#the most important essay in rpg history

[monsterfactoryfanfic]

The Most Important Essay in RPG History is now live. Two dishes but to one table, that's the end.

Transcript here.

#hamlet #the most important essay in rpg history #aavoigt #Youtube

[blueskittlesart]

I've heard that while most people really really love BotW and TotK, some people hate those two for going open-world, and some people hate TotK specifically for something about the story. As the resident Zelda expert I know of, what do you think of those takes?

"something about the story" is a bit too vague for me to answer--if you look at my totk liveblog tag from back when the game was newly released or my general zelda analysis tag you may be able to find some of my in-depth thoughts about the story of totk, but in general i liked it.

the open world thing though is something i can and will talk about for hours. (I am obsessed with loz and game design and this is an essay now <3) breath of the wild is a game that was so well-received that a lot of the criticism from older fans who were expecting something closer to the classic zelda formula was just kind of immediately drowned out and ignored, and while i don't think it's a valid criticism to suggest that botw strayed too far from its origins in going open-world, i am more than willing to look into those criticisms, why they exist, and why i think going open-world was ultimately the best decision botw devs could have made. (totk is a slightly different story, we'll cross that bridge when we come to it.)

Loz is a franchise with a ton of history and a ton of really, REALLY dedicated fans. it's probably second only to mario in terms of recognizability and impact in nintendo's catalog. To us younger fans, the older games can sometimes seem, like, prehistoric when compared to what we're used to nowadays, but it's important to remember just how YOUNG the gaming industry is and how rapidly it's changed and grown. the first zelda game was released in 1986, which was 31 years before botw came out in 2017. What this means for nintendo and its developers is that they have to walk a very fine line between catering to older fans in their 30s and 40s now who would have been in nintendo's prime demographic when the first few games in the franchise were coming out AND making a game that's engaging to their MODERN target demographic and that age group's expectations for what a gaming experience should look like.

LOZ is in kind of a tough spot when it comes to modernizing, because a lot of its core gameplay elements are very much staples of early RPGs, and a lot of those gameplay elements have been phased out of modern RPGs for one reason or another. gathering collectibles, fighting one's way through multilevel, mapless dungeons, and especially classic zelda's relative lack of guidance through the story are all things that date games and which modern audiences tend to get frustrated with. for the last few releases before botw, the devs had kind of been playing with this -- skyward sword in particular is what i consider their big experiment and what (i think) became the driving force behind a lot of what happened with botw. Skyward sword attempted to solve the issues I listed by, basically, making the map small and the story much, much more blatantly linear. Skyward sword feels much more like other modern rpgs to me than most zelda games in terms of its playstyle, because the game is constantly pushing you to do specific things. this is a common storytelling style in modern RPGs--obviously, the player usually needs to take specific actions in order to progress the story, and so when there's downtime between story sections the supporting characters push the player towards the next goal. but this actually isn't what loz games usually do. in the standard loz formula, you as the player are generally directly given at most 4 objectives. these objectives will (roughly) be as follows: 1. go through some dungeons and defeat their bosses, 2. claim the master sword, 3. go through another set of dungeons and defeat their bosses, 4. defeat the final boss of the game. (not necessarily in that order, although that order is the standard formula.) the ONLY time the player will be expressly pushed by supporting characters towards a certain action (excluding guide characters) is when the game is first presenting them with those objectives. in-between dungeons and other gameplay segments, there's no sense of urgency, no one pushing you onto the next task. this method of storytelling encourages players to take their time and explore the world they're in, which in turn helps them find the collectibles and puzzles traditionally hidden around the map that will make it easier for them to continue on. Skyward sword, as previously mentioned, experimented with breaking this formula a bit--its overworld was small and unlocked sequentially, so you couldn't explore it fully without progressing the narrative, and it gave players a "home base" to return to in skyloft which housed many of the puzzles and collectibles rather than scattering them throughout the overworld. This method worked... to an extent, but it also meant that skyward sword felt drastically different in its storytelling and how its narrative was presented to the player than its predecessors. this isn't necessarily a BAD thing, but i am of the opinion that one of zelda's strongest elements has always been the level of immersion and relatability its stories have, and the constant push to continue the narrative has the potential to pull players out of your story a bit, making skyward sword slightly less engaging to the viewer than other games in the franchise. (to address the elephant in the room, there were also obviously some other major issues with the design of sksw that messed with player immersion, but imo even if the control scheme had been perfect on the first try, the hyperlinear method would STILL have been less engaging to a player than the standard exploration-based zeldas.)

So when people say that botw was the first open-world zelda, I'm not actually sure how true I personally believe that is. I think a lot of the initial hype surrounding botw's open map were tainted by what came before it--compared to the truly linear, intensely restricted map of skyward sword, botw's map feels INSANE. but strictly speaking, botw actually sticks pretty closely to the standard zelda gameplay experience, at least as far as the overworld map is concerned. from the beginning, one of the draws of loz is that there's a large, populated map that you as the player can explore (relatively) freely. it was UNUSUAL for the player to not have access to almost the entire map either immediately or very quickly after beginning a new zelda game. (the size and population of these maps was restricted by software and storage capabilities in earlier games, but pretty muhc every zelda game has what would have been considered a large & well populated map at the time of its release.) what truly made botw different was two things; the first being the sheer SIZE of the map and the second being the lack of dungeons and collectibles in a traditional sense. Everything that needs to be said about the size of the map already has been said: it's huge and it's crazy and it's executed PERFECTLY and it's never been done before and every game since has been trying to replicate it. nothing much else to say there. but I do want to talk about the percieved difference in gameplay as it relates to the open-world collectibles and dungeons, because, again, i don't think it's actually as big of a difference as people seem to think it is.

Once again, let's look at the classic formula. I'm going to start with the collectibles and lead into the dungeons. The main classic collectible that's a staple of every zelda game pre-botw is the heart piece. This is a quarter of a heart that will usually be sitting out somewhere in the open world or in a dungeon, and will require the player to either solve a puzzle or perform a specific action to get. botw is the first game to not include heart pieces... TECHNICALLY. but in practice, they're still there, just renamed. they're spirit orbs now, and rather than being hidden in puzzles within the overworld (with no explanation as to how or why they ended up there, mind you) they're hidden within shrines, and they're given a clear purpose for existing throughout hyrule and for requiring puzzle-solving skills to access. Functionally, these two items are exactly the same--it's an object that gives you an extra heart container once you collect four of them. no major difference beyond a reskin and renaming to make the object make sense within the greater world instead of just having a little ❤️ floating randomly in the middle of their otherwise hyperrealistic scenery. the heart piece vs spirit orb i think is a good microcosm of the "it's too different" criticisms of botw as a whole--is it ACTUALLY that different, or is it just repackaged in a way that doesn't make it immediately obvious what you're looking at anymore? I think it's worth noting that botw gives a narrative reason for that visual/linguistic disconnect from other games, too--it's set at minimum TEN THOUSAND YEARS after any other given game. while we don't have any concrete information about how much time passes between new-incarnation games, it's safe to assume that botw is significantly further removed from other incarnations of hyrule/link/zelda/etc than any other game on the timeline. It's not at all inconceivable within the context of the game that heart pieces may have changed form or come to be known by a different name. most of the changes between botw and other games can be reasoned away this way, because most of them have SOME obvious origins in a previous game mechanic, it's just been updated for botw's specific setting and narrative.

The dungeons ARE an actual departure from the classic formula, i will grant you. the usual way a zelda dungeon works is that link enters the dungeon, solves a few puzzles, fights a mini boss at about the halfway point, and after defeating the mini boss he gets a dungeon item which makes the second half of the dungeon accessible. He then uses that item in the dungeon's final boss fight, which is specifically engineered with that item in mind as the catalyst to win it. Botw's dungeons are the divine beasts. we've removed the presence of mini-bosses entirely, because the 'dungeon items' aren't something link needs to get within the dungeon itself--he alredy has them. they're the sheikah slate runes: magnesis, cryonis, stasis, and remote bombs. Each of the divine beast blight battles is actually built around using one of these runes to win it--cryonis to break waterblight's ice projectiles, magnesis to strike down thunderblight with its own lightning rods, remote bombs to take out fireblight's shield. (i ASSUME there's some way to use stasis effectively against windblight, mostly because it's obvious to me that that's how all the other fights were designed, but in practice it's the best strategy for that fight is to just slow down time via aerial archery, so i've never tried to win that way lol.) So even though we've removed traditional dungeon items and mini-boss fights, the bones of the franchise remain unchanged underneath. this is what makes botw such an ingenious move for this franchise imo; the fact that it manages to update itself into such a beautiful, engaging, MODERN game while still retaining the underlying structure that defines its franchise and the games that came before it. botw is an effective modern installment to this 30-year-old franchise because it takes what made the old games great and updates it in a way that still stays true to the core of the franchise.

I did mention totk in my opening paragraph and you mention it in your ask so i have to come back to it somehow. Do i think that totk did the gigantic-open-world thing as well as botw did? no. But i also don't really think there was any other direction to go with that game specifically. botw literally changed the landscape of game development when it was released. I KNOW you all remember how for a good year or two after botw's release, EVERY SINGLE GAME that came out HAD to have a massive open-world map, regardless of whether or not that actually made sense for that game. (pokemon is still suffering from the effects of that botw-driven open world craze to this day. rip scarlet/violet your gameplay was SUCH dogshit) I'm not sure to what degree nintendo and the botw devs anticipated that success, (I remember the open world and the versatility in terms of problem-solving being the two main advertising angles pre-release, but it's been 7 years. oh jesus christ it's been SEVEN YEARS. anyways) but in any case, there's basically NO WAY that they anticipated their specific gameplay style taking off to that degree. That's not something you can predict. When creating totk, they were once again walking that line between old and new, but because they were only 3ish years out from botw when totk went into development, they were REALLY under pressure to stay true to what it was that had made botw such an insane success. I think that's probably what led to the expanded map in the sky and depths as well as the fuse/build mechanics--they basically took their two big draws from botw, big map and versatility, and said ok BIGGER MAP and MORE VERSATILITY. Was this effective? yeah. do i think they maybe could have made a more engaging and well-rounded game if they'd been willing to diverge a little more from botw? also yeah. I won't say that I wanted totk to be skyward sword-style linear, because literally no one wanted that, but I do think that because of the insane wave of success that botw's huge open world brought in the developers were under pressure to stay very true to botw in their designing the gameplay of totk, and I think that both the gameplay and story might have been a bit more engaging if they had been allowed to experiment a little more in their delivery of the material.

#wow it's been a while since i've written a real homegrown organic legend of zelda essay. i missed this #hi everyone. when the fuck is the next game going into development i need to have something to wildly theorize about again #god. it's been. seven years since botw came out. im going to go chew on live electrical wires #zelda analysis #asks

[englishbutter]

Mirage’s story trailer: analysing the narrative

Originally posted here. This is part of a series of posts/essays I’m importing over from Reddit to Tumblr, because I like them and I want to sort them so they don’t get lost in my general comment history.

General housecleaning preamble:

This was written in the 24 hours after the drop of Mirage’s story trailer on 12 June, 2023, in response to a whole lot of crap posted specifically on the subreddit and Twitter about “the story won’t be good because it’s just pandering to the old fans”. Which I don’t believe. I’ve used my narrative analysis skills to break down the trailer and have a stab at what might happen, and the TL;DR of this is, I think we’re in good hands. The impression I’m getting on the story from this two minute trailer is that we might be in for the best AC story in a good long while.

But I also want to emphasise a couple of things.

Firstly, all of this is just a guess as to what’s in store based on the information solely given in the trailer. At the point of writing this, I hadn’t seen any other information released by Ubi (and I honestly still haven’t paid much attention to it). So although my attitude towards Mirage’s story is pretty positive based off the trailer, it doesn’t guarantee that the final product will actually be good, because as we’ve known for years, Ubi are masters at the marketing game. Secondly, as was pointed out in one of the comments I recieved on the post, this breakdown doesn’t take into account acting and delivery a whole bunch. So even if my story guesses are solid and turn out to be in the right direction, if not nailing it on the head, the presentation of said drama can be ruined thorugh things like AI cutscenes, poor voice direction, etc., which the previous RPG titles are notorious for. Because I approached this breakdown as a novelist where you don’t need to worry about this stuff lol

And now, onto the post.

At first I was going to only talk about Mirage's story trailer and why it’s promising, actually, but then it spiralled into a big thing about AC’s narratives as a whole: An Analysis (Reddit post, 13 June, 2023)

Hi. Maybe you’ll remember me from hit posts like Assassin’s Creed isn't about Order vs. Chaos, or that one time I wrote a 165k book about Connor and Arno vs. Shay. Point is, I write a lot about Assassin’s Creed and its narrative, and I’m here to write more about it now that we have more information on Mirage’s story and why I think, despite so much negativity towards it, we’re going to be just fine, actually, and how we could be in for the most interesting Creed-story in a decade.

Buckle up, this is a long ‘un.

For years, we, as an online community across multiple platforms, have been talking about how “AC isn’t AC anymore”, and one of the topics that gets brought up repeatedly is the story. The narrative isn’t as good anymore; I want them to talk about the philosophy of the Creed just like they did in AC1; I want interesting characters who are themselves instead of these ‘choose your own adventure’ RPG games; etc. And it looks like, with the new drop of Mirage’s story trailer, we have what has been asked for.

Yet sadly, but unsurprisingly, I’ve seen many complaints across social media following the trailer drop saying that what we have been presented on the narrative is crap. It’s nostalgia bait. It’s just trying to trick us again. To which I say, “Huh?”

Look, I get it. I get that many people have been so burnt by the series that this response is akin to an automatic reflex to protect yourself from disappointment. I get the cynicism people are feeling because the last game’s marketing was focused on “returning to the roots” and it did not meet expectations. I get it because people want to go to the timeline where we have a game that is a direct improvement on Unity, or pulls more from Ghost of Tsushima. I get it. I have been there. I understand. I’m here to try and assure you that we seem to be in good hands for the story, at least.

I’m not going to talk about the gameplay (aside: Assassin Focus is friggin’ sick, nor is it a magic teleport à la Odyssey), or the graphics, or world design, or anything else. I’m going to leave that to people who are smarter than me in those areas, but narrative is what I’m smart in. So, let’s have a look together.

We’re going to be talking spoilers from here on out, but getting into detail about endgame Valhalla spoilers in relation to Mirage, which I will mark if you would like to remain unspoiled for that. Also, we’re going to be doing a lot of groundwork first before getting into the actual analysis of the trailer, because I need it to properly talk about the trailer in the context of the wider franchise. Thanks for your patience. I promise that, if not interesting, it’ll be worthwhile (high-five to fellow narrative nerds).

Okay!

First, we’ll go briefly back to the beginning of the series and so the game that started this giant love affair. AC1, and the Creed. I want to start here because the heart of the trailer is about Basim’s relationship to the Creed (which for now, we’ll just say is complex, further supported by what we know about him from Valhalla), and it also touches on what we the audience want and expect from explorations of the Creed, and why those expectations might not be the best approach to story.

There’s a gorgeous article I often point people towards regarding audience reception to Star Wars, written by the incredibly empathetic and smart Film Crit Hulk. The Beautiful, Ugly, and Possessive Hearts of Star Wars. Though I highly recommend reading this article, the reason I’m bringing it up now is that, in summary, it makes a deeply resonating point: we care so much for the things we love because of the way they spoke to us when we first fell in love with them. For Star Wars, it got many of us as children. Watching A New Hope for the first time might have imparted your love for Luke as a heroic Jedi Knight with his lightsabre, or the overwhelming arc of good vs. evil in the Rebels vs. the Empire, or it might be for the resonate message of hope, etc. Hulk calls this “the Core”, and the idea behind this is, it’s what drives the love for Star Wars in each individual. It’s the thing that captured your imagination about it above all else, and when that “Core” is challenged or damaged, then it makes people furious. It’s why there was such split reactions towards The Last Jedi. It’s why we’re currently in a Renaissance for the Prequel Trilogy, and why I’m expecting in ten years to see a similar resurgence of love for the Sequel Trilogy. And something similar has happened with Assassin’s Creed. We all love it for different reasons, be it its roots in historical adventure fiction, its particular flavour of a hyper-competent killer (and the and/or nature of sneak vs. battle master, which is more commonly divided by the fandom into stealth vs. combat), its gameplay functions (“classic” vs. RPG) … you see where this is going. We all have our own “Core” for AC, and Ubisoft has not been able to reconcile what I call the “classic Core” fans and the “RPG Core” fans.

