#i just have a lot of thoughts on the difference between players and characters in dnd actual play

[the-knight-of-destiny]

Okay, so long long ramble under the cut about the nature of Ratgrinder Discourse™, I'll preface by saying that I don't want any of this to get hostile with anyone, because I think that's frankly silly to do over a webshow. That said I am also open to critical discussion so if anything I say doesn't make sense, or doesn't track I'm open to critique on it! Obviously spoilers up to Episode 19 of Fantasy High Junior Year underneath. Also it is a VERY long post, several pages, so don't click read more if that'll be overwhelming/too much at once. I just had to get my thoughts into words.

So, this will be long but I'll try to break it up. For clarity I want to establish my main point and give a quick TL;DR here, so here's the short version, long version even further below. My main points are as follows: 1: It is okay to not be happy with how a narrative is going in a show/story you enjoy. Critique is not hate, if anything it's a form of praise in a way. People wouldn't be having such long and frequent discourse about D20 and it's current season if they didn't feel strongly. 2: Similarly, we as an audience have a very different perspective of the entire story unfolding compared to the Intrepid Heroes/Cast. I think a lot of people jump to assumptions about the cast's thought process when that really isn't something we can gauge beyond what they say in episode and on Adventuring Party. 3: For me at least, even if I am left unsatisfied by an ending it doesn't ruin the fun I had in a work. Now if you just wanted my bullet point thoughts without elaboration, there they are! The rest of this is going to be an insanely long ramble (seriously, exit now if you aren't up for that, it's pages long) that I don't expect anyone to read, but I like to get my thoughts outta my brain. ---------------------------------------------------------------------------

So, in regards to the Ratgrinders dying in the fashion they have, there's been a lot of discussion on literally every place there is to discuss Dimension 20, Twitter, Tumblr, Reddit, I'm sure other places as well. Really it all comes back to one thing, Dungeons and Dragons is a game, but Dimension 20 is a show. We as viewers have some level of narrative expectation, now for everyone that's different. Some folks have specific hopes for plot and character arcs. Others just want a general vibe, but the cast are players. Sure they are performers, but they are players in a game in equal measure. I've alluded to this before but a lot of the sincere vitriol to antagonists thus far (and especially the Ratgrinders) comes from the fact that the players have been fully immersed in a world and as characters where the Ratgrinders have been a constant thorn in their side for tens of hours of play time. Obviously one can still not like how they've engaged with them (I'm still not sure how exactly I feel about it,) but a lot of it is coming from that distinct perspective. When Fig took Ruben out, she specifically was frustrated because she 'wasted her season' on him. There's a meta level of Fig being angry with Ruben as a character who shares a world with him, versus Emily being frustrated as a player that a lot of her in-game actions did not hash out. That's actually totally natural, by the way. The interesting way that DnD serves both as a narrative of the characters in the setting, but also of the players rolling dice is part of what makes actual play like Dimension 20 so interesting. It's why I think SOME of the disappointment with Brennan and the Intrepid Heroes comes from a strange place, we literally cannot experience the story the same way the cast have. We get a week between chunks of story, they film the episodes in batches. We can think for as long as we want about our critical thoughts, they have to improv on the fly. We get to watch the Ratgrinders as antagonists in a story, the IH are actively hindered in their gameplay by the Ratgrinders as enemies.

That said I would be lying if I said I wasn't worried about some aspects of Protagonist Centric Morality™ in this. Oisin having a mildly flirty conversation with Adaine once when he had ulterior motives is a deeply awful manipulation, but Fig catfishing Ruben the better part of an entire year is her trying to reach out and understand him (?). Kipperlilly threatening to desecrate Eugenia's grave is deeply fucked up, but Riz openly advocating mutilating Oisin's body for tactical reasons, and Fabian loudly declaring he intends to do the same to Ivy for literally just his own self-satisfaction are 'fun unhinged moments'.

Before I go on, obviously the Ratgrinders are the bad guys. They're taking part in an evil plan, they've done villainous things throughout the season, especially very recently, etc. This isn't some argument that the Bad Kids are secretly the real monsters or something, obviously not. I just think it's odd that people read into the Bad Kids' actions in the best possible light at all times and the inverse for the Ratgrinders. This protagonist centric morality also comes down to the true reason behind any and all of Fantasy High's villain redemption. Ragh gets redeemed because the player characters think he's possibly useful and/or endearing. Aelwyn gets redeemed because she personally helps Adaine. The only one that Brennan really pushed forward on his own was Zayn, who they barely engaged with. People compare the Ratgrinders to Penelope and Dayne a lot, and understandably so. However I think this is sort of the complication and in my opinion, the silver bullet to understanding what's actually happening with the Ratgrinder's narrative place, Dayne more specifically. He does very little evil on screen. I mean, he injures Fabian and is most likely the one who killed Zayn, but comparatively to Aelwyn, he does almost nothing. He gets killed without so much as a thought, and in a fun (?) parallel to current Ratgrinder discourse, does actually have his body desecrated after death by Fabian. Because he hurt Fabian personally. Aelwyn gets forgiven of doing a lot of terrible shit (and this isn't Aelwyn hate, she's like my favorite NPC.) because it didn't directly affect any of the Bad Kids besides Adaine, and even the bad stuff that did affect Adaine can be sort of off-loaded onto their parents. So it's why I say this discourse is tough, people inevitably say "Well, the Ratgrinders are villains, of course they'll get killed." And this isn't inherently a wrong statement, they look at the bad things the group is doing and understand they must be stopped, why are people upset clearly bad guys get beat and/or killed in DnD games? Because they aren't actually getting killed in such brutal ways because they're bad guys, it's because they personally annoyed or hurt the Bad Kids. This is also why Ratgrinder fans often feel both frustrated and vindicated at once (I speculate, but I feel it's a safe assumption,) because on a meta level Kipperlilly is literally right. Her friends and likely herself are getting ripped to shreds because they crossed the special protagonists, because they started to really frustrate the Intrepid Heroes. The Bad Kids have forgiven atrocities before, but the Intrepid Heroes are really quick to dismiss and kill people they find annoying.

The ultimate example I feel of this, is Mary Ann. Ruben gets blasted into hell because his actions personally annoyed the players, Ivy gets stabbed to death while being repeatedly insulted and threatened with mutilation because her actions personally annoyed the players.

But Mary Ann is the one they all think they can redeem or save, because her personality is more cute and endearing to the players. That kind of says it all better than I ever could.

#fhjy #fantasy high #dimension 20 #rat grinders #ratgrinder discourse #gosh this is super fucking long and i apologize if it floods any of your dashes #i just have a lot of thoughts on the difference between players and characters in dnd actual play #look i am ok with the rat grinders dying and i love the bad kids and intrepid heroes #but i think a lot of people don't engage with the critique in a fair light #there is a clear dissonance of when the players feel the need to off an antagonist vs how evil the antagonist actually is #and it's mostly fueled by just how annoying they as players happen to find that specific antagonist #also brennan is doing his best to make the ratgrinders somewhat complex imo but is also pitching the intrepid heroes softballs #he doesn't want to make his friends feel bad as players for doing things they find fun in a game #so he's not going to push back too hard even if it might make sense for him to do so

[posthumus]

ok wait nvm i've reflected (stalked my mutuals' tags) and yeah i do think it's dumb that laenor has a whole "im not the step dad, im the dad who stepped up" speech 0.2 seconds before getting launched into character purgatory

#i've been hesitant to talk about laenor much because i worry i'm missing the forest (interesting subtextual queerness) for a tree #(the only 'canonical' queer character) #but i have a lot of thoughts about how he was handled—suffice to say not well #he seemed so interesting in the first couple of episodes! #but then after the time jump they really stopped taking him seriously it was so bizarre: just total unwillingness to see things from his pov #that's not even really it though; they rendered him ridiculous #so i guess as an immediate twist (because i read it as laenor and qarl being in on it together) i liked that claiming of agency #but it kinda brings up that question of what even is fictional death. #laenor had to be dealt death blows #if we were going to do bury your gays discourse around this show #(let's not and say we did) #i dont think the difference between being killed and being written off the show is all that significant #idk whatever! i do wish the show went in a little more on fleshing out the non-central players #but what they've done with viserys and criston cole and larys and ESPECIALLY alicent is so good im inclined to be generous #hotd #hotd spoilers #my posts

[galedekarios]

i'm reading a new interview tim downie gave about gale and it offers some of tim's own headcanons about gale, as well as tim's thoughts and insights on gale's character:

Nerds & Beyond: I like that you mentioned that the game is full of rounded characters because they are, they all have different aspects that make them feel real. I adore that Gale specifically is so serious and studious, but at the same time he has this really playful side — he often jokes about how he was a mischievous youth, he encourages other people like Arabella to do so, he understands when The Dark Urge first mentions their violent thoughts. There is a lot of nuance and depth there. But the quality that I love with Gale most is that obviously he is very ill when we first meet him – not that we know immediately – and he’s dealing with a lot of chronic pain. I find him incredibly selfless because he takes that day-to-day head on to help the party, which is an aspect I feel continues to show throughout the three acts. What’s your favorite quality of Gale’s, or what did you take away from him? Tim Downie: It’s so interesting hearing you say that, because I had so many different feedbacks about what people take from the character and sometimes things really surprise you. It’s interesting hearing that such and such has taken that particular aspect, because there are broad things like “He’s funny,” and that’s quite nice, that’s a nice trait, though not one you necessarily get to see that much. It’s so interesting hearing other people’s views about what they take from Gale.  The idea of dealing with chronic pain I found really interesting and an interesting subplot to play, and that was the great thing about doing something like this is that it is so unbelievably nuanced. You have so many layers that just keep going and going and going, as much as we all contain multitudes within ourselves. We all deal with these things, but only certain things pop up to the surface at any given point.  What did I take from Gale, though? I liked his studiousness. I would imagine that he was probably bullied as a kid for it, and he was probably a bit of a joker because he was bullied, and he uses that as a defense. But an even bigger defense for him is “I now know stuff that I didn’t before,” and that’s a power. It’s very similar to when you are being bullied and you’re the funny one – that’s your power, that’s your thing. “I may not be able to hurt you in a traditional sense, but I can say things that will make you feel pain,” which is a very different thing because you physically can’t go after them.  That’s the wonderful thing about acting and this character as well is being able to explore all these things that you might not have, that you might have gone, “I’m not gonna look at that again, I don’t want to deal with that,” and then it brings it up again and it’s like, “Oh, this is actually quite cathartic,” to re-explore these these moments of sorrow and loss and how you deal with grief and things like that and heartbreak and how you get over that.  It’s not all just tears, you do try and make a joke of it.

i really like that they are addressing the topic of gale's chronic pain. it's something that doesn't get addressed often, not even in the game itself.

i also found his answer as to why people might connect to gale very nice:

