—I have no priorities or demands. The publisher is Melange Books, Fire & Ice. Age range: Upper YA 15—19. Pages: 218, Words: 67,000. Formats: PDF, Kindle/Mobi, E-Pub.

Summary:

When seventeen-year-old Jory Pike cannot shake the hellish nightmares of her parent’s deaths, she turns to an old family heirloom, a dream catcher. Even though she’s half blood Chippewa, Jory thinks old Native American lore is so yesterday, but she’s willing to give it a try. However, the dream catcher has had its fill of nightmares from an ancient and violent past. After a sleepover party, and during one of Jory’s most horrific dream episodes, the dream catcher implodes, sucking Jory and her three friends into its own world of trapped nightmares. They’re in an alternate universe—locked inside of an insane web world filled with murders, beasts and thieves. How can they find the center of the web where all good things are allowed to pass? Where is the light of salvation? Are they in hell?

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operationrainfall · 5 years

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Title Wargroove Developer Chucklefish LTD Publisher Chucklefish Release Date February 1st, 2019 Genre Strategy Platform PC, PS4, Switch, XBox One Age Rating E for Everyone 10+ – Fantasy Violence Official Website

In some ways, I’ve been waiting on Wargroove for over a decade. After Intelligent Systems gave up on Advance Wars in 2008, I was ready to write that style of tactical series off. But then a new company decided to pick up the torch and start running with it. That group was Chucklefish, one I admit I was not that familiar with. But after seeing all the Wargroove coverage for the past year and change, I suspected I had reason to be excited. After buying the game, I wanted to spend sufficient time engaged in order to offer a deep analysis of the experience. The question then, was Chucklefish able to do justice to the legacy of Advance Wars? The answer is mostly yes, with some provisos.

One of the biggest differences between Wargroove and Advance Wars is stylistic. While Advance Wars was set in a sort of fictional modern military scenario, Wargroove is set in a medieval fantasy realm. So we traded our tanks and bombers for dragons and golems. I personally didn’t mind that change at all, since I love fantasy, and with any tactical game my primary focus is the gameplay. Having said that, there was another hoop that Wargroove needed to leap through if it wanted to prove itself the successor to Advance Wars, and that was the storytelling. Thankfully, Chucklefish proved they understood the need for levity in their series, much like in the one they patterned themselves after. Just enough to keep things light and fun. Some of my favorite examples are how the canine Commander, Caesar, does doggy things like roll over and scratch himself during battle, or how infuriated the energetic patchwork valkyrie, Ragna, becomes. There is a lot of humor and chuckle-worthy moments in the game, but not enough to remove any sense of drama.

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As with any strategy game, it’s important that Wargroove is tight and well-balanced. Thankfully, that is very much the case. Each faction, from Cherrystone to Floran to Heavensong to Fellheim, has access to the exact same units, so nobody is inherently overpowered. This is actually a step up from Advance Wars, where the choice of Commander could drastically change the inherent utility of certain units. While it’s true that the names for units varies from faction to faction, they are completely the same. For example, the Cherrystone dragon units are red hued Emberwings, while the Fellheim variant are the insidious Fellbats. Both play the same and are equally strong, they just have very different designs. Another thing that’s nice is the sense of balance between various units. You will find ground, aerial and sea units in the game. There is nothing in the game that’s unstoppable, so long as you have the right unit to counter it. Take the dragons for example. While they are powerful and capable of annihilating weaker units, they are also incredibly susceptible to anti-air units, such as Alchemists and Ballistae. Furthermore, each unit in the game has their own conditions under which they deal critical damage. For example, the Spearmen do extra damage when arranged in a phalanx adjacent to other Spearmen, while Alchemists do extra damage when their defense is boosted by terrain. There’s a lot of interaction and complexity to keep note of, and though the game does a good job of explaining it, it’s easy to forget some of the smaller details. While you can see a display showing which units are powerful and weak to other units, currently it’s a bit hard to read, mostly because they show tiny pixelated headshots of the units. Keeping in mind the visual differences between factions, this is a bit hard to decipher. Thankfully, Chucklefish have announced they are aware of this problem and intend to fix it with a more clear visual display.