Why are we talking about this again? Oh yeah, we were talking about the Creed in AC1 and how that relates to Mirage.

AC1’s focus on the Creed is praised by some to be thought provoking and driving Altaïr’s development, which is all true, but I feel many people get wrong as to why this works as it does, and ignore that for many, it did not work. See all the jokes about making Altaïr spin in circles in Al Mualim’s office as they’re waiting for him to shut up. So, in the second last bit of introduction for this essay, I want to briefly discuss character vs. plot writing.

Plot writing is where the story is being driven forward by the demands of plot. “Oh no! We have to stop the bomb from blowing the city up, and every action we shall be taking shall be focused on doing that!” The Avengers movies are good examples of this.

Character writing is when the decisions made by the characters are driving the plot. “Jane is hiding secrets from me, and so I’ll react in response to that.” This results in more drama-driven stories; stories about characters doing things because of other characters. This is stuff like Arcane (especially Arcane; my God that show is built like a Swiss clock) and House of the Dragon.

Then you have media which is a mix of both. Things like Into the Spiderverse (another Swiss clock uunf) is a mix. Miles and Peter have to go to Alchemax to steal the information on how to shut down the collider (a plot driven need, because Miles, trying to master his spider powers, has accidentally broken the USB that 1610 Peter Parker acquired to shut down the collider), but the heist goes horribly wrong because Miles is trying to help 616B Peter with Kingpin’s unexpected arrival but, again, doesn’t know how to use his powers (a character driven development).

There is not one formula that is better than the other. Different story techniques are different tools, much like how you’re not going to use a saw to hammer nails into wood. And we’ve had both kinds of writing in Assassin’s Creed before that work really well! AC2 is primarily plot-driven, Unity is primarily character driven, and AC3 is a mix of both. But Mirage’s story trailer is tickling all the right areas in my brain for a character story. We’ve established that the main conflict is within Basim’s relationship to the Creed, how it demands his unflinching loyalty to the hierarchy of the Brotherhood and yet preaches freedom at the same time.

I think people focus so specifically on “we want a good game talking about the philosophy of the Creed” because that goes back to their “Core”. It made me think, it made me care about Altaïr as a character, it made me invested in what was going on in the story. And this is great! But you also have to recognise that if you talk about just philosophy, it has the danger of steering straight into almost unwatchable/unretainable territory. Think of the scene in the second Matrix movie where Neo, Trinity, and Morpheus go to talk to the Merovingian at the restaurant. Most of that conversation was all about philosophy (causality, for those who would like the reminder), and most people found it boring to watch and didn’t remember most of it even directly after it was done. When you rewatch the scene, or you write out the dialogue and take time to analyse it, it’s really interesting! It’s thought provoking! But it’s not a good watching experience. What most people came away with from that scene was, “Did he just give that woman an orgasm via spiking her cake?” So how do you fix this? You dramatise it. And the AC1 team were successfully able to dramatise the philosophy in AC1 that it captured enough people’s imaginations to go on and spawn the other philosophical parts of AC later. Ezio’s actions in Revelations. Haytham’s conflict with Connor in AC3. Shay’s torn loyalties between duty and what is morally right in Rogue. The conflict between Arno and Germain (once you get through the … lack of presented information) in Unity.

You can argue that the philosophy about the Creed has eaten itself to nothing in the last few games. That there’s nothing left to tell after fifteen years of the same damn thing. But I disagree.

The way to make the philosophy interesting isn’t to discuss the Creed as a concept of itself, which I see a lot of these requests asking for. We’d have wrung ourselves dry of that years ago if we did that. So, how do you fix that? How do you make it interesting whilst continuing to make a video game that is financially successful? You make it about character relationships to the Creed. On a narrative level, those possibilities are endless.

And Basim’s faceted relationship to the Creed looks to be shaping up as character and philosophy coming to mix. Which leads us finally to the last bit of groundwork to get into before the trailer stuff: Basim himself.

Valhalla spoilers below.

When we’re first introduced to Basim, all seems well on the surface. He’s a powerful figure in the Brotherhood, both as an experienced killer, a worldly traveller, and a teacher. Yet there’s something off about him; maybe it’s the lingering camera shots where he’s just standing a bit too off-puttingly. For someone so high up in the Brotherhood, he too seems awfully callous about Eivor having the Order’s secrets whilst not being a member, an attitude directly contrasted to Hytham who objects to Eivor’s schooling after just having met her. Basim’s also very closed about why he and Hytham have come to Norway. Basim talks big about how they’ve come to hunt down members of the Order of Ancients, but there’s certainly a sense he’s hiding information. That his friendship with Sigurd isn’t all that it seems, and that there’s a deeper arrangement going on that we are unaware of.

That arrangement, of course, being that Basim tries to help Sigurd unlock his godhood. Again, there’s a sense that Basim is hiding something. Why would he do this? And Eivor pushes back on it, but she’s helpless as she watches Basim and Sigurd go down the path of madness together, putting not just themselves at risk, but the clan, too.

At the end of the game, the truth comes out. Basim was using Sigurd to get to Odin, who he did not realise was reborn as Eivor until the climax. Why? Basim is the reincarnation of another Norse god, Loki, blood brother to Odin. And Odin imprisoned Loki’s son Fenrir for fear of prophecy. Now Loki-become-Basim wants revenge.

Basim in Valhalla is a man who has gone beyond being tied to the Creed and will only have it in his mouth and wear it as it suits him. He is unshackled, so to speak. He is his own agent, and we’ve had to take the entire game to notice that that was what was off about him when we first met. And one of the questions we should get answers to in Mirage was how he became the way he is.

End Valhalla spoilers.

Mirage takes us back twenty years before the start of Valhalla to a younger Basim. A street thief who is suffering from hallucinations and nightmares of a “djinn” that he alone endures. On a surface pass of this, I think it looks great. The trailer has a clear narrative throughline of Basim being saved by the Hidden Ones and joining them, but soon finding out that what was sweet at first bite, a promise of freedom, has turned somewhat sour. Basim is made by other characters throughout the trailer to question both his place in the Brotherhood, what they’re doing, and what he is, a question that cannot leave him alone as he continues to be haunted by his visions.

This throughline is fascinating to look at. You have a strong premise and strong conflict, and you can start to piece together the shape of what the story is going to be about. You know how I said before the trailer gives me a strong impression that this will be a character-driven narrative? Let’s dive into that. And we’ll talk about the Creed at the same time.

What I think looks strong narratively about this is you should be able to play Mirage without knowing how Basim’s story goes in Valhalla (there is another marked section of Valhalla spoilers later, but otherwise I’ll only be talking about the content of the trailer). This is because the narrative looks contained. We’re not introduced to Basim as a “you already know who this is because it’s a prequel!” character, but instead as a new character. He is a street thief, and he sucks at it because he’s just been caught by two guards and is about to be punished by them. But then! Shock and surprise! Basim is saved by a powerful warrior. She grabs him and tells him to follow her, we have to go! Basim has no choice but to do so as she clears an escape route without trouble. She leads him up to a leap of faith spot and gracefully jumps.

Basim, on the other hand, is clumsy and doesn’t know how to do a leap of faith. Off he falls into the river below. I actually went “Ouch!” upon watching the trailer for the first time because he lands in the water on his back. Painful! And not only does it lead into a classic shot of a person being swallowed by black waters, but it’s so perfect an illustration of a character who isn’t competent in the world they're about to enter, and, of course, what that world will turn them into soon.

It can also be symbolically read as death and rebirth.

After Basim has been dragged out of the water, we then cut to a campfire and have talk of the feather ritual. I was kind of shocked to see people reacting negatively to the inclusion of this. The most common criticism I’ve seen of this scene (this isn’t including the AI animated cutscenes or what have you) is that it’s nostalgia bait! It’s one of those pieces of marketing that is trying to trick you into buying this game! I think this take is the culmination of Internet-flavoured cynicism. Maybe these critics are right and marketing is part of the reason why this scene was included in the trailer, but narratively, this scene is excellent because it starts to put down the base of where Basim’s psychology starts. After Basim, obviously by himself, has been rescued by Roshan, this cut establishes camaraderie between members of the Brotherhood. A sense of community and belonging, which is something that Basim is painfully lacking. But the other thing it does is offers Basim purpose. If he can join this Brotherhood with its close connections and rituals, and if it gives him the power to save other powerless people like Roshan saved him (not only from death, but from a life of oppression and/or scratching by), then it is an opportunity to find himself, to be part of something greater.

Because the “job” of the first part of this trailer is to mythologise the Hidden Ones in Basim’s eyes and show his radicalisation to the Creed. It’s getting him to care so much about this that he pledges himself to the Hidden Ones and to put him in a position where, once he emerges from the bubble that is Alamut, the world starts chafing against his ideals when it doesn’t offer the simple existence presented at Alamut.

Radicalisation to the cause is actually what a lot of the other Assassin stories have been about. It’s Altaïr’s story, it’s Ezio's, it’s Edward’s. Arno suffers consequences for not being radicalised to the cause (expulsion from the Brotherhood for one). And for the reverse, Shay’s story is about his slow conversion from an Assassin, to a wayward lone wolf, to a Templar. It’s about why should these people take up these causes and devote their lives to something that won’t be remembered in the history books, and why they choose to become one of endless, lashing waves throwing themselves against the breakwall.

And Basim’s radicalisation is further cemented in the trailer by Roshan directing him to strike down the Order of Ancients. “The Order has held dominion over man and their empires for centuries,” she says as she hands Basim a feather. Go forth and kill.

Something that I’ve always wanted to see in an AC game is a character’s reaction to the first time they kill someone. From the top of my head, there are two times we’ve seen this talked about in the franchise, and one of them I don’t really count. The first is Shay’s reactions to killing his Templar targets at the beginning of Rogue. He isn’t happy about it, and it’s the first crack set that ends up with his defection. But this is the one I don’t count because Shay’s issue isn’t so much with the act of killing, but with the why behind the killing. The second time is in the novelisation of AC2, when Ezio kills the city guards who come to arrest him just after he’s claimed his father’s arms and armour. Ezio is completely shell shocked when this happens. He’s just killed someone. Oh my God, he’s killed someone. That has an impact. Taking a life is no small thing, and I would like to see the weight of that addressed for once in this franchise. And I do wonder, given the theme of this trailer, if we’ll finally have this. I hope so, because it seems that it’ll tie perfectly to Basim’s arc.

Because the arc is heading in a direction that only Rogue has really touched on. That being the crash from the high. What happens when you’re no longer a believer? What happens when you look back down the path of your life and reflect on the things that you’ve done … and you’re not sure of it?

What if you’ve got buyer’s remorse for this Creed?

You want AC philosophy? Well, here you go.

The trailer then cuts to a voiceover that introduces the main character conflict on the Brotherhood’s side. “Swallow your questions. Serve without complaint,” a woman says. Her name is Nehal, and she’s Basim’s childhood street rate friend. As such, they’re close to each other. Nehal’s talking about his relationship with Roshan and seems to be ranting to him about how Roshan treats him. Maybe Basim has been venting his frustrations about his teacher to her, and this woman is trying to help him. But there are two main points here that are important – Basim is having second thoughts about the Brotherhood, he’s frustrated with them (it’s unclear at this point if he has brought this frustrations up with Roshan yet), and secondly, his relationship with Nehal is important. They’re in each other’s corners, and it might feed more conflict into Basim and Roshan.

The trailer then goes further into establishing the conflict between Basim and the Hidden Ones. “Everything you do serves the Hidden Ones. That is a strange kind of freedom.” This is said by another important character, Ali. There is tension there. Basim is obviously having doubts about his role in the Brotherhood, and it’s not helped by other people feeding into it.

This conflict of interest is further hammered on with the rawest line in the trailer. “You are not the first to walk the shadows broken. Pour your pain into the Brotherhood.” On this note: Acting! I love Basim’s expression. Honestly, he has lots of good micro-expressions in this trailer, and I adore it. In this shot-reverse-shot, you have this deep anger and frustration in him that’s barely being held back. And this frustration is so compelling because it screams to me that Basim is trying to communicate with his teacher, perhaps by telling her about the djinn, perhaps by sharing his doubts with her about things that have happened either in the plot or his street rat backstory, but he’s being rebuffed. He is not finding help here. He is still alone. That’s going to pour more fuel onto the fire for certain. Because the other emotion I read in his body language here is this painful acknowledgement that he is not going to get the help, nor the understanding from Roshan that he needs. Because pour your pain into the Brotherhood sounds an awful lot like a deflection after she and Basim have had a fight about personal torments plaguing him.

And the tragic thing is: this is good advice for a lot of people who come to the Hidden Ones. They are made up of people who have been hurt by the imbalances of society, and that is a rage you can direct back towards helpful sources. But it’s not good advice for Basim, much like Yoda saying to Anakin, “Just turn off your emotions lol,” was terrible advice.

Oooh the drama’s cooking.

Almost to the end of the trailer!

“We are messengers of justice, and not the final judges.” I’m going to have to think more on this, as I’m not sure how it relates to the trailer’s narrative throughline here right now, but I shall think on it. For now, I would say this is a calming line, a way to cool the heat the rest of the trailer has built up between Basim and the Brotherhood. We talked about radicalisation before, and this might be here to remind Basim that he needs to sit and calm down a moment before doing something stupid he’ll regret. What that might be, I’m not sure, but it might be taking action against the Brotherhood. Just a little treason.

And finally, to round this out, we come to the djinn. My God I’m so excited to see what happens with this, Ubi don’t let me down.

I talked before how I don’t think this is a Rogue situation where this questioning of the Creed is coming from Basim having moral thoughts about killing people. I think it comes from his conflict with the djinn. “He knows not what he is.”

The djinn is so interesting. I want to take a stab in the dark here about what the djinn’s narrative purpose here is as a devil on the shoulder, but I think it ties into Basim’s relationship with the Brotherhood. Basim is haunted by this terrifying shadow demon only he can see, and I’m sure if someone as powerful and confident as Roshan and the Hidden Ones came into your life talking about freedom, Basim might see it as a chance to finally escape this horrible thing in his head. To get away from the nightmares that he, tragically, has no chance of escaping. And the Creed can’t help him with that.

Valhalla spoilers once again.

In fact, the Hidden One’s work might only make the problem worse because it has been established in Valhalla that the consciousness of the reincarnated Precursors are brought about when their previous lives and their current lives come closer to each other. This was why Tyr awakened in Sigurd when Fulke cut off his arm. This is why Odin started to awaken in Eivor the more she stepped into a leadership role. And this same pattern starts awakening in Basim’s life earlier than Eivor and Sigurd’s did. Because Basim is a thief, he is a rogue, and as he becomes a Hidden One, he becomes a killer, all of which feeds into the bursting dam that is Loki’s life.

In light of this, I’m expecting that the problem of the djinn will only become worse the further we go on in the game, that we’ll be seeing it more and more until Basim is so far pulled down by it he might go to it to try and escape (“He in his madness prays for storms, and dreams that storms will bring him peace.”). Because it might end up being Roshan who is the final straw on the camel’s back. Not through any fault of her own, but because her leadership, her existence as Mentor, caps the concept of “freedom” the Hidden Ones represent. Basim can never be truly free if Roshan is there. Just like Loki could never truly be free until Odin was gone (remember from earlier, Basim is challenged by Ali asking about his “strange kind of freedom”. Freedom seems to be a massive theme of this story).

Mirage has been described by its devs as “a story of tragedy and madness”. What better way to do that than this?

End Valhalla spoilers.

“Have you not wondered at your nature?” I like how this cuts into the menacing shadowed-face shot as Basim rises, a hooded killer. Good silhouetting with the beaked hood as well! Woo! And if you’re not yet convinced about Basim’s wavering on the Creed, how much the djinn will be affecting his arc and his choices, the trailer song, How Villains Are Made by Madalen Duke, is practically screaming this theme aloud. Just look at the lyrics!