Nerds & Beyond: Gale is the most popular origin character to play as. What is it about him that you think allows so many different players to connect with him to the depths the fandom has? Tim Downie: I really don’t know. I think you’d have to ask the players that, ‘cause I don’t know, to be quite honest with you. He’s a wizard, and who wouldn’t want to be a wizard at the end of the day? I always say the difference between wizards and sorcerers is that sorcerers just pretend – they just assume they know what they’re doing, but a wizard has really learned this trade. And so there’s that kind of weight of knowledge and learning, which I would love to play as and be for a length of time.  I think it’s also the frailties. I like characters, and a lot of people do I’m assuming, that have flaws, otherwise you’ve made them completely unapproachable. To be completely superhuman or completely extraordinary at something then removes the humanity from it because it becomes like, “Well, that’s never gonna happen.” But when there’s a flaw, when there’s, “Oh, I’ve got that wrong, too,” or like, “My knees hurt” as you say, or “I’ve got a bit of a headache. I really don’t want to do this,” “You’re really annoying me, this is very annoying, could you please hurry up?” or “Stop licking the damn thing,” it’s always those moments that are fun because it shows what we’re all thinking at that point, it removes it from almost archetype and stereotype and it becomes human in a way.

gale is approachable and likeable, has flaws, but is genuinely nice. i think that very much sums up his character.

this bit here made me laugh:

Nerds & Beyond: When you’re talking about those different layers in the humanity building, I think one of the most important aspects in this game is the more “background” or passive dialogue, so dialogue that is prompted in the world and not in the cut scenes.  For instance — the first time I made Gale sneak he immediately complained about his knees, and it was such a real moment where he was just like, “Oh, don’t make me do this. This is not what I’m here for, I’ve got bad knees and I’m not made for this.” Did you have any of those background lines or moments that stick out as being particularly fun to craft?  Tim Downie: I remember the first time I ever had to do waiting, I found it infinitely interesting in so many ways. The idea that I did actually just have to wait and just actually, “Hmm…” Those little things I find really funny because they’re probably the closest to me that the character ever gets. His waiting mannerisms are kind of very English – slightly annoyed and I’m not going to show it to you though because we’re all being very nice, but I’ll do it with a huff and a slightly sarcastic, “Well, that’s great. Another 20 minutes. That’s great.” Those kinds of sentiments I found wonderful and incredibly fun, and funny, to do. 

if you want to read the whole interview for yourself, you can do so here!

#gale dekarios #gale of waterdeep #baldur's gate 3 #bg3 #baldurs gate 3 #tim downie #ch: gale dekarios #actor: tim downie #vg: baldur's gate 3 #series: baldur's gate #please keep in mind that this is not canon and just tim sharing his thoughts #i'd just like to add that as a general disclaimer

[weirdmarioenemies]

Name: Hot-Hot Rock Debut: Super Mario Bros. Wonder

You know something I love about the Mario series? Its tendency to use reduplication to put emphasis on certain words. You thought your average everyday mountain was tall? Well this is a Tall Tall Mountain. You've never seen docks quite this dire before! And it's not even just adjectives that get in on the fun! Rock Rock Mountain, Ice Ice Outpost, I love that something can be more "rock" or "ice" than something else. Sometimes a word is so nice, you just wanna say it twice twice.

Hot-Hot Rocks are one of the latest additions to this long-running Mario trend, and also one of our latest Cubic Companions! You know, Blocks are very important to the Mario franchise, but how many enemies can you think of that are blocks...? The answer should be a lot. This was a Mod Hooligon Trick and you may or may not have fallen for it. I can't tell unless you tell me, alright?

Hot-Hot Rocks first appear in the level Hot-Hot Hot! (this is an example of a linguistic phenomenon known as "threeduplication"), where they serve as one of the primary obstacles. As long as Hot-Hot Rocks are Not-Hot, you can stand on them like any other platform. But when they start glowing red, you better get out of the kitchen, because Mario and friends can't stand the heat!

Of course, a little water is all it takes to turn Hot-Hot Rocks into Not-Hot Rocks for good, so spray them with Elephant Mario's trunk or a precariously placed pot of water, and they won't be able to hurt you anymore!

Hot-Hot Rocks have a symbiotic relationship with another new enemy called Kerpop, which will probably get its own post someday, likely courtesy of Mod Chikako. These guys act like Goombas most of the time, but when they touch a hot Hot-Hot Rock, they will pop and begin jumping around! How cute! This attention to detail is what makes Super Mario Bros. Wonder truly special.

That's about all there is to Hot-Hot Rocks, but we're not quite done yet, because this post is about to get all philisolophical(sic)! Because as Weird Mario Enemies, an important part of that title-we-love-to-defy-and-love-bringing-up-how-much-we-love-to-defy-it is knowing what an "enemy" is to begin with. And so we must ask ourselves: what is an enemy? What separates an enemy from an obstacle? And is there even a meaningful difference...?

I can't say I can give you an answer. But I can give you a bunch of thought exercises under the cut! You like those, right?

You do like those! Thanks for looking under the cut, I really appreciate it.

So if we want to have a discussion of what counts as an "enemy" in the context of a video game, we should probably have a rough definition of what we think an "enemy" is in the first place. It's tough to look for edge cases of something that doesn't have any edges.

I personally think a good starting definition is along the lines of "a character designed with the intent of hurting the player," or something roughly like that. And now that we have a definition, we can scrutinize the hell out of it!

On the left we have Thwomp. Thwomp is a classic Mario Enemy. The kind you'd see featured on @regularmarioenemies. We invite Thwomp over for dinner every Sunday, and Thwomp always smashes the dinner table because that's just what Thwomp does. On the right we have Karamenbo. Karamenbo does the exact same thing that Thwomp does, but it doesn't have a face! And despite the fact they act the exact same way, this simple design difference leads to most people considering Thwomp an "enemy" and Karamenbo an "obstacle"!

Is the difference between an enemy and an obstacle really something so simple as having a face? And if so...

What do we make of Lava Bubble, another Classic Mario Enemy that only sometimes has a face? Are they only an enemy when they have a face? Or are they allowed to always be enemies in spite of their occasional facelessness? Or alternatively, are they prohibited from being enemies despite their occasional befacedness? I don't know, and my "the fact I am writing for this blog" tells me I should probably be an expert in this field!

And what about Moonsnake? What could easily be dismissed as a simple obstacle like a Spike Bar is revealed by in-game text to be a living creature! Does this allow it to be classified as an enemy instead? Does something become an enemy just because there's text saying it's alive? Do ghosts and robots count as alive? Is a thorny flower an enemy instead of an obstacle, or does the specific choice of the word "creature" make a meaningful distinction here?

What if I told you there's official text calling Karamenbo a type of Thwomp, does that change your perception of it?

And we haven't even started touching on the idea of whether or not enemies need to hurt you. Let me ask you an important question...

Are Hoppos enemies? They can not hurt you. Whenever you touch them, you just bounce off, and sure, you might be bounced into something that can hurt you, but Hoppo is just an animal. Is it really Hoppo's fault? Could Hoppo be charged with manslaughter for bouncing Mario into a bottomless pit? Are bottomless pits a type of enemy?

Flomps, Bomps, these can not hurt you directly, but they can cause you to get hurt! And they're relatives of Thwomp, too! Do these factors matter in defining them as an enemy? Bomps act basically the same as the Push-Blocks from Super Mario Odyssey, and the wiki classifies those as mere platforms!

Is mayonnaise an enemy? I don't even know anymore!

Basically, enemies are a subclass of obstacle but there's not really a meaningful distinction that separates them. Literally the only thing that separates an enemy from an obstacle is the Vibes. Nothing else matters! Sorry! But what does that mean for our blog...?

Absolutely nothing! As I've said multiple times, we stopped caring about that distinction ages ago. We're hardly even a Mario blog anymore! I just wanted to subject you to my ramblings because I've had this in the back of my mind for a while now and well I had to say it somewhere.

And since I subjected you to several paragraphs of ramblings that amount to basically nothing... am I an enemy...?

#hot-hot rock #super mario bros wonder #mario #mario enemies #mario obstacles? #mod hooligon

[leah-lover]

Misunderstanding. Nika muhl x reader.

Jealous Nika.

You weren't a starter in your team but the coach knew you were what the team needed. Iowa was down 15 points to UConn and you only had one quarter left to win or your dream of winning march madness would be gone.

You didn't have a good relationship with your coach. You two had your differences. You disagreed often which left you on the bench. But tonight UConn was the better team. They had all their best players on the floor . They were comfortable both offensively and defensively. So when the coach came to you to sub you on you knew exactly what your role was. You were on the floor to make them as uncomfortable as you could. You had to disrupt their flow and help your team.

You were successful in the task you were given. You made UConn uncomfortable which allowed Iowa to score enough points to win the game and advance to the final. Despite your huge and impactful effort that helped your team win the game, you still weren't in your coach’s good graces.

You were again benched on the final which your team won but it didn't feel like a victory to you because you were hardly on the floor. As a result in the postseason you decided to request another School. It didn't matter which one all you cared about was being in a team that valued you.

It took a week for you to get the first offer. You were surprised when you saw that it was UConn who asked to have you. You must have made an impression after your last performance.

UConn’s legacy was mesmerizing, so you agreed to their offer as soon as they made it.

By 2 months you were in your new dorm getting ready to meet your new team.

You were very nervous at the beginning. You didn't want anything to go wrong. Your old relationships with your teammates were so bad you would rather retire than go through that experience again. Luckily, your new team wasn't that bad. You quickly bonded with a lot of your teammates like KK Arnold, Izzi and ice. You felt comfortable in your new home at the start of pre pre-season. The more comfortable you got the more flirtatious you got. You would make jokes about it and your teammates would tease you about it too. The victim of your flirtatious attempt was Izzi. You didn't do it so that you two would end up together, you just found it fun to flirt with her. Your flirtatious attempts were going on all season.

One day after a huge win, the team decided to go out and celebrate in a bar near campus. It was you, Izzi, Paige, nika, and ice. After a few drinks you all decided to head to the dance floor where you danced with Izzi. After a while you looked next to you only to find only you two left on the dance floor. Needing a break you decide to go out for some air.

“ I guess it got all hot for you in there too.” you say to Nika when you meet her outside.

“ No, not all of us were dancing like nobody was there.” she replied with an annoyed tone.

“ What is that supposed to mean?”

“ Nothing, just forget it. I am gonna go back to campus.” she says and leaves. Leaving you puzzled.

You go back inside and brush it off.

The next training sessions were strange. A hostile tension was filling up the atmosphere and it was coming from Nika. flashbacks of your old team were haunting you by the time a month went by. You thought that your future in this team would be just like your past.

At team bonding night, where you decided to watch a movie together. A huge fight started between you and nika. It all started by a snarky comment she made about the main character of the movie.

“ I just don't understand why people don't understand vibes and the right places to do stuff.” she says. You felt that that comment was directed towards you so you replied.

“ well some people don't overthink stuff and just do as they feel.”

“ I don't believe that. I think everybody calculates everything and they only do what is best for them.” she responded.

“ guys i am gonna call it a night i am tired.” said izzi interrupting your bickering with nika.

“ Me too.” says nika and she leaves abruptly.

What nika said was stuck in your throat so you followed her to the hall.

“ what the fuck is wrong with you.” you yell behind her.

“ Excuse me.” she says stopping in her tracks.

“ You have been throwing knives at me all the time. if you have a problem with me just say it and stop dancing around.”

'I don't have a problem with you, I have a problem with the way you act.’

“ And what way is that?”

“ i dont like that you are all flIrty and mushy with izzi if you want her do that in the fucking bedroom away from me.”

“ What the hell are you talking about? Izzi and I are just friends. That whole thing is a plan to annoy paige. We are trying to make her jealous. Plus why do you care ?.”’