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Since there are no tanks or planes, there is also no need to worry about depleting amounts of gasoline powering them in Wargroove, so you can always move a unit without worrying about it being stranded due to not having enough fuel. Though there is one element in the game that is completely absent from Advance Wars – Commander units. While it’s true the AW series did have Commanders who could use their powers to save the day, they were never physically on the field. That is not the case in Wargroove. While you won’t have a Commander unit in every mission of Campaign mode, they will be there for most of them, which is important for a couple reasons. For one, if your Commander dies, you lose the mission. For another, they have access to powerful Grooves that can change the tide of battle. I really like how tactics are dictated by the Commanders in the game. Their Grooves charge up as they battle, and once full, Commanders can unleash them at will. Thankfully, though the Grooves are powerful, they aren’t overpowered. They all have an area of effect, and the more powerful ones take longer to charge. Some examples are Mercia’s Healing Aura, which heals units around her, or Ragna’s Shield Bash, which lets her jump into foes, damaging them. It still takes good tactical strategy to win, and though the Commanders are sturdier than most units, they’re far from invincible. If they get surrounded, they will usually fall to a wall of steel and sorcery. To help balance things out, Commanders do heal a small amount of health each turn, around 10% of their max HP.

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One thing I really liked about Wargroove is how you’re constantly unlocking things. As you beat stages, you’ll unlock lore about Commanders, and by beating optional side missions you’ll unlock Commanders in other modes. Additionally, whenever you beat a mission in Campaign mode, you’ll be rewarded with up to 3 stars depending on how efficiently you played. These aren’t just for show. You’ll need 100 of them to unlock the true final mission in Campaign mode. While I managed to beat that mode in about 25 hours, it took at least that long again to get all those required stars for the best ending. This is because you can’t get enough stars by perfectly beating each mission in Campaign mode. You’ll also need to get them by playing the other two main modes in the game – Arcade and Puzzle.

Get Groovy on Page 2 ->

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Arcade mode has you pick a Commander and then succeed in a series of 5 maps against other Commanders. You can choose from different difficulties, and the harder you pick, the more stars you get. It’s a pretty basic mode, but it’s a fun time waster. To keep things fresh, the maps you play will be randomly shuffled each game, and there’s a pretty good variety. The only downside is some of the maps are more frustrating than others, so don’t feel badly about giving up and trying again, hoping for a better set. Puzzle mode is far simpler, but also more tricky. You’re presented with a map and a single turn to accomplish a set objective. Typically, this is beating the enemy Commander or destroying their Stronghold, but some will also involve tasks like getting a certain unit to safety. I enjoyed the mental exercise here, since Puzzle mode lives up to its moniker and requires some careful thinking to succeed. You won’t be able to overpower your foe, you instead need to carefully use the limited tools at your disposal. The only downside to this mode is that beating any map only rewards you with one star, whereas in both Campaign and Arcade, you’ll get at least a couple stars each time. But there’s one more mode we need to discuss – the Create mode.

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I remember loving the user created content in Advance Wars, and not only is that back here, but it’s more involved. You can create and share a variety of maps from scratch, customizing the terrain and setting units and decorations where you please. You can also play with toggles like weather and fog of war. Hell, you can even decide how much money you get from allied buildings, which is typically set to 100 per turn. I enjoyed the wealth of options here, and only really had a couple complaints. One, I wanted an in-game FAQ or tutorial to explain the nuances of this mode. Though making a map was mostly intuitive, setting up things like win conditions was less so. For example, I was unable to set my opponent as an AI, meaning that when I tried to test my stage, I was forced to alternate between playing as both Commanders. I also wish this mode was built with styluses in mind. It’s a bit irritating to have to move the cursor around an entire map to select things. I know the Switch wasn’t made with stylus play in mind, and I know Wargroove isn’t only available on that console, but I fervently wish Chucklefish would bring innovative solutions to issues like this for each version of the game. While it’s not life or death, the whole point of user created content is making it approachable, easy to use and understandable. Hopefully they will fix some of these complaints in a future update. Until they do, I likely won’t be creating many stages, and certainly won’t be monkeying around with the Campaign creator, mostly cause I like fully understanding such things before I get drawn deep into them.