And that’s what I’ve got to say about the trailer, about AC’s narrative direction as a whole, and, for the first time in years, why I think we’ve got some good reasons to get excited about an AC story. It seems character driven, full of juicy, interpersonal conflict, and is the story of a young man who goes from a scrawny dude getting his arse kicked, to a powerful Hidden One, to someone who’s had the light beaten out of them by life, his fracturing mind, and deeply tragic circumstance. Some other bonus things from the trailer I would like to know about:

0:57, the silhouettes behind Basim in the White Room. Who are they? Also, the White Rooms once again looking awesome.

2:00, there’s a guy who comes out from behind the pulpit speaker. He seems to be Basim’s target here, as Basim only engages the hidden blade once this guy comes into view. I wonder if he’s an important target.

2:07, Basim and Nehal seem to be fleeing from Ali. Is this part of the story's conflict? Or is it only trailer editing?

2:09, a merchant looking guy backhands street thief Basim. This might be a representation of the “inciting incident” that landed Basim in his position at the beginning of the trailer. Note that how Roshan saves him in the announcement trailer vs. the story trailer take place in different locations. Same thing might be here for Basim stealing from others. (The room’s blue and orange lighting too is gorgeous.) I think that we see the djinn directly after this might be the first djinn cutscene in the game, based on Basim’s outfit.

The other thing that gives me hope that we could get this great story too is the game length. The devs have said the narrative will be about 15-20 hours, which is a fantastic length of time to explore a drama like is being promised in the trailer.

And, on top of that, if it’s relatively fun to play? I’m game.

#butter writes #butter writes: essays #assassin's creed

[hizerain]

video essay recs?

PatricianTV: Skyrim Analysis | A quick retrospective part 1, part 2

So, this is a small 20 hours, I like my videos long. I enjoy how comprehensive this essay is, but above all I enjoy the conclusion as they articulate the exact feeling I have had about skyrim since I first bought it but was never able to explain to myself or others.

hbomberguy: Pathologic is genius, and here's why

Pathologic is an unknown but interesting pain simulator, I wouldn't have known about it without this video. I have absolutely no intention of ever playing it or its sequel, don't like playing these games as much, but the idea of perspective is very important to the game and its experience and it regularly makes me reevaluate my own perspective.

ContraPoints: Cringe

In terms of aesthetics and story, I prefer opulence but I feel as though cringe has a more generally relevant story to tell, especially the concept of ingroup cringe. With the internet cringe and irony are concepts constantly at the front of our attention, it's worth the time to dissect it and try to understand it in a general way, but also in a way specific to the internet age

Folding Ideas: Line goes up - the problem with NFTs

Perfect engaging explanation of both the housing crisis of 2008, the hype about crypto, the dangers of NFT and the fact that NFTs started to nosedive after this video is bloody amazing.

Joseph Anderson: Fallout 4 - One year later

Dissection of Fallout 4 specifically, but more generally the shift Bethesda has made in the way they produce their RPGs and what the widening audience has done for the core gameplay loop and the effects it has on the game.

Leadhead: The beauty of dishonored, the forgotten chapter of dishonored, the darkest corner of dishonored

Dishonored is arguably one of my favourite game franchises, currently 100% DH2 and DOTO, and whilst I enjoy the second game more mechanically, the original has some of the most engaging world building and beautiful textures I have ever seen in gaming. The story might not make you change your life, but the immersive sim nature and subtle worldbuilding is something I remain amazed by.

Lindsay Ellis: Tracing the roots of pop culture transphobia

Interesting history that I was completely unaware of. With an increase in transphobia I feel as though it's increasingly important to understand it. There are undoubtedly those who cannot be changed, intrinsically transphobic you might say, but I think a lot of people have been influenced by this history and can be made to consider a different perspective if you can gently expose the truth to them.

Philosophy Tube: Queer

I think this may be the one video that actually propelled me into my acceptance of being queer. It is not necessarily something I ever actively denied, but it also felt like something that wasn't mine and could never be. Every once in a while I still return to this, to think about the different perspectives and the way I view both myself and my life.

Lots of games, I apologize if that isn't exactly your thing.

#ask #also listened to the whole nickelodeon verse by quinton reviews #but i wouldn't say I really liked it #it was fine #but i just used it for audio #not necessarily because the actual essay had an interesting topic or perspective

[skaz-wolfman]

Halfling Appreciation Post

Literally my first time making an original post, let’s flapping go.

As those of us who love roleplaying games and have a healthy amount of self-respect distance ourselves from Dungbats & Dickbags, (and just so we’re clear, I’ve been a fan of the world’s most popular RPG since I was a kid, so my anger here is not a mild, petty thing, it’s an absolute Balrog of betrayal) I just want to take this moment to make sure we’re appreciating one of my favorite fantasy races.

Muhfuggin’ halflings, yo.

Why are halflings great, besides the fact that Samwise Gamgee is the single greatest supporting man in the history of fantasy adventure? Well I’ll happily tell you. Over the years, I’ve heard woefully misinformed people say “Oh, they’re just skinnier dwarves” or “they’re just gnomes but boring” or “eww, halflings are pedo-bait”. That last one has made me scream obscenities, not gonna lie. But sadly, reductionism is all too easy. So please, lend me a moment of your time to outline what halflings actually are.

1. Halflings Are Friends. This really doesn’t require me to explain it, to be honest. The world’s most comprehensive essay on why halflings are the best friends anyone can have already exists, it’s called The Lord of the Rings. But then, that’s still being reductionist, isn’t it? Everyone in the Fellowship was super friend-shaped, not just the Hobbit Squad. That was kind of a big theme in that whole saga. To flesh this point out a bit, the same way human beings possess an absurd capacity to pack bond with ANYTHING, halflings tend to possess a charitable disposition, generosity of spirit, and natural inclination to help that makes them damn-near optimal buddies. Sure, they might not adopt you on sight like a human, or swear a lifelong oath of friendship like a dwarf, or check in on their favorite human’s descendants every so often like an elf, but once you earn a halfling’s friendship (which still isn’t terribly hard) you have a ride-or-die homie for life. Sure, we all sing Sam’s praises endlessly, but let’s be real, if Sam had been the Ring-bearer Frodo would have been his rock too and you can’t convince me otherwise.

2. Halflings Are Brave. Contrary to what some may think, halflings are not fearless, but they do embody the saying that “courage is not the absence of fear, it is the will to act in spite of fear.” Halflings know fear, of course they do, they average around three feet in height. But when a halfling comes into danger, it’s usually either because they’re in the middle of doing something important, or because danger showed up to threaten their home. Either way, a halfling’s gotta do what a halfling’s gotta do. That doesn’t mean every halfling is a Leeroy Jenkins; most of them aren’t that hot-blooded. But every halfling knows in their bones that fear just isn’t important enough to stop them from helping. A halfling is more afraid of their community or their friends getting hurt than they are of getting hurt themselves.

3. Halflings Have Wonder. Halflings are often compared to children, even called “child-folk” sometimes. Hence why some people seem to think of them as “pedo-bait”. Yuck. They’re just short, people, they aren’t lolis or shotas, they grow sideburns for Pete’s sake. The other big reason halflings are considered childlike, besides their height, is that the have that indelible sense of wonder that us humans often associate with children. Halflings don’t grow tired and jaded, they know the endless potential that comes with each new day, with each new person they meet, and each new place they go. You know that meme where Marge Simpson holds up the potato and says “I just think it’s neat”? That’s a halfling about literally anything. Not everything, they have personal interests of course, but a halfling can find the “neat!” in literally anything. No matter how many people they meet, they’ll still be excited to get to know someone new. No matter how far they travel, a new vista can still take their breath away. No matter how much pain they have to endure, they’ll still be grateful for a new day to find new wonders in their life.

4. Halfling Are Modest. Why are halflings so helpful, brave, and always looking for the new no matter how much they experience, good or bad? Because they don’t think too highly of themselves. That’s not to say that they have low self-esteem or that they lack pride. A halfling knows, without self-deprecating, that they’re only a small part of the world, but they also know, without ego, that the world would be less without them, and that the same is true of most anything in the world. Sure, there are bad things that probably no one would miss, but most things in the world have some value to someone. Most people might be terrified of spiders (yours truly included) but there are also people who think they’re the coolest, and regardless of how you feel about them personally they have a valuable place in the food chain. Halflings never lack for wonder because they aren’t afraid of how vast the world is. Halflings are great friends because nothing they want for themselves is more important than supporting the people they care about. Halflings are courageous because they know there are too many precious people and things in the world to only be worried about saving their own skin, otherwise they wouldn’t have left the comfort of home! Halflings aren’t easily overwhelmed, but they generally know when something isn’t to be taken too lightly, either.

5. Halflings Are Lucky. I know that “lucky” isn’t really a personal quality, but it’s nevertheless an essential part of what makes halflings so Neat™. This is, in fact, the converging point of the halfling traditions of Friendship, Courage, Wonder, and Modesty. As much as I feel burned by the Wizards, they did introduce me to a concept that I really, really like, and I don’t believe in throwing away good ideas just because I’m mad at the people I got them from. That the reason halflings are so lucky is because they’re such wholesome and kind folk, beset by danger on all sides, that in a world where Good is a fundamental force, the universe itself looks out for them every once in a while. And if the very universe appreciates halflings that much, I think we should too. Plus, you kids wanna talk about cryptid characters? What’s more cryptid than a happy-go-looking chubby homebody with a name like Bernie Teakettle who goes out to check their mail, gets swept up into High Adventure, and Mr. Magoos their way through stopping an apocalypse? King shit, that is.

So in summary, much like the potatoes they cherish, halflings are just really neat.

Fuck the kender tho, tbh. All my homies hate the kender.

#halfling #appreciation #ttrpg

[pranay-bansal-digital-media]

Digital Media: Sources and Significance | Reader

1. Wolf, M.J.P. (2007) The video game explosion: a history from Pong to Playstation and beyond. Westport, Conn: Greenword Press.

In this article, the author talks about the timeline of video game history and how the video game landscape has evolved ever since the groundbreaking game Pong was released on 29 November 1972. He also talks about the growing influence of video games on other mediums like film and television and the use of video technology in games, leading to its gradual evolution.

I found this paper especially useful since the information on old/retro video games is often quite scarce, and it is generally extremely difficult to play older games because of the way the games industry has grown over the past few years. Getting to know about the different modes of exhibitions of video games apart from home games was quite interesting as they are often neglected nowadays.

2. Malkowski, J., Russworm, T.A.M., Everett, A., Soderman, B., deWinter, J., Kocurek, C., Huntemann, N.B., Trepanier-Jobin, G., Chien, I. and Murray, S. (2017) Gaming and Representation: Race, Gender, and Sexuality in Video Games. Bloomington: Indiana University Press.

This paper reflects on the gaming industrial complex (GIC) as a whole and talks about the sexuality, race and intersectionality of gender in game narratives in the present world. Moreover, it delves into the increasing concerns about the influence of gaming when it comes to violence, misogyny and racism, which could also be a leading factor in the big shift in the gaming demographics in recent years.

In my opinion, it is extremely important, especially in recent times, to be aware of the type of narratives and characters portrayed in games, keeping the majority of the demographic in mind. Game designers have a responsibility to be conscious of the choices made when it comes to representation in games.

3. Andre, F., Broman, N., Hakansson, A. and Claesdotter-Knutson, E. (2020) ‘Gaming addiction, problematic gaming and engaged gaming — Prevalence and associated characteristics’, Addictive behaviours reports, 12, pp. 100324 - 100324.

This article discusses the psychological impact of gaming on certain groups of people and the different classifications these fall under. It delves into Gaming disorder and the potential risks involved with extreme use of video games, especially when it comes to it being a replacement for social interactions.

I was really intrigued by the data presented in the article. It is no doubt highly important to acknowledge these disorders as the current millennial generation often dismisses it as false rumours spread to prevent them from engaging in games.

I personally liked the article since it puts forward a real issue when it comes to the industry. Designers often make games as a cash grab rather than a passion project, which often leads to highly addictive idle games which are filled to the brim with micro transactions, leading to problematic and often addictive gaming.

4. Cargoes, N.G. (2016). RPG Mythos: Narrative Gaming as Modern Mythmaking. Games and culture, 11(6), 583-607.

In this essay, the author talks about narrative gaming in Role playing games and its relation to traditional narrative forms in order to understand how social interactions have changed with the advancement of technology. It also aims to understand the system around the so called “synthetic world” of video games.

I found it really interesting to think of video games as a form of storytelling similar to folklore and mythology, since these are one of the oldest ways for us to connect to our ancestors. RPG games have a very similar function and are constantly evolving, making them one of the most powerful forms of storytelling in recent times.

5. Jayasingha, B. (2022) ‘What is the Future of Gaming?’, ITNow, 64(3), pp. 8-9.

In this particular paper, Jayasingha discusses the evolution of gaming and where it is headed from here onwards. She talks about the next generation of games and the various and how gaming has been revolutionised on multiple fronts in the past few years. She also explains the metaverse and the huge impact it has had on gaming along with significance of the growing esports community.

I believe being aware of the various possibilities in which gaming can evolve in the future is of utmost importance, especially due to its current influence in contemporary media and the tremendous rate at which it is growing.

6. Hattie, A. (2018) ‘THE VULNERABLE SPECTATOR: Against Nostalgia’, Film quarterly, 72(2), pp. 81-84.

This article explores the growing interest in cinema from the 70s and discusses how rewatching these films can be interpreted as resisting historical narratives. The author says that integrating 1970s into contemporary cinema is seen as a form of active resistance.

This article was quite different from the rest of the articles that I explored for my reader. The author explores political and social dimensions in film culture in a very personal way. I believe it is critical for students to know about cinematic history and recognise the political landscapes of different eras. Film can be a lot more than entertainment and can even act as a medium for cultural commentary and also give the viewers exposure to diverse perspectives.

7. Akgun, B. (2020) ‘Mythology moe-ivied: classical witches, warriors, and monsters in Japanese manga’, Journal of graphic novels & comics, 11(3), pp. 271-284.

This article discusses the resurgence of female figures like witches and warriors during the 20th and 21st centuries and uses Japanese manga such as “Berserk” and “Soul Eater” as an example. The article explores the boom in popularity and the evolution of the representation of female characters, and how these archetypes are received in present times. It discusses the intertextuality between classical mythology and Japanese manga and the influence Japanese media has had in how we interpret certain characters.

I personally found it interesting how the article talks about the “moe-ification” process and sheds light on the gender dynamics in manga narratives. It also goes into the impact of female characters on modern storytelling trends. Understanding these trends and their social implications is crucial.

8. Chen, C.-S., Lu, H.-P., & Luor, T. (2018). A new flow of Location Based Service mobile games: Non-stickiness on Pokémon Go. Computers in Human Behavior, 89, 182-190.

This particular article explores the success of Pokémon GO and the impact it had on the mobile gaming industry. It highlights the significant smartphone penetration rate using Taiwan as the basis for its research. It delves into Location Based Service technologies and how it encourages players to step out and explore while also actively engaging with the game.

In my opinion, the article gives vital information on the different factors which contribute to the success of a mobile game, may of which can also be applicable to computer and console gaming. It gives valuable insights on media consumption patterns and the impact of technology on user engagement.

9. Collin’s, K. (2011; 2008; 2017;) From PAC-Man to Pop Music: Interactive Audio in Games and New Media. 1st edn. Edited by K. Collins. Farnham: Ashgate Publishing Ltd.

This book delves into the history of the evolution of sound in video games, from the silent retro games all the way to the intense audio experiences of contemporary games. It explores crucial milestones in gaming when it comes to audio and sound and the advancements in sound chips, consoles and different video formats.

I believe it provides an overview of the evolution of game audio which is important to know about since sound is an integral part of contemporary gaming. It also explores the relationship between the gaming and music industries and how different mediums are interconnected in today’s time.

10. Lo, S.-K., Lie, T. and Li, C.-L. (2016) ‘The relationship between online game playing motivation and selection of online gaming characters - the case of Taiwan’, Behaviour & information technology, 35(1), pp. 57-67.