After staying quiet for a while she says. “ Is there anything between you two?.”

“ No, there isn't. She likes paige. Why do you care nika?”

She leans her head against the wall and whispers something inaudible.

“ i can't hear you nika.”

“ i like you. Okay . the thought of you and izzi makes me so fucking angry.”

“ You like me.” you repeat in disbelief.

“ ever since you joined i had my eyes on you. So when you started doing your stunt with Izzi, the thought of you being with her angered me.” she says with a defeated tone. “ I never meant to hurt you, I just didn't know how to handle not having you.”

You approach her, lift her head up with your hand and cup her cheeks.

“ You look adorable right now.” you say which makes her smile.

“ Can I kiss you?” she asks

“ You better.” you respond.

You then both kiss. You couldn't believe how soft her lips were and how your bodies moved in sync.

“ Can I take you back to my room. “ she asks with a pout on her face.

“ please do.”

#nika muhl x reader #nika mühl #nika muhl #uconn wbb #uconn huskies #uconn women’s basketball #women's basketball #ncaa wbb #wbb

[idololivine]

NEON Carnival Q&A Pamphlet Translation

disclaimer: apparently Taiwanese Mandarin is different from what I speak, so some of these may need to be taken with a grain of salt! my credentials are that my native language is Cantonese and I know - but am rusty on - Mainland Mandarin.

Q: Do the characters have set dick sizes? A: The team has a "super⭐secret measure", every time they draw the characters they'll reference it.

Q: Between Quincy and Olivine, who has the bigger breasts? A: The team fought over this and couldn't decide, so there's no answer.

Q: I want to know the ages of the long lived ones, the yokai, and the familiars! Who's the oldest? A: From oldest to youngest are: Kuya > Quincy > Rei > Aster > Morvay > Yakumo > Garu. The specifics of their ages will be revealed in the game.

Q: Who's older between Father and Topper? A: Father is older than Topper!

Q: The game has a lot of retro stuff, super curious about the producer's age! A: Retro has nothing to do with the producer's age!!!

Q: How are the kinks of each room thought up? A: The devs think of them in the small dark room, the artbook sketches include clues. [t/n: I consulted two other Chinese speakers and I'm still not really sure what the answer actually means, so this is a best guess translation.]

Q: What's inside the small dark room? A: Tired and busy devs......

Q: When designing event outfits, how do you decide where to open holes? A: Different people will think of the parts they want to highlight, later on we'll also test different levels of nakedness. (it's not like we haven't thought of throwing darts to decide) [t/n: little unsure about this one too. it's possible it means they think of which part of the characters they want to highlight, but they used 眷屬 rather than 角色.] EDIT: @milkeumilkeou has informed me that in the specific context of nuca, 眷屬 means clan members. that's what I get for not playing the game in Chinese... in this case, the better translation is: A: Depending on the clan member the devs will open the holes at the places they want to highlight, later on they'll also test different levels of nakedness. (it's not like they haven't thought of throwing darts to decide)

Q: How were the voice actors chosen? A: The producer chose them according to the characters' personalities and the desired voice. Many thanks to the voice actors!

Q: How far in advance do future events begin production? A: Usually the topic is decided on about 4 - 6 months in advance, and then production begins.

Q: I want to know which character the devs think would be the best coworker! A: Everyone agrees the best coworkers would be Eiden, Edmond and Olivine; Dante's work ability is also very strong, but he's more like a head that scares people. [t/n: 'head' may also translate to director or manager.]

Q: Do the characters have body hair? A: The devs actually really wanted to draw it, but considered various realistic reasons, so the players can't see body hair, but you're free to imagine it! (let Quincy have some stubble... how would that be?) [t/n: I would guess that the 'realistic reasons' they considered are probably that BL typically doesn't feature body hair, so it might've made the game less marketable.]

Q: Who has the most sexual experience? A: Morvay! (super fast answer) [t/n: the question is literally "who has the most experience♂️?" lol]

Q: Does the Klein Continent have a habit of wearing underwear? A: Klein has underwear. Just like hats, gloves, and scarves, when considering factors like decoration and functionality, to wear or not to wear underwear, and what type of underwear to wear, all depend on each person's preferences.

Q: Is Eiden's light brown hair dyed? A: Yes, and he'll regularly re-dye it.

Q: Does Eiden prefer briefs or boxers? A: It's okay as long as it's snug and covers him, and he has some special styles.

Q: I want to know how Eiden gets to work! A: Eiden rides a motorcycle, and on rainy days he'll switch to public transportation.

Q: What opportunity led to Eiden's interest in design? Did his designing always have to do with sex toys? A: Eiden has had artistic talent from a young age, and hoped to turn his passion into a job. His first job was being a sex toy designer at Peak of Pleasure, and this job happened to combine his two interests of design and sex. Aside from the overtime, for Eiden, this was an ideal job. [t/n: in case you don't remember, Peak of Pleasure is the name of Eiden's old workplace as mentioned in Journey to a NU World.]

Q: I want to know Eiden's relationship history! Did he have boyfriends before? A: Eiden knew he liked men from a young age. When he was fifteen he had a bitter first love, and afterwards his partners were all short term. Towards relationships he carries a generous attitude of easy-come-easy-go, and thinks that being happy in the moment is more important.

Q: Does Topper have others of his kind? A: He used to, but when he met Quincy, among those of his kind only Topper was left. [t/n: 手足 may also translate to 'siblings' or 'close friends', as opposed to 'others of his kind'.]

Q: Who makes Topper's outfits? A: Sometimes they're prepared by Quincy, sometimes they're made by Eiden.

Q: Does the food Topper hide in Quincy's hair affect Quincy washing his hair? A: No, Quincy will wash his hair when it needs to be washed. But not long after Quincy washes his hair, the food stores in his hair will be quickly refilled by Topper.

Q: I want to know Topper and Father's weights! A: Little animals' weights will fluctuate, but there's no direct link to fur amount. Topper weighs about a third of a pampo, Father only weighs about half a music box. [t/n: pampo as in the pumpkins from Eerie Escapade.]

Q: What's Yakumo's signature dish? A: He's good at everything, especially savory food. Because of his grandparents' influence he rarely eats sweets, and he can't quite grasp the seasoning amount, but after meeting Eiden he's begun to research sweets recipes.

Q: How is Edmond's knights' uniform worn? A: The uniform has a top piece and a bottom piece, the jumpsuit has a zipper on the back for convenience.

Q: If Edmond came to Taiwan, how sweet would he order his boba tea? A: After ordering full sweetness, Edmond would feel that it could be twice as sweet.

Q: How many nipple chains does Olivine have? A: Olivine makes all of his own nipple chains. He'll change them based on style and mood. The number continues to increase.

Q: Will Quincy help brush Topper's fur? A: Quincy will sometimes help brush Topper, but most of the time Topper will groom himself.

Q: Quincy, Olivine, and Kuya, who would win an arm wrestling match? A: Olivine would win, because Quincy wouldn't take it seriously and Kuya wouldn't compete.

Q: Please reveal Kuya's real height! A: It's 178cm ^^.

Q: I want to know Kuya's experiences before and after becoming a yokai! A: Kuya's journey of becoming a yokai will be revealed in future scenes. What can be revealed now is that, after Kuya became a yokai, he was a lawbreaker for some time...

Q: When Kuya addresses Quincy, why did it change from "boring associate" to "old friend"? A: When Kuya says "old friend" he doesn't mean true friends, he just likes addressing people in ways that make them uncomfortable, like "Master Rei". [t/n: Kuya probably didn't call Quincy "boring associate", but I have no idea where to begin looking for what he actually called Quincy.] EDIT: Kuya used to call Quincy "boring clan member" rather than "boring associate". credit to @milkeumilkeou once again!

Q: Does Garu sleep nude? A: He doesn't like pajamas that are restrictive or impede movement, but if it's cold Eiden will wrap him up in clothes or a blanket!

Q: When Dante first adopted Sooley, how did they get along? A: At first Dante got bitten terribly, because he tried to train Sooley to do various tricks. As they spent more time together, the two eventually developed some mutual understanding of wildness.

Q: Can Dante swim? A: Dante thinks that with something as small as swimming, you just need to learn! [t/n: Dante dodges the question here and neither confirms nor denies whether he can swim, just says that anyone can learn. knowing how he is, he's probably being ambiguous because he doesn't want to admit he can't.]

Q: How many darlings has Blade made? A: Because Blade's favorite is cute things, it's infinitely increasing...... [t/n: 'darlings' as in the goofy little statue guys]

Q: Has Rei always been in the Water Territory? Has he moved before? A: Rei doesn't have a fixed home, he moves regularly. The room in the Water Territory is just one of his hiding places, it used to be an abandoned house.

Q: Does Rei eat when he's experimenting? A: He'll eat if he remembers, if Father's there he'll also remind Rei.

Q: If Fluff Balls think Fluff Balls are cute, will they eat their own kind? A: They won't eat each other. If there aren't cute things around, the Fluff Balls will journey in search of them. [t/n: since when was eating cute things part of Fluff Ball lore...?]

Q: Where is everyone's erogenous zones? A: Aside from the gemstones, everyone's erogenous zones are as follows: Eiden: lower abdomen Yakumo: tongue Edmond: nipples Olivine: entire chest Quincy: dick, palms Kuya: ears Garu: tail Blade: darling♡ Dante: tattoos, especially the Adam's apple and fingers [t/n: might be throat instead of specifically Adam's apple] Rei: moles

Q: I want to know where everyone starts washing when they shower! A: Hair: Eiden, Yakumo, Edmond, Olivine, Topper (the fur on top of his head) Face: Dante, Sooley Upper body: Quincy, Father (chest feathers) Lower body: Garu (tail first), Morvay (also tail first♂️) Anywhere's fine: Rei, Blade (e-droids' bodies will automatically maintain cleanliness) Kuya: nobody knows where he washes first, but it's said he showers every day Aster: likes to bathe

Q: When drawing characters, are there emphasized specialties? A: Eiden: dick size, the balance of everything Yakumo: height, his slender body, the size of his feet as proportional to his height, finger length Edmond: waist to hip ratio, thighs Olivine: chest, eyes Quincy: arms, shoulders, pecs, Topper Kuya: face, palms Garu: his face/cheeks shape, his round butt Blade: eyes, balanced model-like body, his cheeks when he smiles Dante: perfectly triangular upper body Rei: the firm lines of his body Aster: brattiness and cuteness Morvay: muscular but not too buff

Q: In Aster's mansion, does everyone have their favorite locations? A: Eiden: his own study (he designs a lot of things here) Yakumo: kitchen (cooking) Garu: kitchen (stealing Yakumo's cooking) Edmond: garden (frequently has afternoon tea here) Olivine: library Blade: library Quincy: quiet places where he can sleep Kuya: next to the fireplace Dante: living room Rei: places to put collectables Aster: personal money vault Morvay: likes being outside, doesn't like staying home

Q: Do the characters have personal clothes? A: Eiden: in his rebellious phase he liked dressing up, now he prefers simple, comfortable clothes. He has a changing room at Aster's house, and every event he'll absorb the local trends and design outfits that fit Klein aesthetics and seasons. Yakumo: aside from traditional snake yokai attire, Yakumo's clothes are almost entirely bought by his grandparents. Edmond: because he's nobility, he has a lot of clothes. Olivine: because he dedicated his life to the priesthood, Olivine doesn't have many personal clothes. Quincy: he has few clothes. Most of them are made by him, so they're rare. Kuya: he likes trendy and new stuff, so he has a lot of accessories. Garu: it was only after he started living with Aster that he started getting more clothes (Aster and Eiden buy a lot of clothes for him). Blade: he'll wear whatever people give him, and he looks good in everything. Dante: he doesn't like wasting money, but as the Sun Lord, he has special outfits for important occasions. Rei: it's fine as long as it's wearable, he prioritizes ease of movement. Aster: prefers pretty, fancy designs, and especially likes clothes with cute accessories. Morvay: likes practical (easy to take off) clothes.