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So now that we’ve established the basics, I feel I should spend a little time on the story of the game. The very first mission has you controlling the vampire Sigrid as she murders her way through Cherrystone Castle, ending with the death of the King. This sets the kingdoms of Fellheim and Cherrystone at war, and the young Queen-to-be Mercia is utterly overwhelmed. She is quickly ousted from her own kingdom and sets out to find allies to fight the Fellheim hordes, along with her trusty companions – the wizard Emeric and her armor clad canine, Caesar. Along the way they will meet many colorful people and nations, and will learn the dire truth behind the actions that precipitate the game. Though it’s not all that complex, it was interesting enough to hold my attention. This was because the world of the game is compelling, and especially the Commanders that populate it. My only real complaint is that I wanted to know more, more about the Commanders and their past, more about the kingdoms, and more about the lore. Don’t get me wrong, it’s a great start, but it also felt a bit underdeveloped at times. But hopefully the success of Wargroove means we’ll get sequels that allow the world to be fleshed out even further.

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A mark of success for any tactical game is how intuitive and streamlined it is, and I’m happy to say Wargroove does a pretty good job of it. There are nice touches such as pressing the L trigger to switch between active units or holding B to skip past battle animations and unit movement. It’s relatively effortless to bring up a display of all the units, check their status or just look at the map. However, there are also a couple areas that the game fell short. Namely, a few glitches I encountered in my playthrough, most revolving around the save feature. One time I beat a level, it auto saved, and when I returned to the game I was in the previous level. Another time, in the final stage, I saved at the very start of the battle, exited, and when I came back my units had moved and somehow the boss, who was supposed to be at the opposite side of the map, was right next to me. Lastly, one time, I had a glitch force me back to the home screen. Thankfully, when I went to play the game again, I hadn’t lost any progress. On the irritating side of the spectrum, I wish the game would let you skip the credits that play every time you beat Arcade mode. I also wish the AI was a bit smarter. It’s not idiotic, but it’s pretty easy to fake out. For example, I quickly found that AI units inexplicably fixate on Wagons, even when they’re empty, which I used to my advantage to distract them. The worst example of AI is how the Commander named Greenfinger is completely unable to use his own Groove effectively. But, assuming Chucklefish can resolve those save issues, they can ignore most of my other complaints.

Visually, Wargroove is fantastic. Not only does it ape the style from Advance Wars, it also adds many of its own bells and whistles. The pixelated artwork for each unit and character is fluid and colorful, and that goes double for the Commanders. I especially like the 2D portraits that display their reactions during battle, ranging from gleeful to dismayed. It’s also nice how each faction’s units are totally different looking, and have unique looking animations. The Floran infantry scuttle low to the ground, while the Heavensong charge fearlessly into battle, swords at a jaunty angle. My absolute favorite animation is probably how Greenfinger scatters seeds that quickly grow into his flora steed before he rides it into combat. But the game doesn’t just have great art, it also has catchy music. Each Commander has their own theme, and though I don’t love them all equally, there are several earworms. Having said that, I do feel that the music here is a bit inferior to that in Advance Wars. I can still hear songs from that game when I think about it, and it was just blissful rock and roll. But there is one area the sound design eclipses Advance Wars, and that’s how there’s a small bit of voice acting for the Commanders. It’s just a nice touch that adds even more personality to the eclectic cast of characters.