The article discusses the growth of online gaming industry and the part widespread internet access has played in it. It explores player motivations and categorises them into different types, and talks about how players influence the choice of non-playable in game characters.

I think the article is relevant since it delves into the integration of celebrities in virtual spaces and how this impacts player experiences. Understanding the different preferences and motivations of the players is extremely important to understand how game design and marketing works. I personally found it really intriguing how the article talks about the relationship between games and social dynamics, and the influence players can have on the decisions made by NPCs.

[thewritingcoconut]

Writing Myself as anOC

The second of two works introduced by my previous framing essay. As this one makes reference to my FGO fanfics, let me know if you ever want me to send a link to the stories or something.

Now you, a normie, may be wondering what an “OC” is. 

“OC” stands for “original character”. In the fandom community, an OC is a character not associated with the company that created the series or franchise, but created by the fan themselves as a character that could live in the franchise’s universe. The OC is then used in fan content such as fanfiction, fanart, and roleplays.

Now that we’ve got that settled, let me tell you, I’m an OC making veteran. I’ve been involved in fandom culture since middle school, the cringiest time of our lives. From Sonic, to MLP:FiM, to Undertale, to My Hero Academia and other anime, I’ve seen and made my fair share of OCs. All of which, I made with the intention of not being me. It wasn’t until January of 2020 that I decided to write myself into the franchise I had most recently hyper-fixated on. My choice of poison was Fate Grand Order.

Fate Grand Order is a mobile gacha game based on the Fate Stay Night franchise owned by Type Moon. The first entry of the franchise was a visual novel featuring mages summoning seven heroes from history and myth to battle for the chance to make a wish on the Holy Grail. From there the franchise builds on that. In Fate Grand Order, the player becomes humanity’s last “Master” and must summon these heroes and travel through space and time to save the world. 

Well, the journey is more complicated than that but that’s the gist of it.

What’s important is that it’s ridiculously easy to write in an original character as the Master and in January of 2020, after a bit more than a year playing the game, I wrote myself as the Master and inadvertently began to reflect on how I saw myself.

My OC spawned from a simple question: What would the story of Fate Grand Order be like if  I was the Master?

I named my OC Violet Blackwell. Named so because of internal conflict. Do I attach, or do I distance? Say this character is me or say she is someone separate?

How much of myself did I want to share with the world? How much did I want to hide? My first name would have stood out too much, so the “me” on the Google Doc needed a new one. Violet. She would be Violet, a variant of a name I used whenever I played an rpg. As for her last name, Blackwood was common enough to maintain my anonymity, but seeing my own last name on the page made me feel too exposed, so I changed it. She would be Blackwell. I could remain hidden in my woods while she could stand by the well and greet the audience as they came for a drink.

Of course, Violet Blackwell looks like me. Heavy-set, bespectacled black girl. Looks a bit young for her age. Almost always wearing hoops.

With that settled, I began to write. And as I wrote, I realized I was a multi-faceted human being…..and sometimes that contradicted consistency.

While fictional characters can be written to be quite complex, they don’t quite reach the level of complexity that comes from being a real human being. This, in part because writing a character to the level of complexity of a real person is rather tedious. It would take many, many pages and be at the expense of any and all supporting cast and plot progression. Not very fun for the reader either.

 As a human being, I react differently to different situations, but also, I can react differently to the same situations, simply because of an ever so slight shift in my mood. For the sake of cohesion and giving the audience a solid idea of what my OC was all about, she couldn’t be like that. Every little thing  I wrote her doing, saying, or thinking would shape who she was to the audience. Violet was to exist in a universe where all the other characters have already established themselves with the audience. They had profiles, dialogue, and youtube videos that the audience could refer to about them. 

 Violet Blackwell didn’t have that luxury. 

The canon characters already had the audience’s favor (or in some cases, their ire), it was Violet that had to carve out a place for herself in the audience’s heart. 

And by extension...I had to earn a place in their hearts.

I wanted Violet to be lovable, because that meant I was lovable. 

Many ideas came to mind on how to make Violet cooler, prettier, more appealing. I contemplated making her able to hold her own against the heroes she summoned, a bonafide badass! Make many(read:all) of the canon characters attracted to her! Make her the smartest person in every scene! Show them how awesome she is!

But no. I couldn’t do it. As a writer I couldn’t do it. My integrity as one wouldn’t allow it. A character like that tends to ruin a story. Dissolves all the tension. Sucks up all the energy the supporting cast has to offer.

As a person I couldn’t do it. It would defeat the purpose of writing myself into the game. Even if I had magic abilities, I would never be powerful enough to defeat my own heroes! I could never make so many people attracted to me! In a universe full of all the geniuses history has to offer, I would never be the smartest person in the room! I wouldn’t be myself at all!

So my hands went back to the keyboard, and I wrote. In the reflection of my computer screen I looked at myself and tried to show, share myself in a way  that could be understood by people who would never meet me, flaws and all. 

Violet tries to be calm and reasonable, however her youth and inexperience makes it difficult for her. She gets embarrassed when she lets her emotions get the best of her. She tries to be friendly, but takes a while to truly let anyone close to her. She is responsible and hates letting other people down. She cares a lot about how others feel about her and because of that cultivates an image to be seen through. She tries to be kind, tries to be moral and feels it deeply when she fails to be. She’s insecure but tries to hide it. She is timid, but will one day become brave. She is loved, very much so, but has a hard time realizing it.

For a year, I didn’t know whether I had written her “right”. I had made up my mind I would write myself as a character, but... Was I enjoyable to read? (“She cares a lot about how others feel about her and because of that cultivates an image to be seen through.”) A boring or unlikable protagonist can ruin a good story, while an interesting and likeable character could bring it to new heights. Was I someone who could carry a story?

My answer came in a story about Violet gathering ingredients and making soup, a mundane tale more slice of life than the fantasy adventure of Fate Grand Order proper. It was about six months after I wrote and posted the story. Someone had read the story, and commented, a rare, wondrous thing. (For every hundred views on a story, you’d be lucky to get even one comment). It was from a user called Oujo_sama.

 “Violet is very endearing”, “I like her character!”

Validation. Sweet, Sweet Validation.

I was doing something right.

Bit by bit, reexamination by reexamination, Violet Blackwell became a main character, the female lead in twenty-three and counting stories. In a way, she is the diary I write in, though I admittedly limit my feelings to the extent of their story relevance.

She is online for the perusal of absolute strangers, the people who will know me ,but never know they know me.

#essay #oc #writing #personal writing #self reflection #fanfic #fanfiction #complete works #completed work #original character #fgo #fandom #ao3 writer #ao3

[faroreswinds]

覇道 vs 王道 - By Someone With Limited Knowledge and a Short Attention Span

In light of the resurgence of the terminology used in the Nintendo Dream interview regarding 3 Houses, I wanted to take a little bit of a deeper look into "Hadou" (覇道) and "Oudou" (王道).

Again.

The Kanji Breakdown

Before we get into the actual words themselves, I wanted to break out the kanji that form them. Let's start with oudou. Oudou consists of two kanji, "ou" (王) and "dou" (道). This are very basic kanji. "Ou" means "king" and "dou" means path or road. With kanji, the makeup of the kanji can often (but not always) allude to the meaning of the word it represents, in this case something akin to "King's Path".

Similarly, we have 覇道 (Hadou). We have already discussed "dou" but "ha" (覇) means supremacy (over a nation), hegemony, domination, leadership. The combination of these two kanji alludes to a meaning of "domination road" or "hegemony path".

Great, but what do the words actually mean?

That's a bit tricky, because there is a lot of history, philosophy, and cultural subtleties to understand.

At their core, "Oudou" means righteous path, righteous government, just path, kingship, rule of right; "Hadou" means military rule.

Interestingly, oudou can also refer to "classic" in regards to games like rpgs, where the prince saves the princess, that sort of thing. It can also mean "short cut" or the "easy way" but we aren't really here for those particular definitions today.

Origin of Oudou and Hadou

Finding anything in English regarding these terms has proved to be a... difficult task. From what I can understand, though, is that these words find their origin from Confucius and his philosophy.

Confucius was a Chinese philosopher born in 551 BCE, and by all accounts seems to have been an ambitious man. Ambitious to correct the world. It would take a lot to dissect Confucius’ life story, so I only want to focus on the important parts that are related to the origins of Hadou and Oudou. 

Simply put, Confucius is considered the founder of Confucianism, a philosophical relating to a system of thought and behavior. It is meant to dictate a way of life, a way of governing, tradition, etc. It rests on the fundamental belief that human beings are good and teachable, and focuses on the cultivation of virtue in a morally organized world. 

Confucius had been a poor man and wished to find a way to restore a kind of socio-political order that had prevailed sometime in the beginning of the Zhou dynasty. His work over his lifetime would set in motion the teaching of Confucianism. 

There is a very strong focus on humanness and morality in this school of thought. Rulers must cultivate themselves in this morality, lead by moral example rather than rule of law and threat of punishment. One who cultivates themselves to a virtue that is worthy of a prince is indeed a prince, but a prince who does not cultivate himself is not worthy of being a prince. This morality include the famous “golden rule” - do not treat others as you would not want to be treated yourself. 

Confucius was very focused on “virtue” in leaders and people, but the evolution of Confucianism did not end with his death. Mencius, a Confucian philosopher born in 372 BCE, often described as the ‘second sage’ (second to Confucius himself), would expand on many of these ideologies Confucius had developed.

Mencius was more aggressive in his beliefs. He believed that a ruler who forsakes ethical behavior and engages in extreme misrule can and should be removed, even executed. Mencius believed that a ruler’s success was directly tied to the leader’s ability to win the hearts and minds of the people. The ruler needed the people, and the people were the heart of the power that the ruler had. The people gave legitimacy to the ruler. AKA, the common people were the focus. 

Mencius would go on to disguise the difference between 徳化, inspired by virtue, and 武力, armed force, and made a distinction between the ‘royal road’ and ‘supremacy’. 

Unfortunately, there isn’t much I can find in English that really goes into depth with Hadou and Oudou from here. 

Confucianism in Japan

As with many things from ancient China, Confucianism found its way into Japan and was incorporated into the culture and history of the country, and this includes the mentality surrounding the political climate.

With the very conditional perspective that Confucianism affirmed in relation to governing, it would be no surprise to anyone that the teachings circulated the ruling elite first and foremost. A wider teaching would have posed more challenges to the ones in power, after all. 

There was also the famous “Mandate of Heaven”, which I won’t go into too much depth here. But, I will put the relate bit here, source linked here: 

According to numerous passages in the History, if a ruler repeatedly abandoned his concern for the people, heaven would eventually give the mandate to rule to a new line, one that distinguished itself on the basis of concern for the people. In this process, the role of the people was instrumental. One passage in the History even states that heaven and the people are nearly the same: “heaven sees with the eyes of the people, and hears with the ears of the people.”

Ultimately, as with many philosophies, the ways of governing did not fully embrace these teachings, as in so much as they were adapted. If you are interested in more, go ahead and read the link, but it’s really not too important for this post. However, what is important is that eventually, the teaching did make it to Japan, and were adapted to some degree.

Modern Use in Japan

As language does, words change and adapt. 

Oudou and Hadou retain a lot of of their original meanings, but they do have modern uses that go beyond their meanings of forms of ruling. 

Here is the link I originally had posted long ago regarding these usages. WARNING: Japanese only. 

We have already discussed some meanings of Oudou beyond the ‘right way to rule’, including ‘classic’ or ‘short cut’ or ‘the right way to do something’, and of the two has required the most new usages; however, the connotations of these words have not changed. 

Hadou and Outou are antonyms of each other. Hadou is very much a negatively connotated word, used most frequently to express someone’s abuse of power. 

According to this article, politics really possess both Outou and Hadou. To quote the article with a bit of translation: 

Both politics have a royal side and a supremacy side. Especially in diplomacy called power games, there is a reality that we have to rely on supremacy. However, if all politics becomes a "dominance", it will become a society of weak meat and strong food, devouring this finite earth, destroying the environment and driving it to the brink of destruction.

In other words, Outou is an idealist view of how governing should work. However, realistically you need both Outou and Hadou, but too much Hadou will lead to destruction. A balance is needed. 

In Relation to Three Houses

When talking about this interview, we mean this one here. Unfortunately, I’m having a hard time finding the actual Japanese version, but according to the translated version, this is said: 

Kusakihara: Edelgard’s route’s theme is literally “military rule.” It’s the route where you have your own cause and convictions, and even if people you know stand in your way, you mow ‘em down. In contrast, Dimitri’s route began with the idea to make it “righteous,” the easy approach. It’s just, at the beginning, poor sensitive Dimitri ends up like that because of the circumstances… We sprinkled in juxtapositions like that.

Everyone: (laughs)

Kusakihara: Once he’s fallen, he goes through some twists and turns and awakens to the true king’s path. I wanted to write the righteous route as the conquest route’s opposite [TN: lit. “paradox”].

This is pretty self explanatory. Hadou and Outou are two different ways to rule. In according to Mencius, Outou is the virtuous, right way; Hadou is the forceful, wrong way. They are opposites, and that is exactly what Kusakihara used them for. The routes are opposites of each other. Dimitri is the ‘right way’, the way of the people, for the people, the vitreous way. Edelgard is the destructive way, the forceful way, not the way of the people. 

Actually, this does really line up even with their own beliefs. Edelgard believes in a strong leadership, that everyone should pull themselves up by their bootstraps, and only those who can keep up will find themselves in power. Dimitri, however, believes rulers serve the people, are only as strong as the people, and needs the people. 

Kusakihara really did put thought into it... even if the story didn’t fully deliver. But the intent was there.

ANYWAYS

Thanks for coming to my ted talk about Hadou and Oudou. I could have gone into deeper depth but... Well, I don’t want to make a super big essay. 

Thanks for reading. 

Yes, I took writing shortcuts. 

EDIT: 

YOOOOOO, thanks to @nilsh13​ for linking me to the original Japanese interview!

And yeah, they use 覇道 and 王道! Excellent! 

Thank you so much!

#my thoughts #translation #3h discourse #hadou #oudou

[simul16]

The Curious Case of the Original Women of Ravenloft (or Loose Canons Can Be Dangerous)

For many years, we in the Dungeons & Dragons RPG studio have considered things like D&D novels, D&D video games, D&D comic books, as wonderful expressions of D&D storytelling and D&D lore, but they are not canonical for the D&D roleplaying game. -Jeremy Crawford Those among us who are fortunate enough to become shepherds or stewards of the D&D game must train ourselves to become art and lore experts so that we know when we’re being faithful to the game’s past and when we’re moving in a new direction. We decide, based on our understanding of the game’s history and audience, what artwork or lore to pull forward, what artwork or lore needs to change, and what artwork or lore should be buried so deep that it never again sees the light of day. -Chris Perkins There is a very simple statement to be made about all these stories: they do not really come off intellectually as problems, and they do not come off artistically as fiction. They are too contrived, and too little aware of what goes on in the world. - Raymond Chandler, "The Simple Art of Murder"

There's been a bit of a stir in the D&D community over some comments that Jeremy Crawford made at a press briefing prior to the D&D Live event about how only the information published in a WotC Fifth Edition D&D product is 'canonical' for D&D. There was enough of a reaction that Chris Perkins, self-described as "one of the D&D Studio's principal game architects", published an article on the WotC site (linked under Perkins's name above) explaining this statement and explicitly calling out what it means when discussing an intellectual property with a long-standing and vast catalog of lore, where that lore is one of the primary positive features of that property.

On the surface, it seems pretty straight-forward. Crawford's comments focused on not overwhelming partners with lore requirements when producing peripheral products like novels and video games so that they can focus on producing their product rather than meeting arbitrary lore requirements (not that this seems to have helped the most recent video game product release). Perkins mentions this, too, explicitly evoking R.A. Salvatore's novels and how Salvatore (perhaps infamously) used to incorporate elements into his stories that were outright illegal according to the D&D game rules (such as Drizzt's dual-wielding of scimitars, only made legal in 5e, or his creation of Pikel Bouldershoulder, a 'mentally challenged' dwarf who believed himself to be a druid and even eventually displayed druid-like abilities, even though dwarves in the D&D of the era of the Cleric Quintet series, where Pikel appeared, were not allowed to be druids). Perkins's comments also refocused the discussion on players, DMs, and their games, making the point that every campaign develops its own canon, and that the version of the Forgotten Realms run at a given D&D table does not perfectly match either the version of the same world run at a different table, or even as presented in the official published campaign sourcebooks.