#my posts #nu carnival #nu: carnival

[themisteriousentity]

"Golden Deer is boring though it's lackluster, the characters aren't as strong as the other paths there's less conflict-"

You fool. You absolute buffon. Golden Deer is perfectly designed. Not only does it feed into the whole "alliance" theme well by having the characters still work together despite their differences and feelings well before hitting those A supports, but it's ALSO the only route that actually puts the focus on YOU the player. Or, rather, Byleth themself

Black Eagle is about whether or not you can agree to Edelgard's ideals of acceptable sacrifice and perspective that there's only 1 way to do things. The branching happens when you decide whether or not you agree, but ultimately it just explores opposing or agreeing with Edelgard. Anything more than that is really just incidental to that main concept, whether it's Crimson Flower or Silver Snow, the entire time you're focused either on helping Edelgard achieve her goals or you're focused on showing her how wrong she is alongside the Black Eagles who think it's their duty to correct Edelgard's wrongs (and I have a whole separate thing in regards to how the cast acts in Crimson Flower verses Silver Snow). It works really well for characters designed around an empire, a domineering form of government where (usually) a singular ruler determines the course and focus

Blue Lions is focused entirely on working on past issues and learning to bring yourself into the present, but it's done almost entirely through the cast more than the player. The Blue Lions themselves all have their own traumas and deep-seated past issues that hinder or help progress. While both Blue Lions and Black Eagles have a lot in common when it comes to traumatized characters and ideology, the ideology is front and center, while in Boue Lions, their interpersonal conflicts are front and center. This shows especially in the final (non romance) scene, where Dimitri decides that his personal attachment to Edelgard and past memories still matter, and he reaches out a hand, despite her immediately trying to kill him. It's fitting for a route designed around a kingdom, which is usually built entirely on interpersonal dealings between the ruling class

Golden Deer, however, is designed very differently. Unlike the other 3 routes, the player, or more specifically Byleth, is put as the driving force instead of the Lord. And this is actually what makes Golden Deer such a good route and one with the best ending of all of them. Claude has ideals, but he isn't a person who wants to force others to follow his path like Edelgard. Claude has lived a life of strife where his past motivates him, but it doesn't chain him the same way it does Dimitri. Instead, he works on understanding everyone around him and working together towards agreed upon goals, while taking on stuff that isn't agreed upon onto himself. But more than that, while all the Lord's value your opinion, Claude is the only one who actually takes what Byleth wants (rather than just what they think about specific matters) into consideration for his plans. Repeatedly you tell Seteth in Silver Snow that you don't want to kill Edelgard, but he pushes that you have no choice. Pretty much the entire first half of Azure Moon is Dimitri ignoring you. And in Crimson Flower, you've all but completely submitted to Edelgard's will with a couple of exceptions (which actually proves my point because it's specifically in regards to the Golden Deer because you can fight the entirety of Crimson Flower while sparing all of them except for Judith). But in Verdant Wind, Claude doesn't hide that he has a problem with the church and wants Rhea gone. In Golden Wildfire, without Byleth, he's more than happy to just get rid of her without a second thought. But when Byleth is the protagonist, he goes out of his way to accommodate your wants into his plans and goals. When you express as the player that you want to reason with Edelgard and ponder if you can't walk the same path, Claude agrees with you and says he'll make it happen if he can, with the other Golden Deer mostly agreeing. When that,can't happen you both lament the fact that Edelgard gave you no choice together. He makes finding Rhea a priority, mostly because as curious as he is in general, he wants to help you find out answers only Rhea can give you. And all of the Golden Deer do this to some extent, with each other but also with you as the player. I think Hilda and Marianne's A supports with Byleth show this best personally, but that's a personal opinion. And it just works so well for a route designed around the idea of an alliance, people coming together and agreeing to work towards a goal bigger than themselves

And that's not to say the other routes aren't as good as Golden Deer, they're all equally well written, but it just makes me sad when I see people giving the Golden Deer route grief just because the characters aren't the same when it does its theme so beautifully

#fire emblem three houses #fe3h #claude von riegan #claude fe3h #golden deer #byleth eisner #byleth fe3h #dimitri alexandre blaiddyd #edelgard von hresvelg #blue lions #black eagles #crimson flower #silver snow #azure moon #verdant wind #edelgard fe3h #dimitri fe3h

[xuchiya]

gamer moments

₊˚.༄ || soft valentines m.list || hongjoong || seonghwa || yunho || yeosang || san || mingi || wooyoung || jongho || ₊˚.༄

having a gamer boyfriend, yunho would probably be convincing you to play valorant. the amount of patience he has when you were struggling is a big green waving flag.

"stay there babe, jett will be there any moment." yunho, using chamber, as his valorant character, he went on a different direction making you panic initially, "w-wait yu-" it was the last countdown before the shield disolves, scaring you more. you right click to move the scope close to you and aim at the character--jett. you kept firing until you saw it laying on the ground, dead. a wash of relief covers your body, as you take cover behind the boxes to reload as you finish reloading, you were met with another enemy-- omen and before you could even aim, you were killed.

you smack the table out in frustration, opening your mouth to curse at the character and the gmaer behind, "ARGH YOU DIM-!"

"language!" yunho called, laughs at your unexpected reaction. his game play was smooth, knows the angle, how to use his weapons, understand the flow of his character. he's amazing.

the next round came, the other and another until it was a deathmatch; one more point between your team as the defender and your enemies (attacker) will determine your victory or defeat.

It was moment of, ironically, death or life in the game. you can feel the pressure as yunho look at you with a glint of determination, "you can do this babe!" he cheered, his wide grin knocking off your scared senses, rotating your shoulders as your fingers hover on the key and gripping your mouse tightly in your hand.

"to victory!" you look at him with a smirk, he nodded laughing at your sudden boost of confidence. he leans in to place a quick kiss on your lips, just right as the shield dissolve and the deathmatch begins.

"ah shi- no!" it was for a brief moment that you saw chamber (yunho's character) fell on the ground, dead, made your heart race a lot and face burning as the sudden thought of carrying this whole game on your shoulder as the best player is out.

there's only you and Neon left, and 3 more other players on the opposing side. Neon manage to kill one of the players before she was killed by Omen. Your worst enemy since the beginning.

"you can do it babe!" for a first time player, you had a good grip of learning your character immediately. you were walking around, looking for a place to spike the plant. Sound of the metal clanging on the ground as the spike is planted and the automated voice of announcing of your plantation. yunho was watching on his seat, not giving you any words except of encouragement.

"my babe has 23 kills? holy shi-" yunho gape at the screen as he checks every players status and seeing your kills for a first time player is shocking. you were focusing on the game when the screen showed a red paint, indicating you were hit.

immediately, aiming at sage. she was an easy hit for you, but the last one will be a little difficult. you walk around but staying in the same area as the spike; just as you predicted, the last player was diffusing the spike.

in a swift moment, your fingers press on the keys and in a blur of the moment, the screen showed a green banner. victory.

"LET'S GO!!" yunho cheered, standing up. you removed your headphones; not believing the actual victory. yunho grab your hands, hugging you whilst jumping around, "my babe is pro gamer!"

you laugh at his enthusiasm but jump along with the victory. even if you failed multiple times, yunho's patience never waver. he was always been there for you, to see you struggle and stand back up, to see you cry and wipe them on your own and to see you defeated and to gain victory on your own.

you look up to him, arms wrap around his waist, eyes twinkling in admiration, "well i have the best gamer-teacher..." his ears redden at the unexpected compliment, yunho looks at your with the same eyes; full of affection. he leaned down, catching your lips with his. it molded perfectly.

he pulled away, pecking your nose before pulling you down with him on his gaming chair, "i know the game can be tiring so i'm letting you rest up while i go for another game." you chuckle, adjusting yourself on his lap. he knew you so well that things like this are new to you and that made you drain, mentally and physically.

you rest your head on his shoulders while he left light kisses on your head as the match began.

taglist: @vantediary

#ateez #ateez imagines #ateez scenarios #ateez fluff #ateez x reader #atz #ateez jeong yunho #ateez yunho #jeong yunho fanfic #jeong yunho fluff #ateez yunho x reader #ateez yunho scenarios #jeong yunho #yunho #yunho x reader #atiny #yunho fluff

[jennamoran]

The Far Roofs: Systems

Hi!

Today I’m going to talk a little bit more about my forthcoming RPG, the Far Roofs. More specifically, I want to give a general overview of its game mechanics!

So the idea that first started the Far Roofs on the road to being its own game came out of me thinking a lot about what large projects feel like.

I was in one of those moods where I felt like the important thing in an RPG system was the parallel between that system and real-world experience. Where I felt like the key to art was always thinking about the end goal, or at least a local goal, as one did the work; and, the key to design was symmetry between the goals and methods, the means and ends.

I don't always feel that way, but it's how I work when I'm feeling both ambitious and technical.

So what I wanted to do was come up with an RPG mechanic that was really like the thing it was simulating:

Finding answers. Solving problems. Doing big things.

And it struck me that what that felt like, really, was a bit like ...

You get pieces over time. You wiggle them around. You try to fit them together. Sometimes, they fit together into larger pieces and then eventually a whole. Sometimes you just collect them and wiggle them around until suddenly there's an insight, an oh!, and you now know everything works.

The ideal thing to do here would probably be having a bag of widgets that can fit together in different ways---not as universally as Legos or whatever, but, like, gears and connectors and springs and motors and whatever. If I were going to be building a computer game I would probably think along those lines, anyway. You'd go to your screen of bits and bobs and move them around with your mouse until it hooked together into something that you liked.

... that's not really feasible for a tabletop RPG, though, at least, not with my typical financial resources. I could probably swing making that kind of thing, finding a 3d printing or woodworking partner or something to make the pieces, for the final kickstarter, but I don't have the resources to make a bunch of different physical object sets over time while I'm playtesting.

So the way I decided that I could implement this was by drawing letter tiles.

That I could do a system where you'd draw letter tiles ... not constantly, not specifically when you were working, but over time; in the moments, most of all, that could give you insight or progress.

Then, at some point, you'd have enough of them.

You'd see a word.

That word'd be your answer.

... not necessarily the word itself, but, like, what the word means to you and what the answer means to you, those would be the same.

The word would be a symbol for the answer that you've found, as a player and a character.

(The leftover letters would then stick around in your hand, bits of thought and experience that didn't directly lead to a solution there, but might help with something else later on.)

Anyway, I figured that this basic idea was feasible because, like, lots of people own Scrabble sets. Even if you don't, they're easier to find than sets of dice!