All in all, I was pretty pleased with Wargroove. Not only did it satisfy my nostalgia for Advance Wars, it expanded my expectations in wonderful ways. Best of all, it’s a super affordable package, only costing $19.99 for at least 20+ hours of content (though far more if you want to see everything). Yes, there are still some important kinks to iron out, but I can’t help but recommend this to fans of Advance Wars and tactical games in general. And if you find it too easy, you can always challenge yourself by trying your luck against other players. If you need a new strategy obsession on every major console, do yourself a favor and pick this up.

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Surprisingly, Vancouver – not Shanghai, Hong Kong or Las Vegas – was once the neon capital of the planet.

By Mike MacEacheran

4 May 2018

Wide shot: a city’s majestic backdrop of sea and sky, skirted by folds of Douglas fir, and deep, zigzagging fjords. Zoom in: a downtown core on the rise, a mixture of newly built condominiums, theatres and red-brick saloons. Close-up: in the middle, a hodgepodge of advertising signs and overhead utility lines rearing out of the darkness. And the big picture: the sky electrified in a glow of red, yellow and green as 19,000 neon lights switch on.

Step back in time to 1950s Vancouver, and this is what would have greeted you after sailing across the Georgia Strait to the city’s historical district of Gastown. From here to the suburbs, the streets hummed with transporters and Frankenstein-like glass insulators. Logging agencies, lumberjack recruiters – even churches – advertised with neon lettering, while residents amped up their houses with neon door numbers. Harder to believe still, the city produced more strip neon than anywhere else on the planet, with one sign for every 18 residents, and 12 factories, including the world’s largest.

View image of Vancouver, Canada, was one of the first capitals of neon, with one sign for every 18 residents (Credit: Credit: Michael robertharding/Alamy)

Stories like this aren’t supposed to happen in the middle of the Pacific Northwest’s beautiful temperate rainforests. Maybe in Hong Kong, Las Vegas or Shanghai, cities where streets besieged with neon are part of downtown lore. But Vancouver, Canada’s great-outdoors capital? The sheer volume of neon colour juxtaposed with its beautiful natural setting seems alien. Yet the truth that it was one of the world’s first capitals of neon is unlike anything stereotypes of the city might lead you to expect.

To learn more, I contacted John Atkin, a Vancouver-born civic historian, heritage consultant and neon expert. “Neon and rain are made for each other – it makes the colour diffuse and come alive – and that really helps explain why there was such a boom here,” he said as we toured the Museum of Vancouver’s permanent neon gallery on an overcast afternoon. “Vancouver has more grey days than anywhere else in North America, but it was also a streetcar city, which advertising neon is perfect for. Add the weather to the transport system, then factor in the low cost of leasing the signs as manufacturers began competing with each other, and neon boomed. It worked here.”

The museum’s rich collection of aged and weathered signage comes from the groundwork of Atkin, who first curated an exhibition on the city’s neon history back in 2000. Two stand-outs are a gigantic pink-striped ‘R’ from Regent Tailors, first hung on West Hastings Street in 1960; and a buzzing red and green headstone designed for S Bowell & Sons Ltd Funeral Directors from the previous decade.

View image of Even Vancouver’s churches advertised with neon signs (Credit: Credit: Mike MacEacheran)

According to Atkin, the key thing that set Vancouver apart was the majority of sign makers here were art-school graduates. That meant there was a real consideration for design, and streets became canvases of typography, colour and action. The definition between where the building finished and art began started to blur.

“The artists had fun with it,” said Atkin, as we looked upon one-sided mounts advertising a beauty salon, a dry cleaner, a garage, a dairy and a pool hall. “In the 1940s and 1950s, Vancouver wasn’t just lit by neon – it was illuminated with stories.”

Vancouver wasn’t just lit by neon – it was illuminated with stories

Atkin clearly remembers the tales that illuminated his childhood. When he was a boy, he used to cycle through the inner city on his way to swimming practice. He was an early riser, and somehow felt drawn to the rainbow-coloured signs on downtown Granville Street in the pre-dawn light, particularly vibrant around 05:00.

Share such stories with Vancouverites today and many will be puzzled. Tell them trees were covertly planted beneath well-known signs to blot out the visual noise and they’ll scarcely believe you. But there’s a good reason: the signs have all but gone, with most consigned to the scrapheap.