This position is easily defensible; I even presented it myself in a response on Twitter to Perkins's own comment on an event in the Acquisitions Incorporated campaign he runs and records for online consumption. A restaurant that exists in the Forgotten Realms of Acquisitions Incorporated might have been shut down for health reasons after a shambling mound attack in a different campaign, or a previous party of PCs might have made a disastrous error during the war with reborn Netheril that led to the fall of Cormyr, with the coastal area of the former kingdom being absorbed by their rivals in Sembia while the interior lands were allowed to be overrun with monsters migrating out of the Stonelands (which makes for a nearly ideal 'starter zone' for a new 5E Realms campaign, IMO).

But just because there are benefits to such an approach to canon doesn't mean that it's the best way to approach canon, particularly with respect to a property which has had a long lifespan and is expected to have an even longer one. There are plenty of ways to criticize such an approach, many of which have been brought up by other commenters:

In any long-lasting intellectual property, there is a core of fans that are devoted to the lore and canon of that property -- see Harry Potter, Star Wars, etc. 'Loosening up' the lore not only convinces your existing super-fans not to continue to support and evangelize your property, but also prevents the creation of a new generation of such fans to continue your property's life into a new generation of fans.

Since much of what is on offer in a published sourcebook is the current 'canon' (despite Perkins's statement that "we don't produce sourcebooks that spool out a ton of backstory", the reality is that much of the content of sourcebooks like the Sword Coast Adventurer's Guide and Van Richten's Guide to Ravenloft is setting material: i.e.: "backstory"), if you're not going to stand up for the lore of prior editions, and by implication make it clear that future editions aren't going to be beholden to the lore of even this edition, then why get heavily invested in the lore at all? (This ties into the above point, as the fewer people who get invested in the lore of a property, the fewer evangelists for that property you will produce.)

If you have any Organized Play for your game (which D&D does, as does so-called 'living card games' which are based on an advancing storyline), loosened canon makes it easier for those authors to produce content, but simultaneously makes it harder to incorporate the content that players enjoy into the overall game. In addition, the later stories can't take into account all of the potential outcomes that a given group might have taken through a given adventure, so in effect, this turns all adventures into "railroad plots" with respect to the larger campaign narrative, where the best outcome is assumed for each adventure and thus the PCs don't really have the ability to influence the overall metaplot. (This gets complicated, because it necessarily involves different campaign outcomes contesting with one another to become the 'canonical' outcome, which is itself pretty challenging. Regardless, one of the attractions of a 'living campaign' is that the campaign in theory adapts to respond to the actions of the players; a 'living campaign' that doesn't do this is no different than a traditional scripted campaign.)

Perkins's final point in his essay, though, seems just as important to the current 'administration' as any of the other explanations, and that's the quote referenced at the top. In effect, what Perkins is saying is that the 5E team wants to be able to take what they consider 'good lore' and keep in in the game, while revising or outright eliminating 'bad lore'. Again, this seems like a defensible position, but it also has a flip side: it assumes that your changes to the lore are not just lazy or arbitrary, but are made consciously and for specific reasons. This could work well if you actually follow through on your intention, but given the realities of publishing on a schedule, it's inevitable that some amount of lazy or arbitrary decision-making will occur, and in those decisions, you can inadvertently (or allow someone without your knowledge to deliberately) make decisions that harm the canon. The statement seems reasonable, but as we'll discover below, it's actually fundamentally dishonest.

With that in mind, let's explore...

The Curious Case of the Original Women of Ravenloft

The original Ravenloft setting as released in the early 1990s, like the game studio that released it, contained a lot of old white guys, and it didn't necessarily get any more diverse with time. The early 3E Ravenloft product "Secrets of the Dread Realms" by Swords & Sorcery Studios lists eighteen Domains of Dread, half of which were unambiguously run by old white dudes. Depending on how you want to define 'old' and 'white', you could even add a few more domains to the list (such as Verbrek, ruled by the son of the former old white dude darklord, and Markovia, depending on whether you consider Markov to still be human enough to qualify as an old white dude). Only five domains were ruled by female darklords, and one of those (Borca) isn't even wholly ruled by the female darklord. Comparing the darklords of Secrets of the Dread Realms to that of Van Richten's Guide to Ravenloft points out just how much of a priority it was for the 5E team to increase the diversity of darklords in the setting.

Curiously, though, the female characters retained from classic Ravenloft don't appear to have been changed in a manner that fits Perkins's explanation of what they consider when deciding what to bring forward from older lore, as in nearly every case, the character became less interesting and possesses less agency in her current 5E presentation than she did in her original pre-5E incarnation.

Jacqueline Montarri

Let's begin our survey with a character who technically doesn't yet exist in 5E lore, and thus by Crawford's definition doesn't exist in lore at all. It might seem odd to begin my presentation of 'female characters deprived of agency by their 5E presentations' by starting with a character who wasn't presented, but on the other hand, being removed from canon and thus from existence could be argued as the most severe loss of agency possible for a character.

Jacqueline doesn't exist in 5E because the organization she founded, the Red Vardo Traders, doesn't exist in 5E. In older editions, the Red Vardo Traders was both a legitimate trade company as well as a criminal organization engaging in smuggling, assassination, and other crimes, and are based in the Barovian town of Krezk. The version of Krezk presented in Curse of Strahd, however, makes no mention of the Red Vardo Traders, choosing instead to present Krezk as a small village dominated by the Monastery of Saint Markovia*, a location that does not exist in pre-5E Ravenloft. The Red Vardo Traders were founded by Jacqueline for a specific purpose, and thus both their legitimate business operations and their criminal pursuits are but shells for their true purpose: to find Jacqueline Montarri's head.

* - Saint Markovia himself was initially presented in the late 3E reboot adventure "Expedition to Castle Ravenloft", as one of the inhabitants of Castle Ravenloft's crypts; Markovia was changed from a man into a woman as part of Curse of Strahd, and the Sanctuary of First Light, the largest church of the Morninglord in Ravenloft pre-5E and placed in Krezk by its developers, was re-written in Curse of Strahd as the Monastery of Saint Markovia.

Montarri sought the secret of eternal youth, and in doing so, consulted with the Vistani seer Madame Eva to find it. Eva originally resisted, but finally revealed that the secret rested within the library of Castle Ravenloft, and Jacqueline, out of a desire to be the only possessor of such a secret, out of a need to do evil, or perhaps both, murdered Eva before departing for Strahd's castle. Unfortunately, Jacqueline's infiltration of Castle Ravenloft attracted Strahd's attention, and she was captured, turned over to the villagers in Barovia, and beheaded for her crime against Strahd. However, some of Eva's fellow Vistani asked to take custody of the body, explaining that the woman had murdered their leader, and Jacqueline eventually awoke -- wearing Madame Eva's head. She since learned that she could 'wear' the decapitated heads of others, and cannot survive long without one. Jacqueline's body has not aged, but her head ages a year for each day she wears it, requiring her to continually murder (and possibly assume the identities of those she murders) to survive while she searches for her original head, the only thing that can break the curse that Eva's kin placed upon her.

That's a pretty amazing backstory, and one I'd think would be very worth including in a new Ravenloft setting, save for one problem: Madame Eva's death. Now this isn't actually a big problem in the context of classic Ravenloft: both Eva herself and her tribe of Vistani were known to have a 'curious' relationship to time (former Ravenloft writer John W. Mangrum explicitly called Madame Eva a "time traveler" when it was pointed out that Eva's continued existence in Ravenloft canon suggested that she had not actually been killed), but it did cause confusion among those with a more static approach to continuity. Since Eva unambiguously exists in 5E Ravenloft, being referenced in both Curse of Strahd and Van Richten's Guide to Ravenloft, it appears that the decision to jettison Jacqueline and her Red Vardo Traders comes mainly from a desire to untangle that confusing bit about Eva actually being dead but still walking around.

Granted, the need for an organization like the Red Vardo Traders is perhaps less significant in a Ravenloft where the Core doesn't exist and every domain is its own Island of Terror, but given that Van Richten's Guide to Ravenloft still lists a number of organizations known to be capable of travel between domains, including two that they just invented out of whole cloth, it would seem as though making use of a pre-existing organization might have worked just as well. The other complicating factor is that Montarri is not herself a darklord; with the focus of the 5E Ravenloft experience on darklords as linchpins of the setting, having a compelling NPC who isn't a darklord (but who honestly could be made into one fairly easily, as her curse lends itself to a darklord's punishment and her formation of the Red Vardo Traders into her way of dealing with the limitations of being a darklord) would seem to detract from what the 5E designers were trying to do with the setting.

But this isn't the only or even the worst example of a female character deprived of her agency in the new regime...

Gabrielle Aderre

Unlike Jacqueline, whose elimination from Ravenloft seems like an editorial red pen taken to an otherwise merely irritating issue, anyone familiar with Gabrielle Aderre's backstory realized that her background would have to change significantly given the changes to the Vistani in Van Richten's Guide to Ravenloft.

In pre-5E Ravenloft, the Vistani were an exotic human culture of outsiders, driven by their heritage and abilities to make their own way within the Domains of Dread, and having developed mysterious abilities and customs to protect themselves from its dangers. Non-Vistani were viewed with suspicion, to the point where the Vistani had a specific word ("giorgio") for non-Vistani, and those who chose to breed with non-Vistani and their offspring were frequently outcast from Vistani culture. Female Vistani were often gifted with 'The Sight', a precognitive or divination ability, but the Vistani took great pains to ensure that no male children were born with The Sight, lest that child grow up to be a prophesied doom-bringer known as a Dukkar. (One such seer was Hyskosa, whose legendary prophesies eventually led to the Great Conjunction which nearly tore the realms apart.) Because of their separation from mundane society, more traditional settlements tended to fear the Vistani, especially their rumored skill with fashioning deadly curses when wronged, and though Vistani would often trade with such settlements, they were never truly welcome in them; ultimately, the Vistani would follow their wanderlust and move on, leaving even more strange tales and confusing lore in their wake.

Van Richten's Guide to Ravenloft changed all that. Now, the Vistani are simply a sprawling human culture who "refuses to be captives of a single domain, the Mists, or any terror." Their abilities are no longer unique -- there are a number of Vistani who "possess the Mist Walker Dark Gift" that can be taken by any character -- though they are said to "understand how to employ Mist Talismans" with their "traditional magic". Instead of being seen by others as mysterious outsiders, now "the news and goods Vistani bring ensures a genuine welcome" from more traditional settlements, and only "more dismal communities view Vistani with suspicion"; likewise the Vistani themselves no longer refer to non-Vistani as "giorgio", nor do they seem to have any issues with those of mixed Vistani blood traveling or dwelling among them. Most significantly, the legends of the Dukkar no longer exist, with both male and female Vistani serving as spellcasters "with many favoring divination magic for the practical help if provides in avoiding danger." In fact, Hyskosa is no longer a lost seer prophesying the doom of the Dread Realms, but "a renowned poet and storyteller" who is alive and leads his own caravan of Vistani through the Mists.

Given all of this, Gabrielle's pre-5E backstory would need to change quite drastically. Gabrielle's mother was half-Vistani, and possessed enough of The Sight to prophesy that Gabrielle could never seek to have a family or tragedy would be the inevitable result. Learning to hate the Vistani based on her mother's incessant refusal to acknowledge her desires for a family, Gabrielle eventually abandoned her mother during a werewolf attack, fleeing into Invidia where she was captured and brought before the darklord, who sought to enslave her to command her exotic sensuality. Instead, Gabrielle made use of the traditional Vistani "evil eye" to paralyze the darklord, murdering him and assuming his lordship over Invidia. Not long after, Gabrielle was visited by a 'mysterious gentleman caller', after which she discovered she was pregnant, eventually giving birth to a boy who proved to possess The Sight. Delighted that she had managed to give birth to a Dukkar, she failed to realize how quickly the boy grew or how powerful he proved to be until her son, Malocchio, usurped her throne (but not the dark lordship of Invidia) and cast her out of his court. Though there are definitely some problematic things in this story, it's not so terrible that it couldn't still serve as the foundation of a tragic Darklord's origin.

In Van Richten's Guide to Ravenloft, Invidia is detailed among the short descriptions of "Other Domains of Dread", and her pre-5E backstory has been utterly thrown out. There's no indication of how Gabrielle became darklord of Invidia, who the father of her child is, or anything from pre-5E lore. Instead, Gabrielle has become one of the parents from the story of Charlie and the Chocolate Factory -- a rich, bad mom convinced of her child's greatness and willing to accept anyone who supports that story while turning a blind eye to her child's misbehavior and cruelty toward his servants and teachers.

Pre-5E Gabrielle wasn't ideal, but at least she had a drive: she wanted a family, and refused to accept that her desire could not overcome the inevitable grinding wheel of fate. 5E Gabrielle arguably isn't even evil, just supernaturally deluded (ironically, her main flaw is her blind acceptance of the rightness of her own privilege), so it's not even clear why she rather than Malocchio is the darklord of Invidia. Rather than wanting a thing she can never have, 'modern' Gabrielle assumes she has a thing that doesn't exist, and is less a tragic figure desperately trying to assert her own agency than a deluded puppet, acting out a part in a drama that makes no sense. Granted, as we noted above, some degree of Gabrielle's old backstory would need to change to accommodate the other changes to Ravenloft lore as part of the 5E transition, but the decision to simply throw out the old Gabrielle and turn her into a character who isn't even aware of her own lack of agency in her situation is, in its own way, even more tragic than Gabrielle's original pre-5E story.

Isolde

Isolde is a fascinating character, because she was created after the Carnival, the group she leads in Ravenloft lore. In pre-5E Ravenloft, the Carnival was the Carnival l'Morai, run by a sinister being known as the Puppetmaster. The events that led to the Carnival breaking free of the Puppetmaster's influence are detailed in the 1993 Ravenloft novel "Carnival of Fear". Then, in the 1999 supplement "Carnival", John W. Mangrum and Steve Miller take the Carnival l'Morai and introduce them to Isolde, a mysterious woman who joins the Carnival and assumes the role of its leader and protector. Much of the internal story within the supplement itself involves the theories that many of the other characters have about who Isolde is and where she comes from, and how various aspects of the Carnival, such as the Twisting (a change that comes over those who remain with the Carnival for any signficant amount of time and seem to bring hidden or secret traits to the surface as exotic abilities or mutations), relate to her. In the end, though (spoiler alert!), Mangrum and Miller reveal Isolde's true backstory -- she is a chaotic good ghaele eladrin who voluntarily chose to enter Ravenloft in pursuit of a fiend named the Gentleman Caller (thus the Carnival supplement is also the origin of the Caller, one of the signature non-darklord villains of the setting). The Twisting is revealed to be a side-effect of Isolde's 'reality wrinkle'; as an outsider, Isolde can re-make reality in a short distance around her, and one of the ways she does this is by bringing someone's inner self out and making it visible to others. Honestly, if you wanted a domain or group whose underlying reason-to-exist seems tailor-made for a modern RPG audience, it would be one where having your inner self revealed to the world, one that you've been taught is freakish and strange, proves to be beautiful to those who accept you.

But that's not what we got in Van Richten's Guide to Ravenloft, perhaps because of the book's insistence on page 6 that "Nowhere Is Safe". Instead of the 3E ghaele eladrin, Isolde is now just an eladrin, a 4E planar elf variant. Instead of entering Ravenloft and finding the Carnival l'Morai in need of a leader and protector, she was manipulated first by a powerful archfey into leading a fey carnival, then inexplicably decided to swap carnivals with a different carnival run by a group of shadar-kai through the Shadowfell, even going so far as to accept the intelligent (and evil) sword Nepenthe, who is the actual darklord of the Carnival.