For a short indie game focused on just that this would probably have been enough of a mechanic all on its own. For a large release, though, the game needed more.

After thinking about it I decided that what it wanted was two more core resolution systems:

One, for stuff like, say ... kickstarter results ... where you're more interested in "how well did this do?" or "how good of an answer is this?" than in whether those results better fit AXLOTL or TEXTUAL. For this, I added cards, which you draw like letter tiles and combine into poker hands. A face card is probably enough for a baseline success, a pair of Kings would make the results rather exciting, and a royal flush result would smash records.

The other core system was for like ... everyday stuff. For starting a campfire or jumping a gap. That, by established RPG tradition, would use dice.

...

I guess technically it didn't have to; I mean, like, most of my games have been diceless, and in fact we've gotten to a point in the hobby where that's just "sort of unusual" instead of actually rare.

But, like, I like dice. I do. If I don't use them often, it's because I don't like the empty page of where to start in the first place building a bespoke diced system when I have so many good diceless systems right there.

... this time, though, I decided to just go for it.

--

The Dice System

So a long, long time ago I was working on a game called the Weapons of the Gods RPG. Eos Press had brought me in to do the setting, and somewhere in the middle of that endeavor, the game lost its system.

I only ever heard Eos' side of this, and these days I tend to take Eos' claims with a grain of salt ... but, my best guess is that all this stuff did happen, just, with a little more context that I don't and might not ever know?

Anyway, as best as I remember, the first writer they had doing their system quit midway through development. So they brought in a newer team to do the system, and halfway through that the team decided they'd have more fun using the system for their own game, and instead wrote up a quick alternate system for Weapons of the Gods to use.

This would have been fine if the alternate system were any good, but it was ... pretty obviously a quick kludge. It was ...

I think the best word for it would be "bad."

I don't even like the system they took away to be their own game, but at least I could believe that it was constructed with love. It was janky but like in a heartfelt way.

The replacement system was more the kind of thing where if you stepped in it you'd need a new pair of shoes.

It upset me.

It upset me, and so, full wroth, I decided to write a system to use for the game.

Now, I'd never done a diced system before at that point. My only solo game had been Nobilis. So I took a bunch of dice and started rolling them, to see ... like ... what the most fun way of reading them was.

Where I landed, ultimately, was looking for matches.

The core system for Weapons of the Gods was basically, roll some number of d10s, and if you got 3 4s, that was a 34. If you got 2 9s, that was a 29. If your best die was a 7 and you had no pairs at all, you got 1 7. 17.

It didn't have any really amazing statistical properties, but the act of rolling was fun. It was rhythmic, you know, you'd see 3 4s and putting them together into 34 was a tiny tiny dopamine shot at the cost of basically zero brain effort. It was pattern recognition, which the brain tends to enjoy.

I mean, obviously, it would pall in a few minutes if you just sat there rolling the dice for no reason ... but, as far as dice rolling goes, it was fun.

So when I went to do an optional diced system for the Chuubo's Marvelous Wish-Granting Engine RPG, years later, to post here on tumblr ... I already knew what would make that roll fun. That is, rolling a handful of dice and looking for matches.

What about making it even more fun?

... well, critical results are fun, so what about adding them and aiming to have a lot of them, though still like rare enough to surprise?

It made sense to me to call no matches at all a critical failure, and a triple a critical success. So I started fiddling with dice pool size to get the numbers where I wanted them.

I'm reconstructing a bit at this point, but I imagine that I hit 6d10 and was like: "these are roughly the right odds, but this is one too many dice to look at quickly on the table, and I don't like that critical failure would be a bit more common than crit success."

So after some wrestling with things I wound up with a dice pool of 5d6, which is the dice pool I'm still using today.

If you roll 5d6, you'll probably get a pair. But now and then, you'll get a triple (or more!) My combinatorics is rusty, so I might have missed a case, but, like ... 17% of the time, triples, quadruples, or quintuples? And around 9% chance, for no matches at all?

I think I was probably looking for 15% and 10%, that those were likely my optimum, but ... well, 5d6 comes pretty close. Roughly 25% total was about as far as I thought I could push critical results while still having them feel kind or rare. Like ...

If I'm rolling a d20 in a D&D-like system, and if I'm going to succeed on an 18+, that's around when success is exciting, right? Maybe 17+, though that's pushing it? So we want to fall in the 15-20% range for a "special good roll." And people have been playing for a very long time now with the 5% chance of a "1" as a "special bad roll," and that seemed fine, so, like, 20-25% chance total is good.

And like ...

People talk a lot about Rolemaster crit fail tables in my vicinity, and complain about the whiff fests you see in some games where you keep rolling and rolling and nothing good or bad actually happens, and so I was naturally drawn to pushing crit failure odds a bit higher than you see in a d20-type game.

Now, one way people in indie circles tend to address "whiff fests" is by rethinking the whole dice-rolling ... paradigm ... so you never whiff; setting things up, in short, so that every roll means something, and every success and failure mean something too.

It's a leaner, richer way of doing things than you see in, say, D&D.

... I just didn't feel like it, here, because the whole point of things was to make dice rolling fun. I wanted people coming out of traditional games to be able to just pick up the dice and say "I'm rolling for this!" because the roll would be fun. Because consulting the dice oracle here, would be fun.

So in the end, that was the heart of it:

A 5d6 roll, focusing on the ease of counting matches and the high but not exorbitant frequency of special results.

But at the same time ...

I'm indie enough that I do really like rolls where, you know, every outcome is meaningful. Where you roll, and there's never a "whiff," just a set of possible meaningful outcomes.

A lot of the time, where I'm leaning into "rolls are fun, go ahead and roll," what it means to succeed, to fail, to crit, all that's up to the group, and sometimes it'll be unsatisfying. Other times, you'll crit succeed or crit fail and the GM will give you basically the exact same result as you'd have gotten on a regular success or failure, just, you know, jazzing up the description a bit with more narrative weight.

But I did manage to pull out about a third of the rolls you'll wind up actually making and assign strong mechanical and narrative weight to each outcome. Where what you were doing was well enough defined in the system that I could add some real meat to those crits, and even regular success and regular failure.

... though that's a story, I think, to be told some other time. ^_^

#the far roofs #jenna moran #rpgs

[joaofelix70]

MISS DIPLOMAT & MR. CHARMING |

dominik szoboszlai x female reader.

author's note: this handsome man's living rent-free in my head. he's a freaking masterpiece. talented, funny, charismatic, attractive. i watched interviews, tiktok videos made by supporters and much more to understand a little bit of his language, personality and what he does towards friends and loved ones. laughed a lot! i made my homework as a writer, hope you enjoy it! (compliments and any kind of retributions are more than welcomed).

summary: your job is involving the commitment of unify the population and create interrelations to another countries, using the eurocup qualifiers and the hungary national team executions. you just didn't expect to fall in love with the no. 10's captain player.

words and characters: 1,811/11,223. it was three days working too hard on this story. i'm begging for your consideration, lol.

────

sports diplomacy: it's the unique power of sport to bring people, nations, and communities closer together via a shared love of physical pursuits. this responsibility is the reason of a transition between strangers to connected individuals, advancing foreign policy goals and augmenting sport for development initiatives. the complex landscape where sport, politics, and diplomacy overlap become clearer, as do the pitfalls of using sport as a tool for overcoming and mediating separation between people, nonstate actors, and states. the power of sport has never been more important. so far, the 21st century has been dominated by disintegration, introspection, and the retreat of the nation-state from the globalization agenda. in such an environment, scholars, students, and practitioners of international relations are beginning to rethink how sport might be used to tackle climate change, gender inequality, and the united nations sustainable development goals, for example. to boost these integrative, positive efforts is to focus on the means as well as the ends, that is, the diplomacy, plural networks, and processes involved in the role sport can play in tackling the monumental traditional and human security challenges of our time. credits: international studies association and oxford university press.

────

MLSZ (hungarian football federation) ──

new training ground at telki.

"i can't believe that being in places like this made up my most theoretically utopian childhood dreams. what a progress in front of me!" you still witness exciting moments where you pinch yourself, trying to believe in the reality that surrounds you: visiting the new training center of the players who are just a few meters away from you, getting ready to represent an entire country.

"your presence is our privilege. a voice of the spread of eurocup to our nation, right here…" the technical director gives you deference, obtaining a measure of humbleness and respect by you.

"the honor belongs to me in its entirety. grateful for having me, sir. while the view is immersive and captivating — my fervent congratulations to everyone involved — could we retreat from the pleasant glass-enclosed room and see everything closer, on the outside? please? i will never get used to this atmosphere." you pour politeness and charisma to the staffs around you, being directed to the proximity of the field and saluting the employees who pass through your path.

meet dominik — your szobo — instigates the nostalgic combination of detailed moments in which your thoughts display as photographic retrospectives. you're incapable to oppose the little enthusiastic laughs, fidgeting the rings between your fingers and avoiding possible suspicious glances from others. however, for you, this wouldn't actually work. the lives of you both are correlated, but different.

the training session is finished. clapping your hands and celebrating the performances, you greet the athletes and recognize some familiar people. nevertheless, reality slows down after those dark woody eyes capture through your soul. his arms tattoos are glorified by the sun's rays, the same illuminated smile is offered to you: that one you got during the very first time you saw him — instantly knowing he made you testimony the accuracy of freedom, catharsis and emotional amorous complement. that he'd be the one to introduce you what you never experienced, what you thought you'd never receive or deserve. what love truly is. when you were novices in your actual professions, not even imagining the future gifts of your unreal purposes.

"there you are!" intimately, dominik points at you, being reciprocated by vibrant nods and your old sort of secret — not that mysterious or serious — handshake. "még mindig emlékszel rá? (still remembering it?). you're a real one!"

"hogy tudnám elfelejteni? alábecsülsz engem. (how could i forget it? you're underestimating me)". your defensive actions demonstrate purposeful falseness. masking any sensitive, verbal or figurative communicative fragment from him is a difficulty that makes you give in over time. honestly, you never complain about this. it's like he wants to understand the factors and layers of you.

"a te kézfogás fickó. ne merészelj lecserélni engem. (your handshake man… don't you dare to replace me)". a shameless wink is send to you, butterflies acquiring space in your stomach.

"és hivatalosan is a szavamat adom rá. (and you officially have my word on it)." your gloss is pigmented against your fingers while you raise it up, displaying an oath, wondering if szoboszlai comprehends that his replacement in your life would be blasphemous.

"diplomata kisasszony, (miss diplomat)…" the hungarian fingerprints are shared and you recognize the sign to hold them, ready to perform your typical fashion icon moment. "gorgeous as always. go ahead! you know what to do!".

amusement surrounds you with the nickname's citation. although, you could feel some curious glances, from the outsiders, about the intimacy between you and him. "i appreciate, our top-class national bless…" you move your body in rotations to exclaim the outfit's characteristics, lifting your feet to show off the specificities of your heels. "how is your hair so well-groomed after sweating, though?" your arms cross and you raise an eyebrow in questioning, trying to hide your fascination.

"thank you, my number-one fan, but don't change the subject. finish our inside joke, c'mon!" dominik grabs his water bottle and spreads the cooling liquid on his forehead, wiping the glowing droplets across his face as he lifted his jersey high enough to exhibits his fortified abs.

your attention is directed to any surrounding scenery, throat being piked. szoboszlai pretends he doesn't notice, preventing to embarrass you.