For history hasn’t been kind to Vancouver’s neon. Did it signal glamour and big-city living – or was it a vulgar display that vandalised a city? From the 1950s to 1970s, this was the question that divided the city, with neon becoming a symbol of a deep civic controversy and a lightning rod for critics.

By the 1960s, a growing suburbia meant neon had become demonised and associated with urban blight. “You can have civilisation, or you can have neon,” said one detractor, the criticism ironically lit up as a display at the museum. “It is vital to Vancouver’s reputation as a beautiful city… that these proposed sign controls be implemented before any more visual squalor is added to our most attractive streets,” said another at the height of the backlash.

To the city’s lawmakers, the signage frustrated people’s expectations of what Vancouver – surrounded by a northern cape of mountains and forests – should be. The throbbing glow was seen as an ugly, seedy distraction. So by 1974, the city adopted its first comprehensive sign control bylaw, restricting new neon signage beyond measure.

As Atkin sees it, the distaste came from a misguided realisation of just how corrosive to society neon was. “The bylaws made it damn difficult to do anything,” he said. “Everything that made neon cool – you couldn’t do it anymore. And with it the craft started to disappear.”

View image of By the 1960s, Vancouver’s neon became a symbol of deep civic controversy

Today, examples of vintage neon still dot Vancouver, although you need to know where to look. For maximum impact, a walk through the city should take in The Orpheum and Vogue Theatre, two typographic verticals on Granville Street trimmed with bulbs. On nearby Hastings Street, a quick succession of marvels then spreads farther east, including signs such as those at Save On Meats, The Balmoral and The Pennsylvania (hotels turned social housing projects) and Ovaltine Cafe, a city fixture dating to the early 1940s.

We’re bringing the neon back

However, thanks to newly tempered bylaws keen to curtail downtown’s commercial decline, change is gathering pace, particularly in Chinatown, an area intrinsically tied to neon’s rise and fall because of the propensity of restaurants to embrace the advertising. Walk along East Pender Street and you’ll come to Sai Woo, a nearly 100-year-old restaurant, restored and reopened in 2015 as part of the area’s ongoing gentrification. Here, the unmissable 3x2m neon cockerel advertising chop suey – paid for by a community-supported C$19,000 Kickstarter campaign – is just the start of a welcome revival.

“We’re bringing the neon back,” owner Salli Pateman told me, while staring out at the two-sided gold-and-green cockerel sign. “It’s happening again, and a year from now there’ll be five or so more places with signs like this. We’re salvaging the heritage of this neighbourhood.”

The message is clear: there’s a new generation willing to embrace the visual noise.

View image of Owner Salli Pateman raised nearly C$20,000 to locate and restore the Sai Woo restaurant’s original neon sign (Credit: Credit: Mike MacEacheran)

Next for Chinatown is the return of Foo’s Ho Ho, Vancouver’s oldest Chinese restaurant and a place famous for a once-notorious neon artwork. It was the address for an incredibly complex four-storey sign depicting a two-sided bowl of steaming noodles with flashing, alternating English and Cantonese words. The campaign to restore it has been masterminded by restaurant owner Carol Lee. Designed from scratch by Atkin using a more streamlined design, and paid for through heritage grants and donations, the C$80,000 signboard will be unveiled later next year.

It creates a sense of nostalgia, but also community

But while such visual ambition forms part of a wider lighting strategy to revitalise downtown Vancouver, it’s about more than just adding drama to the cityscape for locals. “It creates a sense of nostalgia, but also community,” said Pateman, looking up and down the street with a look of marked confidence. “When these signs are switched on, people will know Chinatown is back.”

The ultimate symbol of Vancouver’s transition from west coast logging town to vibrant metropolis, neon was once the city’s hallmark. Tomorrow’s Vancouver – shining bright – will be as much a reaction to its past as it is a celebration of the future.

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from bbc.com/travel/columns/adventure-experience

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