Again, as with Gabrielle, some simplification of Isolde's backstory was probably inevitable, as the original backstory made use of very specific Ravenloft mechanics that the 5E version simply doesn't want to deal with (mainly Isolde's 'reality wrinkle' which drives the Twisting). But not only did the designers take a character who had explicitly chosen both to enter Ravenloft in pursuit of the Gentleman Caller and to take leadership of the Carnival to serve as its protector and changed her into a character who is manipulated into doing everything she does that gets her into Ravenloft (and leaves her no memory of how or why she got there), the designers didn't even decide to keep Isolde as the most significant character in Carnival, allowing the sword Isolde carries to take that starring role.

Oddly, a lot of the changes to Isolde's story are reminiscent of the classic Ravenloft story of Elena Faith-Hold and how she became the darklord of Nidala in the Shadowlands, which suggested to me that perhaps at one time the Shadowlands were not going to be included in Van Richten's Guide to Ravenloft, and the changes to Isolde's story were meant to be a call-out to what would be the missing story of Elena. But the Shadowlands also exist as an "Other Domain of Dread", so in the end, the changes to Isolde served no real positive purpose.

Interlude

It's worth taking a moment to contrast the characters above with the domains in Van Richten's Guide to Ravenloft that gained female darklords who didn't have female darklords previously:

Dementlieu, formerly ruled by Dominic D'Honaire, is now ruled by Saidra D'Honaire; it is hinted but not stated explicitly in Saidra's backstory that she is not actually related to the former darklord, but simply assumed the family name as part of her assumption of the rulership of Dementlieu, in which the Grand Masquerade must be maintained above all else.

Falkovnia, formerly ruled by Vlad Drakov, is now ruled by Vladeska Drakov; Vladeska's backstory makes it plain that she is a female re-skin of the original Vlad Drakov, himself a character from the Dragonlance world of Krynn. Other than her origin, which is now no longer tied to Dragonlance, her backstory is largely the same as her predecessor's, save that instead of the dead rising to battle Drakov's attempted invasions of their northern neighbor, Darkon, now the dead rise to reclaim Falkovnia itself from Vladeska's attempt to 'pacify' it.

Lamordia, formerly ruled by Adam, the creation of the mad doctor Victor Mordenheim, is now ruled by the mad doctor Viktra Mordenheim; Victor's hubris in his attempt to create life are matched by Viktra's attempts to defeat death.

Valachan, formerly ruled by Baron Urik von Kharkov, is now ruled by Chakuna; in one of the few backstories in Van Richten's Guide to Ravenloft that acknowledges a former darklord, Chakuna's backstory is that she had to become a monster (a were-panther, specifically) to defeat a monster (a panther who was polymorphed into a man as part of a revenge plot, fled from the Forgotten Realms into Ravenloft upon realizing what he was, where he was transformed into a vampire...look, not every convoluted backstory for the old Ravenloft darklords was necessarily a good convoluted backstory).

I'd argue that each of the darklords above retains her agency in Van Richten's Guide to Ravenloft, but it's curious to note that each of those darklords seems to have inherited that sense of agency from her relationship to the male darklord that preceded her, sometimes literally (in the cases of Saidra and Chakuna) and sometimes figuratively (in the cases where Vladeska and Viktra are mainly female re-skinnings of the original male darklords). The designers clearly have the capacity to allow a female darklord to exercise agency and have drive and purpose to her existence, if that drive and purpose was inherited from or inspired by an original male character. If the character was a woman all along, though, then agency and drive and purpose are not really important to the designers, if they can fit that character into the specially designed hole the size of the concept they had for the new domain. Which brings us to the character who I feel was done dirtiest by the designers in moving from classic Ravenloft to 5E...

Jacqueline Renier

Jacqueline Renier is one of the original Ravenloft darklords, tracing her origins all the way back to the original "Black Box" campaign setting released by TSR in 1990. She appears in two different places in that boxed set -- once as the chaotic evil darklord of Richemulot in the Realm of Terror booklet, and in a portrait of the Renier family included as a handout in the box. The Renier family was actually an ancient wererat clan in the world they originally came from, and Jacqueline herself was the granddaughter of the patriarch of the clan, Claude Renier. When the Reniers fled into Ravenloft to escape the justice of their original world, they first appeared in Falkovnia, where they ruled the sewers until finally forced out by Vlad Drakov's troops. Fleeing into the Mists, the Reniers found themselves in the new domain of Richemulot, and Claude found himself the domain's darklord.

Jacqueline proved an eager student in the manipulative ways of her elders, however; both her grandfather, who maintained control over the clan through a combination of coercion and sheer force of personality, and her mother, who murdered Jacqueline's father seemingly only so that Jacqueline and her twin sister would not need to lose the Renier name. Jacqueline learned the game so well that one day she manipulated her own grandfather into his destruction at her hands, so cleanly that no one else in the family dared to oppose her ascension. Jacqueline was now the matriarch of the Reniers, and the ruler of Richemulot.

But 3E Ravenloft added a few additional wrinkles to Jacqueline's backstory. In the Ravenloft Gazetteers, it was revealed that Jacqueline's ambition to assume control of her clan and the domain of Richemulot were not just driven by a desire for power, but in the name of a vision of the future where wererats would reigns supreme over all other humanoids. She began encouraging migration into the largely undeveloped and underpopulated lands of Richemulot, while overseeing work in putrid laboratories to develop the Becoming Plague -- a disease that would transform humanoids en-masse into wererats under Jacqueline's ultimate command. In every speech Jacqueline would give about the glorious future of Richemulot, it was not the future of humanity she was referring to, but rather the coming age of the rat.

Jacqueline's backstory wasn't perfect -- as with other female darklords, she also got saddled with the 'she desperately wants to be loved and is terrified of being alone' trope -- but for the most part, this is a truly impressive backstory. And in our age, a domain featuring an ambitious politician pushing nationalism to motivate her partisans, only for that nationalism to not be what her partisans believe it is would seem to be an extremely fitting template for horror. It would certainly seem possible to re-write the few problematic aspects of her character with more modern tropes; make Jacqueline an 'ace' (asexual) but who still craves romance based on her upbringing and is both attracted to and terrified by anyone who might potentially prove to be her equal, and you've got what I'd consider to be one of the best darklords in the setting.

As you might expect, given Jacqueline's placement on this list, that's not nearly what we got in Van Richten's Guide to Ravenloft.

Instead, Jacqueline was born as a noblewoman within Richemulot, and was quick to notice that the rise of the bourgeoise would threaten the power of the nobility and lead to their diminution in society. Jacqueline's grandfather was not the charismatic, sadistic mastermind of a clan of wererats, but an aging nobleman growing infirm in his old age, and he proved unable and/or unwilling to work to change things, so Jacqueline would need to be the person to reverse her family's fortunes and the decline of the nobility in society. Not by doing anything herself, mind, but rather by trying to find an organization of nobles working to maintain the supremacy of the nobility. Finding them, she learned too late that they were secretly a society of wererats when she was forcibly made into one of them, but she quickly adapted, rising to command both the rat and wererat populations before finally unleashing a plague -- the Gnawing Plague -- upon the populace. Rather than converting the population into wererats, the Gnawing Plague just killed them, and when the people begged Jacqueline and the nobles for aid, Jacqueline made helpful noises but did nothing useful (it's not recorded if she uttered the words "Let them eat cake," as she watched the peasants die). Her 'torment' as a darklord is that she wants to return to the privileged life she had as a noblewoman, but can't, as the need to supervise the creation of new, more virulent plagues and unleash them to keep the peasantry from revolting and overthrowing the nobility prevents her from building the kind of society that would actually support a thriving nobility.

Instead of a domain where we have seen the future and humanity has no place in it, we have a one-percenter using every ounce of her privilege to stay above the ranks of the peasants she despises. Instead of an intelligent, ambitious planner capable of executing long-range goals flawlessly, we have a vapid, shallow socialite yearning to return to her days as a debutante. As villains go, Jacqueline has fallen a long, long way from her portrayal in pre-5E Ravenloft.

Probably the most offensive part of the redesign of Richemulot as 'the plague domain' is that we've spent over nineteen months living through a plague of our own, and the kind of horror that is presented as Richemulot's primary adventure cycle, the Cycle of the Plague, bears almost no resemblance to the reality we've lived through. Van Richten's Guide to Ravenloft presents a world where common people are to be feared, and authorities abuse their power to heartlessly quarantine the sick to stop the disease from overtaking everyone, yet say nothing about the horror of those who refuse to accept that the plague exists, or who profiteer from bizarre 'cures' and treatments. The designers present Richemulot as an example of 'disaster horror', where "the world has fallen into ruin -- or it's getting there fast," when the domain could be an example of the most classic of all horror tropes: humans are the most horrible of monsters.

Thus, the final quote leading this essay. It's not my place to argue that the folks who wrote Van Richten's Guide to Ravenloft are good or bad writers, and as Raymond Chandler noted, it's not really necessary. After all, "[t]he poor writer is dishonest without knowing it, and the fairly good one can be dishonest because he doesn't know what to be honest about." And ultimately this entire drive, to try to distance the product from the mistakes of the past by also distancing it from its successes, all while presuming that one can correct the deficiencies of the past without committing mistakes that, in hindsight, will seem just as obvious to our successors: that undertaking is fundamentally dishonest. The people writing, editing, and publishing Dungeons & Dragons today grew up on the old tropes that are now being rejected as no longer being relevant, as unnecessary complexity, as potentially harmful, without realizing that the harmful bits aren't just what was written down, but what was learned, such as a woman's motivation and agency meaning little unless they correspond with those of a man.

Yes, there's a lot of stuff published before 2014 that seems bad to us today that, for whatever reason, didn't seem bad to us back when it was published, read, and became part of our fictional worlds. But there's also no reason to assume that process ended in 2014. Update the lore where it's needed, but realize that the process never ends, even with the lore you're writing today to replace it.

#dnd

[warsofasoiaf]

Please do a small essay for Planescape Torment! Love to read your blog!

A game as transcendentally excellent as Planescape: Torment cannot be satisfied with a small essay. This is heavy spoilers so readers beware, so I’ll write something on the Nameless One and the journey he undertakes.

Planescape: Torment is widely considered one of the best written RPG’s in the history of computer games. At a first glance, it’s hard to get into. The setting is incredibly dense and strange, which can be incredibly discouraging to new players who find it difficult to connect to a game that’s so far removed from a traditional fantasy. Similarly, combat in the game can be frightfully tedious, even a slog at times to get to the next part of the game. You can’t die permanently save in a few specific circumstances which helps remove the threat, but you usually end up either back in the Mortuary or in some tucked away corner of a map, so you have to march your way back, which takes up time just like reloading a saved game would. The mandatory combat exists partially as a limitation of the setting and of the engine, partially of game design because otherwise it would be a long chain of text boxes and exploring down decision trees to get to your objective. But for those who are willing to put up with it, the journey is deep and thoughtful. For all the weirdness that Planescape offers, the adventure that you go through is actually quite familiar. It’s a moody, introspective journey about regret, about the impact you have on others, about belief, about atonement, and about meaning.

The Nameless One waking up on a mortuary slab is an iconic opening, because it changes the blank slate of character creation on its head. Unlike traditional Infinity Engine D&D games, you do not pick a class, race, even a portrait. You’re always some zombie-looking dude with sick dreadlocks and a bunch of tattoos, which end up being a written record of helpful hints. Certainly, this is a bizarre way of delivering exposition and quest direction, but let’s be honest RPG’s often have NPC’s whose job it is to further your game progress and enrich its world. Making them tattoos is unusual but it still performs the same function. Similarly, your first companion is a friendly, floating, wisecracking skull. That seems weird of course, but often the first companion you get in an RPG is a friendly sort to help you get your feet wet during the game, as well as provide exposition. Imoen from Baldur’s Gate was perky and bubbly, but both Morte and Imoen provide comic relief to help keep things light in the initial stages even though you as the character have gone through some rough stuff, and Morte says that he’s a mimir, which is a literal repository of knowledge and thus a natural source for an exposition dump according to the rules of the setting. The first couple of puzzles in this dungeon are mostly finding items, fulfilling requests from NPC’s, and exploring the map, which are standard fare for the Infinity Engine games. The window dressing is strange, but the functions carried out are still familiar, helping to ease the player into the strangeness to come. But even at character creation, there’s hints to come that you aren’t the traditional blank slate character. The Wisdom stat suggests that remembering things will be important, and the tattoos clearly had to come from somewhere before the game starts, so it’s in the back of the mind while the players start to acclimate themselves to the mechanics of the game

As the journey continues though, and the exposition of who you are starts becoming more apparent. A ghost on the first floor of the Mortuary calls you “my love” and you can feel the strength of that, and that what you might say could be very dangerous so you must pick your next words with care, so very soon, the game gives you two critical pieces of information. What your character did before the game is going to be important, and you’re going to need to read and think about what you do in the text boxes just as much as you will in combat. This ghost is one of the most important characters in the game, but here you’re as confused as the Nameless One is, replicating the character’s confusion in the player. There’s a lot of information in Planescape: Torment, and the use of dialogue-heavy boxes encourages taking your time, slowly exploring and discovering things, remembering them, and piecing them together, and presenting them means replicating the Nameless One piecing everything together by forcing the player to do likewise. This was the right decision to make because exposition and discovery are the primary ways that the themes are explored, and so establishing a slow pace is a way for the game to let the player mull the things over in their mind (along with the ubiquitous ‘updated my journal’ line that the Nameless One says to make sure the player reads the darn thing). So, in a rare dramatic move, an amnesia plot is actually given the respect it deserves using the unique advantage of video games by allowing the player to be the one to make the discoveries rather than attempting to carefully script reveals in more passive media that often end up fumbling. Who is the Nameless One, why did he wake up in a Mortuary, and what the heck is going on in this game?

Of course, the answer to the second question is an easy answer but it evokes questions all its own. The Nameless One woke up there because he was dead and that’s where bodies go. This case of death though doesn’t seem to be very fatal. Indeed, when you die you get back up again. In D&D, where death is not as permanent as it is in real life, there are plenty of jokes and memes about the revolving door afterlife, but in Torment, this becomes another great mystery. What the heck is happening here? Clearly, this is powerful magic, but who is casting it, and how are they constantly able to get to you no matter where you seem to be? There’s another goal here, to get the player to think of death in combat not as a means to immediately reload the save game like you would in Baldur’s Gate (even if it’s an NPC that dies instead of the plot-critical main character, it’s usually better just to reload then cart yourself over to the temple than deal with picking up their inventory - at least until higher levels when you have a party member cleric or druid to cast the spell), but rather it’s a nuisance to have to get back to where you were, just as annoying than the cranium rats or other minor monsters you fight, so that you no longer fear it, which is an excellent way to channel players to not worry about it so that the punch can land later. Later, when a Sensate asks to kill you so she can experience the sensation of murdering someone with her bare hands while not actually killing anyone, it’s treating as a bizarre commercial transaction, not the seriousness that such an act would normally be. 

Upon leaving the Mortuary, the Nameless One is prodded to find Pharod, but there’s no sense of urgency by placing a time limit on it, leaving you open to explore Sigil and find out about this world. It’s here where the setting can really start to be reinforced by letting the player explore it. Almost every character can provide an interesting piece of setting and worldbuilding that helps immerse players in the experience, and the themes start to get reinforced here. The importance of belief is a central theme in the setting, but the hints of it are seeded when Mourns-For-Trees asks you to believe in them and for you to get your companions to believe in them too, and it pays off when you get enough of your party members to believe in it by dispensing XP as a quest reward. Far before finding out that learning your name is a central part of the game, the Crier of Es-Annon worries about the loss of the name, and the Nameless One can help by getting the name recorded on a tombstone, freeing the Crier to pursue a new life. By being mindful of the central themes, the writers could seed the themes through the game early, to get the player to think about them before revealing how important they were all along.

The factions are one of the best ways that the worldbuilding of the setting reinforces the central aspects of the character and the quest and how that enriches it. The factions are great on their own, because they explicitly deal with the meaning of life and existence which are important philosophical concepts, and are difficult to reach in a setting of infinite possibility like Planescape. One of the central themes in the setting is called the “Center of All.” Since the planes are infinite, nothing can be proven to be the center, so the center is where you are right now. In a game with that as a setting, it’s no wonder that the quest is a deeply moody and introspective one. It would seem counter-intuitive, Planescape is literally infinite which means you can do whatever you want, but that makes the most sense when evaluated under the “Center of All,” the journey of the self is the journey of the planes and vice versa, and the factional understanding of existence is mirrored within as the player and the character have to rationalize existence as best they can. The arc words of “what can change the nature of a man” take on weight when evaluated under the Center of All. Since changing a man’s nature means changing the center of the planes, the question asks what is so powerful that it changes reality, and it’s these beliefs, underlining its importance.