"alright, alright! you've won, bájos úr… (mr. charming)". your final comment escapes as, practically, a whisper. you can't control the shy laughter, coupled with the considerable redness invading your cheeks.

"that's the secret to make my day!" using his tongue to reproduce a sharp noise, he matches your humorous reactions. "would you like me to show you the infrastructure changes? i'm just gonna take a shower!"

"i've already been granted a tour around here, but in case you insist…" during the dialogue, some athletes cross your space, wishing them good luck for the competition. your concentration on the activity is significant, at the point that dominik's silent admiration goes unnoticed.

"i mean, you know me! i'm gonna insist anyway, so…" he reaches your captivity, bringing you jollification.

"i'll rate you as a personal tour guide. now, go there!" jesting each other, you both exchange exaggerated reverences, like a challenge of who makes the most chaotic one.

────

walking around the area, various subjects are explored, informations entrusted. you ask and are updated about his ethereal younger sister.

portraits of the generations are framed. you magnifies his presence in celebratory pictures, dedicated to find him in the memories and achievements on that wall. pride shines from you and the hungarian finds it lovely.

"you know i'm a sucker for accents… they're much more than mere verbal characteristics, they're stories: life experiences, marks and scars. identities and cultural integrations." the topic is random. through generalized opinions, you're explaining conceptions and dominik is retaining mental observations. he exalts every scrap of your identity, like a faithful worshiper.

"basically, you're admitting being enchanted by my accent. i can see the stars in your eyes. a win is a win!" szoboszlai and his frequent attribute to physical touch, tickling your ears and playing with them. it doesn't bother you, actually: adoring the affection exuded by you and him. you feel like a little girl dealing with your one and only love.

"it's beautiful, how can you blame me? and hey, i know mine's making you grin too." he holds your arm, shivers running down your spine, the two of you being euphoric in the midst of your own enthusiasm.

"putting me against the wall? okay, hum… what were you saying before?" he's changing the subject and you have a natural wit to boo him. lifting his shoulders as a surrender, the hungarian focuses on the specific loose strands of his simple bracelet, which you get used to help him tie it again, willingly.

"trying to avoid the truth? fine! let me take care of you while i talk about my admiration towards globalization and communication. like, with every fiber of me…" you accept the conversation's direction and utter a 'voilà' towards the accessory's new appearance.

"that's why you're the best person i've ever seen doing this job." dominik compliments you, an act full of honesty.

"thanks a lot, mate. but which job? as your bracelet helper or my real one?" you provide tenderness, looking amused.

"i mean… both of them." szoboszlai chuckles, revealing courtesy by your continuous helpfulness.

"literally? because i know you know a lot of people. you're so young and already is the national team's captain." you nudge him in a form of tease. he's a starboy, it's undeniable.

"flattered! literally, thought. you were born for this, believe me." vulnerability collides to you, as his words are deliberated: emotions embracing you and warming your insides.

"dominik szoboszlai, my dear friend, you're gonna make me cry, right here. i'm sorry, i need to do it…"

innocent satisfaction builds strength over you and executes unthought-of approach to the tangibility of your gratitude — his colony enrapturing your sensitive olfaction — in the most out-of-control way. the sounds reach your hearing: a choir of angels singing hallelujah. he reciprocates the contact, laughing at your juvenile excitement. joining him and doing the same thing, harmonizing the triumph. in the separation of the touch, you both remain close to each other and the hungarian doesn't miss the opportunity to feel the softness of your side face, caressing the skin. appreciation and satisfaction invade your structure, delighting on the palm of his hand.

"just a dear friend? why are we pretending all this time?" dominik's reading you. the intimidation at the sight of him overhanging you is paralyzing. you don't usually back down, but in that instant — superior than your most repressed desires — your gasps are escaped.

"who is putting who against the wall now?" insisting and failing on your witty answers, shyness and uncertainty corrodes you.

"please, look at me! i'm not kidding anymore." his voice is questioning, intrigued — contradictorily vulnerable and calm — your rationality being fragmented, fragile.

"you know i'm not the kind of woman you're surrounding by, domi. i'm not an influencer, bikini model. i'm not a public figure. i don't live for the cameras and gossip platforms. i live to work hard. i didn't achieve any of this with some type of perk. my routine and your routine are based on traveling..." who could deny it? szoboszlai's always been all that you see. it's much more than a mere passion. your attraction to him is magnetic, intense, vivid. consequently, terrifying.

"i'm just asking for a chance, (your nickname). i don't lie when i say i've never met someone like you. i may be surrounded by a crowd and you'll still be the one to steal my attention, because nobody compares to you."

your eyelids are closed and the exhalation of his sigh penetrates your lungs with the numbing breath of life you've never experienced before. it's happening: the rare situation where thinking carefully about the pros and cons is unworthy, dumbness. your decision is made and the privilege's resolution unify your lips. the beginning demonstrates slowness and patience — the intensification through the concluded wait of the longed-for reality, transforming light and magical kisses into open mouths discovering each other and witnessing the endearment that both offer — hairs, necks, shoulders and waists captured.

"you're the first to create a meaningful presence in my mind and heart. i want you to be the last one too. i love you, kincs (my treasure). i'm finally brave enough to demonstrate it with no fears." dominik's forearm covers your upper torso. your back against his chest, noses resting on each others. rejoicing at the miraculous, incomparable circumstance.

"i love you, drágám (my precious). you're finally mine and it was so fucking worth waiting." his whisper: the living proof of celestial existence.

"how blessed we are…" intertwined bodies, coalesced essences. solitary melodies turning into the sweetest and most complete symphony.

#dominik szoboszlai #dominik szoboszlai x reader #dominik szoboszlai x you #dominik szoboszlai x y/n #dominik szoboszlai smut #dominik szoboszlai fluff #dominik szoboszlai angst #dominik szoboszlai fanfiction #dominik szoboszlai fanfic #dominik szoboszlai imagine #dominik szoboszlai one shot #dominik szoboszlai oneshot #dominik szoboszlai blurb #dominik szoboszlai drabble #dominik szoboszlai headcanon #football #liverpool fc #liverpool football club #liverpool #𑣲. aléxia's works

[elizakai]

you guys i can’t take this anymore i need to release steam from this pot of killer and dust thoughts that’s on the stove

listen. if you don’t know by now. one of my favorite things to do is bridge narratives between fanon ideas, and canon truths hehe

Killer and Dust. The accepted dynamic is basically killer being a pestering little shit and dust being over it.

THATS GREAT ON ITS OWN it’s funny etc

but think about their ACTUAL characters for a moment. they are two sides of the same coin.

⬇️

i don’t want to hear any of that old fandom “they are literally the same” shhhhh. nuh uh dear friend, they commuted the same (general) action💥

their motives and situations are very different however! which is important when it comes to understanding a character

They both played into an opposite role in their world if you ask me.

Killer partners with chara, filling the role of the player. he’s a lot like flowey actually.

(in killers world, while he is still a pawn of this sick game, he gets manipulated after all, he has taken on the ROLE of the player. everyone else are the pawns.)

dust is against the anomaly of dusttale, which is that worlds player.

dust is a pawn. a pawn that is defying the player of the game

(in the same way that killer is still pawned, dust still uses his fellow “pawns” as a means to “win” the game, meaning he’s also playing)

(but again, i’m speaking role wise)

Killer and Dust’s dynamic doesn’t have to just be haha funny, it has some actual merit and potential to their characters.

Killer is constantly looking for new forms of entertainment. something new. he’ll get bored, and if he’s bored he’ll have to look at himself. killer is very much a character representing disassociation avoidance and to an extent, escapism (huh. like someone playing a video game?)

Of COURSE he’s gonna poke at people. it’s INTERESTING. it gets a REACTION. he gets to have that small power trip of being in control, after feeling like he lost control this is something that’s probably addictive to killer.

meanwhile dust…well. killer acts like his own anomaly in a way. he prods at him, toys with him, he’s leering and he takes pleasure in any reaction dust gives. dust probably would resent this feeling without really knowing why. he feels like some toy, and he’d probably be inclined to even interpret a genuine interaction this way.

this honestly makes dusts inclination to shut off or dull down any emotion make more sense. be as unremarkable as possible, and you’ll be left alone, right?

isn’t that…kind of what sans does? he’ll repeat same lines of dialogue and such when he reallyyy doesn’t have to. he’s being uninteresting. (and no he doesn’t need to remember everything magically for that to be possible. in game he will poke fun at past conversations and dialogue so he’s clearly aware enough)

Killer wants a response, so dust doesn’t give one.

killer wants control and feels like this is a challenge, dust feels cornered and defensive

if they had existed in the same world, it would have been killer vs dust in the end either way.

it’s a big old game of cat and mouse until someone snaps. they need to be given the opportunity to understand their similarities

even in an interpretation where they are in a healthier relationship, in whatever capacity, i think these mindsets would be conflict they may have….

to killer , on one hand he may be OFFENDED by his lack of response. he may be EXCITED, it’s a CHALLENGE. he might take dusts resignation as a sign of submission, which would give killer a HIGE power trip.

he might. genuinely just be trying to have fun?

it could be ENTIRELY lighthearted, and it’s still…rather toxic, considering where that mindset branched from

and we know dust won’t be inclined to say anything. he probably doesn’t understand his own feelings to be frank💀 he just feels gross and intimidated and cornered so he shuts off and sees killer as oppressive , and grows resentful regardless of intent, as these feelings only feed into his crippling self hatred anyways

….thats all for tonight-

#utmv #ut au #undertale #sans aus #dust sans #murder sans #killer sans #bad sanses #THOUGHTS #PLEASE SHARE IM SISBDOD #this is unorganized and i don’t care hee hoo #headcanons #interpretations ig #dusttale #something new au #kist #if we want #😏 #or not

[caligvlasaqvarivm]

Hello resident Eridan expert! 0u0 I was wondering if you thought he might get on well with Aradia? Thank you for your time!

Actually yes! In moderate doses. After Eridan's character development. The list I like to keep of his platonic friends, from most to least close to him, is like.

Nepeta -> Dirk -> Feferi -> Vriska -> Aradia -> Other

So I already talked about how he and Nepeta seem like they'd actually make for really good friends - the Heart player who can't help but see the good in him, and Eridan liking nice people and the fact that the two of them have a lot in common. I've also made mention before about how I think he and Dirk would have an extremely lethargic, almost transactional bro-ship where they sometimes beat each other to death. A completely neutral friendship, where they do not make each other better OR worse, they just help each other take the edge off the Prince Ennui. Using extreme violence.

He and Feferi are also not so different, and, honestly, they're childhood friends. She's pretty fond of him, and he's TOO fond of her, but after his character development and he fully gets over her, I think they'd be perfectly decent friends. He and Vriska have much the same deal, but I think their personalities mesh slightly worse than his and Feferi's.

If you're wondering why Kanaya isn't on this list, it's because she hates his dumb ass and always has. I think Eridan thinks he's really good friends with Kanaya. Kanaya has literally never respected Eridan even a little bit. Same with Rose. It's really funny.

So Aradia is kind of the last person out of the characters that I think I'd emphatically call "Eridan's Friend." Everyone covered in "other" tends to be people who are everybody's friend (like John) or basically tolerant of his behavior in small doses (like Dave).

With Aradia specifically, there's a few factors to consider; first of all, she has a pretty negative view of highbloods in general, calling them "hateful sn0bs" at one point. She's a lot more tolerant as the stewardess of the afterlife, because Alternia's gone and everyone else is dead, but I think it should still stand that she'd be sensitive to anti-casteist sentiment, since casteism colored so much of her life back when she was, y'know, alive.

But the reason I think they'd work as friends is because Aradia has a bluntness and straightforwardness about her that happens to mesh well with Eridan's suite of issues. He's actually fairly easy to manage if you're fully honest with him and set and maintain very clear boundaries, because he doesn't catch social cues, but also doesn't really see naked hostility, bluntness, or aggression as bad things.

And Aradia can be viciously sarcastic, but her natural tendency is to be very blunt and honest and call things the way she sees them. This means that if she's ever too annoyed by Eridan, she will let him know that as bluntly as humanly possible, and then happily fuck off, with Eridan generally no worse for the wear (although he may have a negative reaction in the moment. But Aradia's self-possessed enough to not really give a shit as long as she's not in the wrong).

The main issue between them is that I think Aradia would believe Eridan IS a nasty, casteist highblood, unless somehow given reason to interact with him for an extended period of time. Eridan didn't really talk to the lowbloods, and the two generally had no reason to interact, so she'd basically have no reason NOT to believe him when he starts spewing bullshit. Moreover, Eridan's the type of aggressive idiot that would outright admit that if they'd FLARPed together, there was every chance she'd wind up orphaned or dead (this is just a neutral fact to him), and then comment that maybe it wouldn't have mattered because she wound up dead anyway (again, just a neutral observation to him). Writing Eridan mostly consists of coming up with words that make you cringe.

Aradia is smart enough that I think any extensive conversation or time spent with him would make her realize how performative his casteist stuff is, and how little he actually cares about blood color. Since she generally never had reason to interact or care about him before (not even her friends are friends with him), this would pretty much shift her opinion from "idgaf about him, seems like a snob like the rest of the highbloods" to "oh... he's funny as hell. what's wrong with him".

Once she figures out that he genuinely doesn't mean any harm or offense by the awful dumb shit he says, I think she'd be willing to engage with him on mutual interests (they both FLARPed, so they're presumably both roleplayers, and they could probably bond over death - something Eridan is unfortunately obsessed with and Aradia doesn't have many discussion partners over). Emotionally, she'd probably keep him at arm's length - he has a lot of Issues and Problems, and she's not really interested in helping him handle them (she doesn't really bother with trying to cheer people up on the bubbles so much as just explaining what they can do now that they're dead, and letting them make their own decisions). Not that she isn't a nice person, but I do think it'd just be kind of difficult for her to have too much sympathy for a guy whose problems were largely caused by being too aristocratic.

But, like, she would also pretty happily call him "her friend," because she always cuts it short when it gets too real for her, minimizing her negative experiences with him. I think eventually, like training a dog, Eridan would figure out that Aradia is just Not The Friend For That, so it'd become less of a problem as time goes on.

She thinks he's ridiculous and funny, calls him up when she wants to infodump on someone and her usual buddies aren't around, and I think they'd play good DnD together with Nepeta and Vriska. Yeah I know Vriska killed her but she killed Vriska so they're even. The energy at the table is deeply weird but Eridan wouldn't notice and Aradia would get a kick out of it, leaing poor Nepeta to suffer it alone.

Anyway, I love that Eridan's assortment of platonic friendships is so haphazard. Nepeta AND Feferi, who hate each other. Vriska AND Aradia, who killed each other. And also Dirk is there. He's the DM.

#homestuck #eridan ampora #aradia megido

[whenmemorydies]

Preliminary thoughts on The Bear, race, power and privilege

I’m a non-Black woman of colour who has spent all of my life in the west…so I’ve consumed a lot of television media that is produced by and for the white gaze. The most obvious way that gaze plays out is when people of colour are non-existent in a cast, or when they are included, are tokenistic, bit players.

A more insidious manifestation is where POC are cast to play parts that could just as easily be played by white folks: characters that have no interiority or external relationships related to their cultural identities, wider communities or individual or collective histories (for example, Mindy in The Mindy Project for most of its run, or the characters of colour in Season 1 of Bridgerton).

I've had some thoughts about how The Bear (thankfully) avoids tokenistic and "colour-blind" representation. I also have some thoughts about how the show models meaningful allyship. I'm so keen to discuss this with folks and hear what others think about it too.

Unambiguous and unapologetic

The Bear is confined in its universe, particularly in season 1 where it’s focus is tightly bound to the physical location of The Beef as the setting for almost every scene. Episodes of The Bear are generally not very long, so time is precious (every second really does count). These factors necessarily limit how deep we can get into each character. But the show is so good at drawing on different means of communication: images, lighting, score, soundtrack, phrasing, callbacks to previous episodes, other cultural references etc, that each episode is like a jewellery box with gems waiting to be unpacked and pored over. I've said that I have started reading this show like a tarot deck because of how rich the symbolism in each episode is.

So despite the constraints of time and setting, characters of colour in this show are also so very rich in their realisation and portrayal. These characters are unambiguously and - this is important - unapologetically racialised: through language (see: Tina’s use - and occasional weaponisation lmao - of Spanish), physical appearance (see: Sydney’s two-tone braids and her stunning, prolific collection of headscarves throughout the show), culturally distinct names (see: Sydney Adamu, Ebraheim, Tina Marrero, etc), food (see: Carmy’s peace offering to Syd in ep 1x03 of Ebra’s family chicken suqaar - a popular dish in the latter character’s birth country of Somalia), etc.

GIF by @chefkids

These may seem like small and inconsequential details to some. In fact I’ve been seeing a lot of commentary from folks online saying that what they like about The Bear is that race isn’t mentioned at all on the show. But make no mistake: race is all over this thing. The examples I've given are only some of the many references to racialised histories and cultures that build out the broader fabric of multicultural Chicago here.

What is not present in The Bear is a script that is wasting time explaining the characters of colour and their rich inner and outer lives to white folks. Those things are just a given and we are invited to witness them being brought to vivid life by this cast and crew. And I am fucking here for it.

Respect and allyship

Another thing I LOVE about this show is the respect given to, and the recognition of, the experience, talent, drive and ambition of its characters of colour.

This is most obvious in the relationship between Syd and Carmy who are signalled as complementary equals in many ways. Others have written on the importance of the representation embodied by Sydney’s character and you should search out that analyses, especially when its authored by Black women. The only other thing I’d say about it is that I love Sydney’s character and I also love endgame Sydcarmy (even if it’s only hinted at in the last second of the last frame of the last ever episode lmao…I will take whatever I can get of these two 😭).

I also see the show’s respect and recognition manifest in The Bear's investment in its staff, particularly in season 2. Everyone who worked at The Beef has a role at The Bear and Carmy, Syd and Nat fund the ongoing training and upskilling of their largely racialised staff to make sure this happens. Ebra and Tina are paid to attend culinary school (Carmy also gives Tina his prized knife for her studies and beyond). Marcus is sent to stage in Copenhagen to develop his skills as a patissier. And then we have The Bear itself - what started as Carmy and Michael’s vision, is now the whole team’s baby, with Sydney literally being made the captain of the ship by Carmy at the end of ep 2x09.

GIF by @savagegood

Part of what was so tragic about Carmy's fridge spiral at the end of season 2 was that he didn't get to see how beautifully the team came through in a crisis. Instead we had him internalising, regressing and lamenting how he had let everyone down. This language centred Carmy as the be all and end all of The Bear (saviour vibes) when this couldn't have been further from the truth (particularly in a season where the man spent so much of his time not in the restaurant but chasing manic pixie no-last-name-having Claire....but I digress).

Carmy is his best when he checks his ego, takes a step back and realises that he is not alone. He is part of a whole chosen family supporting one another at The Bear. And I get the sense that the folks creating this show know that we need more white folks using their power and privilege to step back and facilitate access, and less gatekeeping white saviours taking credit where its not due.

After all, and paraphrasing Viola Davis, the only thing that separates people of colour from anyone else, is opportunity.

12/04/24 Note: I’ve amended this post because I forgot to mention the most pivotal example of Sydney along with her relationship with Carmy. Also made some slight stylistic changes to phrasing cos i fixate on errors lol

#the bear #the bear hulu #the bear fx #white gaze #critical race theory #carmen berzatto #sydney adamu #tina marrero #ebraheim #marcus brooks #allyship #white privilege #power #chris storer #joanna calo #sydney x carmen #sydcarmy #carmy x sydney

[nolongerapileofashprobably]

Okay so my genuine thoughts on the final scenes of Totk

So having Link go through the final ‘dungeon’ and wind up exactly where we started the game, with those rocks we ACHED to break bc it was instinct, only to get that satisfaction after EVERYTHING and to see that Zelda’s fate was foretold millennia ago. Turning into a dragon WAS her only choice. And for good reason.

Ganondorf’s fight. WOW. That was genuinely so beautifully done. He ALSO dodges how Link does. To have Ganondorf dodge something, the entire action moving in slow motion, only to then have LINK do the same the next move?? Poetic cinema people. And the champions arriving 🥹 only to then have them all fucking thrown to the side when he takes in his doubles to regain his own strength? Absolutely insane and hands down my favorite boss fight in the entirety of the Zelda series. Yeah. That’s how much I enjoyed it as a player.

Can we also just talk about how concerned everyone got and how they yelled his name when he was taken from the underground??

And THEN the final fight with Ganondorf swallowing a secret stone and becoming a dragon. It brings Zelda’s sacrifice to light. She did it out of selflessness and love. He did it out of selfishness and hatred. GOD do I love characters that juxtapose each other. Zelda is a girl who was given the responsibility of a power she never wanted while Ganondorf is a megalomaniac who sought the destruction of peace because of his own selfish desires. Seeing the difference between them in that final fight as two dragons… it was EVERYTHING.

Zelda’s dragon form was tiny compared to Ganondorf’s dragon form. She protects. He attacks.

It’s so beautiful to see how Zelda, who isn’t mentally awake, first instinct are to save Link. She quickly maneuvers so she can not only juke out Ganondorf, but also then save Link who was flung into the air in the process. Link clutching onto her dragon fur? Or whatever?? And understanding that while the sages are all still underground, he is not alone in the sky. She’s going to be by his side this entire time.

For someone who was alone the majority of the last game… this was so fucking emotional and beautiful to see.

Them lowkey explaining calamity Ganon by also using dragons this game was a really nice consistency touch btw I was digging how focal dragons were to the entire game this time around.

And then the final bit. That SCENE. Rauru and Sonia channeling their power through Link, who was incredibly confused before he realized what they must be doing, and got SO determined. Turning Zelda back and even getting his own hand back in the process??? Insane to see. Zelda was so so loved by Rauru and Sonia despite only spending a short amount of time with them. And that just makes my heart hurt when we consider what actually happened.

And when Link falls unconscious, which is completely logical when you think about the fight he just went through, the altitude he was at, and channeling enough magic that it reversed the effects of an all powerful secret stone???? Yo he went through a LOT!

And he wakes up, already on the alert bc man is freefallin only to then realize that Zelda is back and she’s also falling. And she’ll hit the ground a lot sooner than he would at the rate they’re going.