The factions that you can join represents an element of the Nameless One’s past and/or his journey. The Sensates are the clearest example, since The Nameless One has been a Sensate before, and the unique circumstances of him constantly being reborn but forgetting means that he probably has one of the most experiences in the multiverse, combining an immortal lifespan with a mortal’s curiosity and subjective perspective. The Sensates are true empiricists, they believe that once someone experiences everything that they will achieve enlightenment, but despite all that the Nameless One experiences, the amnesia he has on death means he loses them, and so he never reaches it. The Believers of the Source believe that life is a trial and that it must be overcome to ascend, and indeed, the Nameless One is caught in a trial that he must constantly struggle toward completing, in a meta sense that’s the game itself. The Dustmen believe that death is false and purging yourself of passions is necessary to reach a nirvana-like state of True Death, and for the Nameless One death is indeed false and he seeks a way to end that state. The Independent League states that the factions are delusional and need to be overcome, and indeed, to complete the game you need to use at least two factions to get the tools you need to reach the endgoal. The Chaosmen are the hardest one to pin down, because alignment is determined by your actions and you can be lawful instead of chaotic, but the state of the Nameless One is a transgression against the natural laws that the Chaosmen struggle against. 

As you adventure though, you start learning about how the Nameless One’s past incarnations effected the world, and often for ill. You learn that your past selves have been some of the worst people that the multiverse had the misfortune of experiencing. The Practical Incarnation is the most infamous of these, and he is a man utterly driven by self-serving utilitarianism. Other people are nothing to the Practical Incarnation except as tools, and he uses and discards them as if they were mere objects without thoughts or feelings, friends and enemies alike. When he found that Dak’kon possessed a zerth blade, he resolved to bring it under his control. The Practical Incarnation found Dak’kon broken and adrift, where a crisis of faith weakened the walls of the githzerai capital and sanctity Shra'kt'lor, as the walls were forged of belief and in Dak’kon moment of doubt the real walls crumbled. The Practical Incarnation took this broken man and devised an elaborate ruse to get Dak’kon to come to the conclusion that he wanted to so that he would be useful. A deeply personal moment of faith was taken and manipulated as if it were nothing more than puzzle pieces that needed to be put together. Another incarnation, the Paranoid Incarnation, awoke confused as angry ghost and shadows leaped out at him, leaving him incapable of trusting anyone. He learned the most obscure language in the world and then murdered its only other practitioner just so he would be the only one to know his thoughts. Another incarnation found a sick enlightenment in torture and suffering and taught a wizard this path to power, torturing him so that he might learn power, and after that incarnation was gone, that wizard became that same conception of power, revisiting the crimes of the Nameless One on other potential seekers of knowledge. In an excellent scene, you can see when you lured Deionarra, the ghost from the Mortuary, to her death, and in a brilliant moment of writing, you experience both sides of it. You experience Deionarra’s love for you, and you feel your hatred of her. Not only do you experience your own act of cruelty but you explicitly feel the pain of what you were betraying. In Planescape under the Center of All, this deeply personal act of betrayal has much meaning because of how much it meant to Deionarra as she is the Center of All. The infinite planes may experience an infinite such betrayals, but this one had meaning to her, and through her experiences, to you.

The symbol of Torment on the Nameless One’s arm acts as a metaphorical beacon for the broken to drift to him, and plenty of the broken are the way they are because the Nameless One broke them. The more crimes you learn, the more the discomfort grows. You did not do those things, the Nameless One awoke as a blank slate and you the player never did them, but they were done in the past and the hurts are still there. Will the player address them in this new incarnation? Will he feel bound by them and try to rectify them? Do you try to rectify them because it’s the right thing to do? Do you give up knowing that the next incarnation might do them again? Or do you take the lesson from them that this is what you have to do to escape, and thus continue betrayal after betrayal? As is common in an RPG, the chioce is yours. Unlike most RPG paths, the evil path is not considered the opposite of a binary choice, and the most evil you do is not stock Evil Overlord type stuff but rather deeply personal betrayals. You can betray Morte and shove in back into the Pillar of Skulls, you can sacrifice Annah and/or Fall-From-Grace to them for knowledge, you can sell your companions into slavery, you can give the Modron Cube to Coaxmetal for a powerful weapon of entropy while letting him roam free to destroy everything, you can lie to Deionarra one more time, leading her love to you along one final time to squeeze out just a little more usefulness out of her.

It’s also reinforced in the mechanics of the game. As mentioned before, the game treats death as an inconvenience, but not something to be undone. The Nameless One simply gets back up again. It’s an easy thing to do, and then you discover later through the game after you’ve already died the true and terrifying cost. Every time you die, someone in a Prime Material plane somewhere dies and you pay for your new life with theirs. The reveal of it hits hard if you’ve gone through the game dying without thinking. That Sensate who didn’t want to murder someone but wanted the experience, so they offered to kill you because they thought there were no consequences. There was for you and her both, she paid you to kill someone and you took those coins without thought, but there were true and dramatic consequences. There always are, just as you learn through the game that your past incarnations’ efforts to learn had consequences from Ignus’s mania to the Practical Incarnation’s betrayals, the player ignoring the deaths mattered, and will continue to matter. You had been killing people, snuffing out lives and leaving heartache for countless souls on the Prime Material. Those who died ended up becoming horrible shadows, condemned to a terrible fate, just so you could have a bit easier of a time at it all. You had infinite time to fix everything, someone else just paid the price.

Much later, you find out that even all of that paled in comparison to what you had done previously. You committed great crimes, and to avoid punishment you sought out Ravel Puzzlewell. Using her powerful magic, she separated you from your mortality, and thus the Nameless One’s First Incarnation was supposed to be freed of the cosmic consequences, but it didn’t turn out that way. Since you forget what you did, the goal of making up for the crimes ended up being impossible since the Nameless One could not even know what it was that he did. His pursuit of freedom left him instead chained, chained to an amnesiac body that slowly becomes more and more scarred as his travels literally turns him into a walking mass of scar tissue. Scars are often used in literature to signify a remnant of a past pain, and that the Nameless One is nothing but scars from head to toe shows that he is inexorably trapped by the past even if he can’t remember it. What he has gone through show him to be not a person so much as a collection of past regrets. This is reinforced through the ending, where the finale takes place in a fortress literally forged by the regrets of your past, and since you have had so many lives and so much regret, they become a literal manifestation of your final journey. The monster at the center is the Transcendent One, the monster of your own mortality attempting to stop you from reaching this place and ending its own existence.

Yet, the Nameless One isn’t doomed. Ravel’s magics are weakening to the point where he doesn’t forget anything, either in the momentary flashes of insight that come up or in that the player remembers everything that happens when the Nameless One dies instead of starting over again. Similarly, the Transcendent One is weakening to the point where he can’t leave the Fortress of Regrets and has been for a while, making the journey possible instead of having him snuff you out like a candle. And during this journey, the Nameless One can make up for the things he did. He can go through the Practical Incarnation’s fake Unbroken Circle of Zerthimon and reveal its deception to Dak’kon, allowing him to come to his own resolution. He can apologize to Deionarra for what he did and allow her grieving father access to her room at the Sensate’s to give him some peace. He can apologize to the linguist that the Paranoid Incarnation murdered and learn the same language, not out of paranoia, but compassion. You can visit that compassion to the Paranoid Incarnation, showing that you are not an enemy, giving empathy to his plight of living in a confusing world where everyone wanted to kill him, and let him absorb into you so he no longer has that terrible burden. And at the very end of the game, you can learn about the First Incarnation, and you can complete yourself by learning your name, an act that gives you a whopping 2 million experience points, far more than anything else in the game, if you kept the Bronze Sphere MacGuffin and allow the memories of it to become with you again.

When that happens, the Nameless One is truly complete and nothing more can stop him. The finale has great ways to resolve itself. The arc words “what can change the nature of a man” can be posed to your lost mortality. A static thing since it was ripped from you, it retorts that nothing can change the nature of a man, but the Nameless One’s journey can already show that such a thing cannot be true, because the planes were shaped by belief, the Center of All shows that the centrality of belief is paramount, and so belief is the thing that changes the nature of a world and of a man, and that both are the same thing. Even stronger, by knowing your own name you show that you are completely dominant over this monster of your own mortality. You can force it to merge with you, force you and it to stop existing, and even its neverending hatred of you cannot stop your will. The Nameless One can end the blight of their existence that continually saps the lives of others, and fix one of the greatest cosmic wrongs to ever stain the multiverse and a man both, the Center of All demonstrates that both are equally as important. And so even an eternal punishment in the Blood War is not as bad as what was, and the Nameless One moves forward, free of what came behind and capable of making his own path.

Why is the game considered one of the best written games of all time? Because I wrote that much about it and barely touched any of it. I didn’t even discuss the companions or the major characters like Ravel or Trias. There’s so much to say about Planescape: Torment because there is so much there. 

If anyone is interested in essays on other parts or components of the game, let me know.

Thanks for the question, Messanger.

SomethingLikeALawyer, Hand of the King

#planescape: torment #planescape #writing #the nameless one #video game reviews #character analysis

[monsterfactoryfanfic]

Thumbnail tease for The Most Important Essay in RPG History! What do y'all think?

#the most important essay in RPG history

[nickburn]

Things I Enjoyed in 2020 Despite Everything

Seasons Greetings! This year has felt like an eternity for so many reasons, and before it’s over, I’d like to take a look back on the distractions that got me through it. Along the way, I’ll occasionally point out where I was emotionally at the time and whether I got into a particular thing before or after the pandemic hit in mid March. I hope you enjoy this little retrospective of some of my experience during one of the worst years of human history!

Games & Mods

Might & Magic VI: The Mandate of Heaven

When I was making my 2020 resolutions list late last year, one of my goals was to play more old games in my backlog and not buy many new games this year. That goal largely went on hold, because, well, I sought out enjoyment wherever I could find it instead of forcing myself to play one thing or another. But before Covid, I was really enjoying my new playthrough of M&M6. I’d made attempts at it before, but it was really GrayFace’s mod that made the game click for me. Modern features like quick saves and mouselook make the game much more accessible, and I’d recommend it to anyone who wants to try an old-school RPG. It’s a great stepping stone into a mostly-dead genre. I’m hoping to get back to it soon. I just jumped ship to simpler ventures like Doom Eternal after the pandemic hit and haven’t looked back since.

Pathologic 2

I learned about the Pathologic series late last year and have since become a little obsessed with it. Hbomberguy’s lengthy video essay on the original game really intrigued me and lead me to trying the sequel/remake in April via Xbox Game Pass. In a weird way, it was cathartic to be a doctor in an even more dire situation than our current one and still see signs of the townsfolk trying to help each other deal with a supernatural plague and little help from their local government. The game helped me express a lot of what I was feeling at the time, when I was still getting used to working from home and wondering just how long this could go on for. I’ve gone back to it recently, and I’m hoping to finish it someday, if I can find a way to stop dying. Above all, Pathologic 2 teaches you how to make choices in no-win scenarios with little information or resources and still persevere, despite the world going to Hell around you. And that’s maybe the most important thing to practice at the moment.

Overwatch

I’ve continued to look forward to weekly Overwatch nights with my friends every Thursday, and it’s really important to have something like that right now. Even if it’s just a new episode of a show airing, a new video from a favorite YouTuber, or a regular Zoom call with coworkers, it helps so much to have something to anticipate from week to week and month to month. Otherwise, it’s really easy to feel like nothing’s going on besides the entropic deterioration of the universe. Overwatch itself helps with this, because it’s such a positive, bright, and optimistic game, as only Blizzard can create. And it’s improved a ton in the past couple of years, in a lot of ways. If you haven’t played in a while, hop in and check out all the new content with your friends; I think you’ll have a great time. It’s looking more and more like Overwatch 2 is right around the corner, and I’m very much looking forward to it.

Go

I learned how to play Go after watching a documentary released this year about  AlphaGo, the computer that beat the Go world champion, and I have a huge appreciation for the game now. I think it’s even more beautiful than chess, though even more insidious to learn. If you haven’t played before, start with a 9x9 board, teach yourself the basics, and try playing with another beginner friend. I guarantee you’ll be amazed at the amount of strategy and imagination that a game ostensibly about placing black and white stones on a grid can inspire. Go’s one of several new hobbies I’ve picked up this year, and those new hobbies have really helped me pass the time in a way that feels productive as well as take my mind off whatever depressing news just got blasted across Twitter.

Doom 64

Doom Eternal was fine, but Doom 64′s where my heart lies. The PC port on Steam is great, allowing everyone to easily play the game with mouse and keyboard. Its levels are tight and colorful, often asking the player to backtrack multiple times through the same areas to unlock new ones and take on whatever new twists await down each darkened corridor. It’s a surprisingly fresh experience. Unlike many modern Doom mods that strive to be sprawling marathons, 64′s levels are short but memorable, and the game is a great entry point to the series for newcomers because of that. Retro FPS’s continue to inspire and entertain me, and Doom 64 is one of my new favorites.

Golf With Your Friends

I’m not usually that into party games, but Golf With Your Friends strikes the right balance between casual tone and skill-based gameplay. The maps are vibrant and devious, the different modes are creative and often hilarious, and the pacing is near-perfect. If you’ve got a squad itching to play something together for a few nights, I guarantee you’ll have a lot of laughs trying to knock an opponent off the course or turning them into an acorn just as they’re about to attempt a nasty jump.

Quake 1 Mods

I probably sound like a broken record by now to a lot of you, but I won’t rest until I get more people into retro FPS’s. The outdated graphics and simple gameplay can be off-putting at first, but it doesn’t take long at all to get hooked after you’ve played the likes of excellent mods like Ancient Aliens for Doom 2 or Arcane Dimensions for Quake 1. And it’s only getting better, with this year marking probably the best year for Quake releases ever. The industry even seems to be taking notice again, with many talented mappers getting picked up for highly-anticipated, professional indie projects like Graven and Prodeus. And while the marketing around the retro FPS renaissance as the second coming of “boomer shooters” should be much maligned, the actual craft involved in making mods and brand new games in the genre has never been stronger. I even contributed four levels to the cause this year, but you’ll have to play them yourself to decide if they’re any good: https://www.quaddicted.com/reviews/?filtered=burnham.

Streets of Rage 4

I had not tried Steam Remote Play before this year, but it works surprisingly well if you have a decent internet connection. Because of Remote Play, I was able to complete Streets of Rage 4 with my friends, and it was very close to the experiences I had as a kid playing brawlers like Turtles in Time on the Super Nintendo. The game is just hard enough to make you sweat during the boss fights but just easy enough that the average group of gamers can complete it in a night or two, which is ideal for adults with not a lot of free time.

Hard Lads

Hard Lads is a pure delight of a game by Robert Yang about the beauty of a viral video from 2015 called “British lads hit each other with chair,” which is even more ridiculous than it sounds. It made me smile and laugh for a good half hour, and I think it’ll do the same for you.

Commander MtG

The Commander format for Magic: the Gathering is one of my favorite things, and in 2020, I dug into it more than any other year. More so even than playing or watching it being played, I created decklists for hours and hours, dreaming up new, creative strategies for winning games or just surprising my imaginary opponents. I sincerely believe this little ritual of finding a new legendary creature to build around and spending a few days crafting a brew for it got me through the majority of this summer. I didn’t have a lot of creative energy this year, but I was able to channel the little I did have into this hobby. Especially during the longer, more frustrating or depressing days at work when I had nothing else to do or just needed a break, I could often dive back into card databases and lose myself in the process of picking exactly the cards that best expressed what I wanted to do for any given deck. And it’s nice to know I can always fall back on that.

Yu-Gi-Oh!