Link couldn’t reach Zelda in the beginning of this entire thing. But this time? This time he not only reaches her hand, but he pulls her in close, shields her head as best as he can, and prepares them to hit the water. Once they do, he carries her out of the water. Gentle, oh so gently, laying her down and kneels over her as she begins to wake up.

And one of the first thing Zelda does as she wakes up is to take him in and looks him over to see if HE’S hurt. Just like she did in the beginning of the game. And everything click. They won. He defeated Ganondorf and she was granted the impossible by Rauru and Sonia to turn back into a human.

And Zelda IMMEDIATELY rambles on about everything. About how much has happened. How much she has to tell him.

And finally. Finally. She looks at him and smiles so fucking gently that it drives me INSANE with how much she obviously adores him, and says, “I’m home, Link. I’m home.”

Because home is right there. Right by his side. In this Hyrule that they’ve been rebuilding together. The one they lived the past half decade ish together in a house Link bought and traveled across Hyrule no matter what the issue was. In the Hyrule where she is so beloved by everyone.

Zelda is home.

#and if that doesn’t make you SOB then I don’t know what will #this was an absolutely insane game and I’ve still got so much to do #don’t even get me started on the fact that you build a dream family home in this game too. #like. that tells us SO MUCH #they’re in love your honor #botw zelink #zelink #totk zelink #totk spoilers #loz totk spoilers #loz tears of the kingdom spoilers

[that-wizard-oki]

15 years later and we haven't once looked back... ✨

Happy 15th Birthday Wizard101! It has been QUITE the path for many of us, myself in particular, these past 15 years, so I wanted to do something meaningful. Here's two illustrations that depict the progression of time for our player character withing the span of the last decade and a half. Was pretty happy with how they turned out!

More info on the symbolism if any are interested:

For the 'younger' piece, we of course have the Wizard dressed in the original beginner gear. I went with colors that were neutral to any of the schools. The envelope laying on the ground is a call back to the advertisement letter/envelope/flyer that was sent out before the game's launch, which was printed in the manner of an 'acceptance letter' to Ravenwood. The wizard also holds on to a small Cherry Tree sapling, which is just beginning to bud. The Wizard looks eagerly ahead to begin their journey.

In the 'older' piece, we see that the sapling has grown into a full sized cherry tree. The tree itself is a reference to the Classic ver. of Wizard City, in which a cherry tree sapling can be found next to the Library in the Commons. In the updated version of Wizard City, this cherry tree then becomes fully grown.

Furthermore, there are small references to each of the major Arc's that the Wizard has endured. The First Arc is represented by the Skull, referencing Malistaire & his Undead Army. The Second Arc is represented by the Spider/Spider Web, which looms over the Wizard's shoulder. An obvious reference to Morganthe & the Shadow Web. The Third Arc is represented by the Raven perched in a tree. Again, an obvious reference to Mellori, Grandmother Raven, and the whole feud between her, Spider and his children. The Fourth Arc is represented by the ruined tablet/marker- based off a very old housing item that had 'kthulu' imagery on it, though I updated it a bit to align more with Dasien's iconography found throughout Lemuria & Arc 4.

Like in the 'younger' version, the Wizard touches the three, but in a way where they're almost leaning on it for support, indicating that the player is tired, more worn and not as enthusiastic about the road ahead, as they once used to be. Of course, they are adorned in the Divine Paradox robes- I took some creative liberties, mainly omitting the "ring" on the back for a solid cape. I liked the idea of the cape symbolizing the weight the wizard now carries on their shoulders.

You may also notice that the tree root sticks out into the path in BOTH illustrations- as if to say that this could theoretically be the 'same' island the wizard was at when 'younger'. You could also read into the root of the tree completely obstructing the path in the 'older' piece in a certain way too- as though our roots & beginnings are now causing obstructions and issues in our current/future self.

Anywho! That's a lotta mumbo Jumbo but I really put a lot of thought into the pieces and wanted to ~explain~ it all hehe. Maybe you found some different meaning in these, that's awesome too!

Again, hope you all enjoy, and I also can't thank this community enough. You all mean so much to me, and now that I work on the game, I have extra appreciation for you all for keeping this game & community alive & thriving. You matter so much more than you may think <3

Here's to many more years of Wizard101!!!!! <3

#wizard101 #w101 #wizard101game #wizard 101 #kingsisle #oki's art #ALSO please click to enlarge the main illustrations i HATE that tumblr always seems to kill the quality of my arts </3 #anyway yea. hope you all enjoy!!!!!

[theresattrpgforthat]

SYSTEM OVERVIEW: Powered by the Apocalypse (PbtA).

This week I’m taking a break from my regular recommendation posts to talk about some indie ttrpg systems that have gained some well-deserved attention over the years. I’m going to introduce you to how they work, why I like them, and what kinds of games are out there!

Powered by the Apocalypse is often described by its progenitor as a game philosophy more than a game system. If you want to learn about the ins and outs of Vincent Baker’s thoughts on this game philosophy, I recommend looking at his series of blog posts about the system, starting here.

There are a lot of things that can be housed within the family of PbtA games, but a game that advertises itself as Powered by the Apocalypse is probably going to have the following elements.

Moves

To do anything, PbtA games have a list of moves available to the whole party, and then certain moves specific to any given players. When you do something that fits the description of the move, you follow the move’s instructions.

Generally, this involves rolling 2d6 and adding a relevant modifier, somewhere between -1 and +3. The most common source of these modifiers comes from player stats, 3-5 player traits assigned to you during character creation that represent your strengths and weaknesses. These traits might be Cool, Sharp, and Hot, like in Apocalypse World, or Spirit, Wit and Heart, like in Thirsty Sword Lesbians, etc.

Other games use different sources of modifiers. In Apocalypse Keys, you’ll spend Tokens gained by roleplaying according to certain prompts, such as feeling lonely or forgotten. In Patchwork World, your modifiers depend on the moves your character takes. Can you become cats? When you burst into 1d6 cats, roll -CATS. Do you have Bee Resonance? You’ll roll +Stress marked.

Some moves might not even require you to roll dice - maybe you just have to use up a resource, or answer a question before that action happens.

Staggered Successes

PbtA games are not the only games to use this kind of metric, but they’re certainly the most well-known. When you roll dice in these kinds of games, there are generally three different kinds of results you can get: 7-9, 10 and higher, or 6 and below. Usually a 10 or higher allows something spectacular to happen, with a greater amount of narrative control given to the player. A 7-9 is partially successful: the player and GM will likely share narrative control. On a 6 or less, a significant amount of narrative control is given to the GM. 6 or less is usually seen as a turn for the worse, but what that turn looks like is dependant on the game and the genre.

What I like about these results is that regardless of the outcome, the results are meant to be narratively engaging, and push the story forward. Failing to sway the bartender doesn’t stop your plan in its tracks - it leads to the bartender calling forward security, or maybe calling you out on your shit. In a game like Last Fleet, these outcomes push the characters closer and closer to a meltdown. In Urban Shadows 1e, they encourage the characters to deal more intimately with favours and debt. Each outcome should propel you into another fraught situation.

Social Currency.

Having some kind of personal connection to other characters becomes a useful resource in many PbtA games. At the beginning of the game, you’ll answer leading questions that tie you to other characters, in both positive and negative ways. What exactly that personal connection is depends on the game.

In MASKS, your teenage superheroes have Influence over each-other. This Influence is either present, or it isn’t, but when it’s present, it can be spent to encourage other characters to follow your lead or your orders. In Blood Feud, you can look up to or down upon your fellow players, which will change the nature of how you interact with each-other. In Interstitial, you can spend Heart Links to improve your chances of success, adding modifiers to your roll.

I love these mechanics because they encourage the players to engage with each-other - and their interactions don’t have to always be positive either! Monster-Hearts expects your players to be at each-other’s necks just as often as they might be making out, for example.

Character Playbooks

Most, though not all, PbtA games have character playbooks - which may not feel like a novel thing, but it’s a big change for folks who are used to putting their character together from a list of options provided in a rulebook. Character playbooks usually provide all of the options for your specific character type on one page. You don’t choose from a big list: you choose a concept, and then select options from that concept.

Often concepts fill out tropes, such as the Git in Pigsmoke, or the Monstrous in Monster of the Week. These may come with pre-assigned stats, or ask you to assign certain stat values as you like. You’ll also choose playbook-specific moves, describe your character, and take note of special advances or forms of harm that may be incurred as you play. This harm might be physical, but it could just as easily be an emotional state, such as in Voidheart Symphony, where your character could become Angry, Callous or Scared.

What I like about this is that it can streamline character creation. If you’re a first-timer to PbtA you might need some guidance, but you can probably still knock out a character in under an hour. If you’re a veteran, you might be able to put a character together in a few minutes.

Collaborative World-building.

Any given PbtA game is usually inspired by a short list of media or some kind of genre. Brindlewood Bay is inspired by elderly lady detective fiction and eldritch horror. Sunset Kills is inspired by Buffy the Vampire Slayer and similar supernatural-teenager media. However, the specifics of what your group is doing still has to be determined by the group. This means that you’ll have to decide how you met, how you got here, and what the world around you is like.

For some games, like Legacy: Life Among the Ruins, the character choices you’ve made will determine facts about the end-of-the-world you live in. Did you pick titan-slayers? That means there’s titans walking around. Similarly in Comrades, if you pick the Propagandist, you have a newspaper or radio station as part of your rebellion.

I like about this because it affirms one of the core claims of PbtA: the game is a conversation. You begin your Session 0 sharing ideas as a group, with players having just as much say in the creation of the world as the GM. If you want to speed up the game, the GM may propose a setting to make things more specific. I’ve done this in the past with Wolf Hounds, which I wanted to make fit into my Monster Squad campaign last year.

However, even if the GM makes some decisions about the world, the choices the individual players will affect what parts of that world we’ll focus on. I feel like this experience gives a lot more agency to the players, so if you want to run a game but you don’t want to be responsible for everything that lands on the table, you might want to consider something Powered by the Apocalypse.

There are some elements of PbtA that can provide quite a bit of whiplash for new players. The game is very reactive, which means that it can be difficult for a traditional GM to figure out what to plan. Some games, like The Between, come with modules or adventures that can make it easier to ease into a GM-ing role. I’d also recommend checking out PbtA games that play in genres that both the GM and the group are very familiar with. If you like teenage superheroes, MASKS will probably be fairly easy to pick up. If you're familiar with found-footage horror, you might be more interested in Public Access.

I’ve talked about a number of PbtA games in the past. Let’s take a look at a few that I haven’t mentioned much.

City of Mist is a game by Son of Oak about ordinary people caught up in supernatural investigations as they grow to embody myths and legends.

Trespassers, by BoughandWave is a game about monsters in a wood - but you are not the scariest things in this forest.

Fight Item Run, by Whimsy Machine, is a game meant to replicate beloved video games about dungeons and magic.

A Monster's Tail, by Five Points Games, is an homage to monster catcher media, such as Pokemon, Digimon, and Jade Cocoon.

If you’re interested in PbtA games, you might also want to check out the collection of PbtA games that I’ve put together on Itch!

#tabletop games #indie ttrpgs #game recommendations #mint speaks #pbta #powered by the apocalypse #system overview