I played a lot of Yu-Gi-Oh! growing up but never had the cards or the skill to be particularly good at it. I just knew I enjoyed the game and the 4Kids show, but I quickly them behind when I got to high school. Fast forward to 2020, and the game and franchise have evolved substantially, not always for the better. But I do find it so intriguing, with a skeptical kind of adoration. It’s not nearly as well-supported as Magic, but what it does have are gigantic anime monsters on tiny cards with enough lines of text to make your head spin. And it’s so interesting to me that a franchise like that can continue to thrive alongside more elegant games like the Pokemon TCG and Hearthstone. And the further I’ve delved into how the game has changed since I stopped playing, the more invested I’ve become, going so far as to start buying cards again and looking into possible decks I might enjoy playing. An unequivocal win for Yu-Gi-Oh! is Speed Duel, which seeks to bring old players back to the game with a watered-down, nostalgia-laden format with fewer mechanics and a much smaller card pool. So if all you want to do is pit a Blue Eyes White Dragon against a Dark Magician, that’s 100% still there for you, but the competitive scene is still alive, well, and astoundingly complicated. And I think that’s kind of beautiful.

Black Mesa

I wasn’t expecting to have the tech to play Half Life: Alyx this year, so Black Mesa seemed like the next best thing. And it really is a love letter to the first game, even if it’s far from perfect. I even prefer the original, but I did very much enjoy my time with this modern reimagining. If you’ve never played a Half Life game before, I think it’s a great place to start.

VR via the Oculus Quest

Around halfway through this year, I started to get really stir crazy and yeah, pretty depressed. It seemed like I’d be stuck in the same boring cycle forever, and I know for a lot of people, it still feels like that. So VR seemed like the perfect escape from this dubious reality where you can’t even take a safe vacation trip anymore. And you know, I think it works really well for that purpose. The Oculus Quest is especially effective, doing away with cords or cables so you have as much freedom as you have free real estate in your home. I don’t have a lot of space in my studio apartment, but I have enough to see the potential of the medium, which is completely worth it. Next gen consoles are neat and all, but I’ve got my heart set on picking up the Quest 2 as soon as possible.

* Beat Saber

I was most looking forward to trying Beat Saber on the Quest, and I was not disappointed. You’d think rhythm games had reached their peak with Rock Band and DDR, but the genre keeps on giving with gems like this. It’s hard to convey if you’ve never tried it, but the game succeeds so well in getting your entire body into the rhythm of whatever song you’re slashing through.

* Half Life: Alyx

Again, I really did not expect to be able to experience this game as intended this year, and I still don’t think I really have. The Oculus Link for the Quest is admittedly a little janky, and my PC barely meets the minimum specs to even run the game. And yet, despite that, Alyx is one of my top three games of 2020 and maybe one of my all-time favorites. Even as I was losing frames and feeling the game struggle to keep up with all the AI Combine soldiers running around, I was still having a blast. For me, it is one of the best reasons to seek out and own VR and a pinnacle of game design in its own right.

Hades

For me, Hades has mostly been similar to every other Supergiant Game that I’ve played: fun and well-polished but ultimately not engaging enough to play for very long. And there’s always this sheen of trying to be too clever with their dialogue, narration, and music that rubs me the wrong way. But Hades is certainly their best game, and I can’t deny the effect it’s had on people, much like Bastion’s reception back in 2011. And I’m really hoping Hades gets more people into roguelikes, as a more accessible and story-driven approach to the genre. Timing-wise, I wish it hadn’t come out around the same time as Spelunky, because I think it did make some people choose one over the other, when the best choice is to play both and realize they’re going for very different experiences. The precise, unforgiving, arcade-like style of Spelunky isn’t fun for everyone, though, and Hades is thankfully there to fill in that gap. I’m really glad I found more time to play it this year at least to succeed on one escape attempt; it’s a fun game to think about in a game design context. And I do think the game has a lot of merit and is doing some clever things with difficulty that the studio likely could not have honed nearly so well without the help of Early Access. The most impressive part of the game to me is not the story or the music or the combat but the massive amount of contextual dialogue they somehow found time to program, write, and record at a consistently high level. All of this is just to say, Hades is obviously one of the best games of the year, and you should play it if you have any interest in it at all.

Spelunky 2

I’ve spoken a lot about this game on Twitter, so I’m not going to rehash much of that here. For me, it’s been a journey of over 1,000 attempts to learn the intricacies and secrets of a deep and demanding game that’s been as frustrating as it’s been rewarding. But it remains a constant source of learning and discovery as well as mastery and pride for me, and I still have hopes of reaching the Cosmic Ocean and getting all the trophies someday. It’s been a joy to watch other Spelunky players too, even as some fair worse than me and others fair far better. And the Daily challenge keeps me coming back, because seeing my name high up on the leaderboard just makes me feel so damn good (or at least I’ll get a good laugh out of a hilarious death). At its heart, Spelunky is a community endeavor, and I think it succeeds at that better than almost any other game this side of Dark Souls. I think it is my Game of the Year or at least tied with Alyx, I really can’t decide. If you don’t think you’d enjoy it, all I’ll say is, the frustration and difficulty are integral to the experience of discovery and surprise, and your brain is better at video games than you think.

Chess

Okay, yes, I watched and enjoyed The Queen’s Gambit, but I think 2020 had already primed people to get into chess this year regardless. Like Yu-Gi-Oh!, chess was a childhood pastime of mine that I really enjoyed and then quickly left behind as I discovered things like music and the internet. If I had to assign a theme to my 2020, it would be rediscovering old hobbies to remind myself how good life actually is. And now I’m more committed to chess than I ever was before. I’m watching international masters and grand masters on YouTube (as well as the incomparable Northernlion), I’m playing regularly on Chess.com, and I’m even paying for lessons and probably my own theory books soon. Like most fighting games, chess is a complicated form of dueling a single opponent with zero randomness, so mistakes are always on you. And modern chess platforms offer extremely good analysis tools, showing you exactly how, when, and why you screwed up so you can do better next time. Like Hearthstone, it’s a quick, addicting, tense, and rewarding way to train your brain and have fun. And it seems more popular now than ever, in part due to a certain Netflix original TV show...

TV

The Queen’s Gambit

I think a lot of people want to be Beth Harmon, even if they know they shouldn’t. It must feel so good to be the best at something and know you’re the best, even while under the influence of certain substances. It’s what makes characters like Dr. Gregory House so fun to watch, though you’d never want to work with the guy. For me, anyway, I always wanted to be a prodigy at something, and what little success I’ve had made The Queen’s Gambit very relatable to me. More so, it’s easy to relate to growing up in a conservative environment with few real friends and fewer outlets of expression, only to realize you’ve finally found your thing, and that no one can take it from you. That’s mostly what I’m going to take from The Queen’s Gambit anyway, more than chess or the Cold War commentary or the problematic relationships Beth has with her cadre of rivals/boyfriends. The show gets a strong recommendation from me for fans of chess as well as lovers of optimistic coming-of-age stories.

March Comes in Like a Lion

Similarly, March Comes in Like a Lion features a protagonist who is scarily close to a version of myself from like eight years ago. My best friend has been urging me to watch this show for years, and I’m still only a few episodes in. But I love how it portrays a young person who’s moved to a big city away from home for the first time, with nothing more than some meager possessions and the hopes of becoming the best in the world at something. And Rei is not confident in himself or outgoing at all, he’s extremely depressed despite pursuing his dreams and trying to distance himself from his somewhat toxic family. It’s a great reminder that the smallest kindnesses can often change our entire perspective on the world, and that even the people that seem the most well-equipped to handle life often still need help. I’ve been very fortunate to have people like that despite mistakes I’ve made, and I hope to be that person for others too.

Umbrella Academy

I’m pretty burnt out on superheroes, but UA put a good enough spin on them that they felt brand new. The show is rough in places, but it’s surprising in some really clever ways. And the comics are some of the wildest stories I’ve ever read, like Hitchhiker’s Guide meets Watchmen.

HunterXHunter

I binged about 100 of the 148 episodes of HxH this year, which I recognize is not a significant number in the wider world of long-running shounen anime, but it’s quite an undertaking for me to finish a show of this length. The series goes places I never expected and made me care so strongly for characters I thought I’d hate at first. It’s the smartest and most endearing show about a band of misfits going on crazy adventures and punching people for the good of the world that you’re likely to find.

Hannibal

This is the rare show that’s simultaneously comforting and nightmare-inducing if watched for extended periods. I can remember nights after binging a few episodes where I couldn’t get many of the disturbing images out of my head. Fair to say, Hannibal is not for the faint of heart, nor is it without some low points. But for those who enjoy gory thrillers or gritty detective dramas, it’s a must-watch. 

Yu-Gi-Oh! Original Series, English Sub

You can probably imagine my surprise as I discovered this year that the Japanese version of the Yu-Gi-Oh! anime is not only much better than the 4Kids version we got in the States, but it’s actually a decent show. The plot makes much more sense, it’s more interesting, the stakes are higher, the voices are better, and overall it’s just more enjoyable to watch. I don’t know if I’ll stick with it long enough to finish it this time, but this is definitely the way I’d do it and would recommend to others.

Fargo Season 4

It’s a miracle we even got another season of Fargo this year, let alone on time and of the same high quality as the first two seasons. It has a great setting, cast, and conflict. I love Chris Rock, and it was so cool to see him act so well in such a serious role. There’s a Wizard of Oz homage episode that is nearly flawless. And the post-credits scene at the end of the season is just the cherry on top. If you haven’t checked out Fargo by now, you are really missing out on some of the most interesting stuff happening in TV. I can’t wait to see what Noah Hawley does with the Alien franchise.

Movies

Cats

I had to include this one because it was the last full movie I saw in theaters before the pandemic hit. I technically went to Sonic too, but my friends and I walked out after about 30 minutes. The less said about that movie, the better. Cats, though, is a strange and curious beast (pun intended), adapting an already unruly animal (pun intended) to the big screen and yowling to be recognized (pun intended). But for every awkward or embarrassing scene, there’s one of pure joy and magic, like the extended ballet sequence or Skimbleshanks the Railway Cat. The film knows exactly what it is and leans into it hard, like a familiar yet slightly insane feline begging to be stroked, which I imagine is exactly what fans of the musical wanted.

Children of Men

There’s not much I can say about this film that probably hasn’t been said better elsewhere. I was intrigued to watch it when I learned it was one of my friend’s favorite movies. And I have to say, it’s really profound in a prescient way. Clive Owen gives one of the best performances I’ve ever seen. You should watch it, but only when you feel like taking a severe hit to the feels.

Basic Instinct

Vertigo is probably still my favorite film, so when I learned this year that Paul Verhoeven made a bloody, sex romp homage film to it in the 90s with Michael Douglas starring, I simply had to watch it. And you know, it’s not bad. It’s nowhere near as good as Vertigo, and you can see the ending coming a mile away. But what it does have is the immaculate Sharon Stone, who you cannot take your eyes off for the entire movie. And the movie knows it, making her look as alluring and suggestive as her character is to the detective investigating her. You could do worse than to watch it, just don’t expect any of Hitchcock’s subtlety or looming dread to seep into the final product.

Books

Dune

I finally finished Dune this year, and I can genuinely say it lives up to the hype. It’s not the easiest book to get through, but it’s by no means one of the most difficult either. I’m still bummed that the new film was delayed, but it might give me time to read the rest of the original book series.

The Fifth Season

Another fantastic piece of fiction, I cannot recommend this book enough. N.K. Jemisin is one of the best living authors of our time. If you want an original setting with a brilliant magic system and complex, compelling characters, look no further.

Video Content

Northernlion

I’ve been a fan of NL for years, though I’ve never been that into The Binding of Isaac. He just has a charismatic intelligence to him that sets him apart from most “Let’s Play” YouTubers to me, and he’s very funny to boot. I guess I’d say he seems a lot like me or the person I could picture myself being if I were a professional video content creator. So I was really excited for NL’s series of Spelunky 2 videos, and I still watch them every day, months later. And now he’s teaching me how to get better at chess, being a good 600 ELO higher than myself at the moment. His sarcastic and improv-laden banter have withstood the test of years and gave me some much-needed comfort and laughter in 2020. Somehow, the man even found a way to keep up his prolific output this year while raising his firstborn child. There are those who said it couldn’t be done...

The Command Zone - Game Knights

Josh Lee Kwai and the rest of the crew at The Command Zone continue to put out some of the most well-produced tabletop gameplay videos on the internet. It’s perhaps no surprise, seeing as how Lee Kwai created trailers for such blockbuster films as Scott Pilgrim Vs. The World and Jimmy Wong had a supporting role in the live action remake of Disney’s Mulan. But the crew around the two hosts are just as important and talented, and it’s clear that they all share the same singular vision for the channel’s future. They’ve carefully crafted a team of expert editors, animators, cosplayers, and voice actors to deliver one delightful video after the next at a consistently high level. If you’re into Magic: the Gathering at all, you simply need to watch Game Knights.

Cimoooooooo

I found Alex Cimo’s channel shortly after the algorithm learned I was interested in Yu-Gi-Oh! again, and at first, I was less than impressed with him. But it’s clear to me now that he not only loves what he does, he’s an expert Yu-Gi-Oh! player and analyst. Plus, he’s very good at explaining some of the more complex concepts in the game in a way that newcomers can understand. I’ve watched every new episode of The Progression Series and The History of Yu-Gi-Oh! so far, and they’re the best way I’ve found to learn how the game developed and changed over the last 20 years.

Team APS

This is another great Yu-Gi-Oh! channel, focusing more on skits, gimmick videos, and casual games rather than analytical or theoretical content. Mostly, they seem like a really great group of friends that just have a blast playing Yu-Gi-Oh! together, and their love for the game makes me want to play more too.

Tolarian Community College

Somehow, a community college English professor’s channel went from a quirky little deckbox review platform to the most popular Magic: the Gathering channel on YouTube in only a few years. But it’s easy to see why when Brian clearly loves what he’s doing more than most people ever will. He’s not only a fantastic reviewer and MtG scholar, he’s one of the most outspoken voices for positive change in the community and the game. Is he too hard on the Magic team at Wizards of the Coast? Perhaps, but without his measured and well-reasoned takes on all things Magic, I think we’d be much worse off.

IRL

Cooking

Even I get tired of eating the same things every day, so I’ve taken it upon myself to learn how to make more dishes, mostly out of sheer boredom. And I know I’m not alone in that, but I have to say it’s been a rewarding and fun adventure. It’s really surprising what you can throw together with a decent recipe and a little creativity in a modest kitchen when you decide to break away from the microwave for once.

Chinchillin’

Like many people, I felt that I needed a pet to survive this year, and I’ve always wanted a chinchilla. So I took a risk and bought one from a seller on KSL a few months ago, and my life has definitely changed for the better. No longer simply alone with my thoughts all day, I have a furry little companion to commune and bond with. And it’s more difficult to find time to feel sorry for myself when a basically helpless tiny creature depends on me for almost everything. Not to say it’s been a perfect experience however, people don’t say chins are difficult to care for for nothing. And I have learned more about them than perhaps I ever cared to know before, but that’s only made them more interesting to me as a result. Overall, I would recommend them as pets, just be prepared to give them a lot more time and attention than you would to say, a fish or a hamster. I’ve seen the commitment compared to that of a large dog, and I think that’s fair, though chins seem far more difficult to train and are far less cuddly. Basically, imagine a fluffy, super fast squirrel that can jump half your height, shed its fur at will if grabbed too tightly, that sleeps all day and bathes in dust, and that cannot get wet or too hot or eat 99% of human foods without serious complications. And they get lonely, and they all have their own surprisingly distinct personalities, some shy and mischievous, others bright and social, and everything in between. But I’m glad to be part of my little buddy’s life and hope to make it a long and enjoyable one for him. Part of why I wanted a chinchilla so badly is they typically live between 10-20 years, much longer than the average rodent or even many cats and dogs. And they’re sadly endangered in the wild, poached for their incredibly soft fur, which is why I believe it’s critical that we care for and learn more about them now. And above all, I adore my chinchilla’s antics, even when he continually tries to dig up and eat the paper bedding below his cage when I’ve provided perfectly edible hay and pellets for him in much easier to reach locations.

And that’s all, folks...

If you’ve read this far, know that I really appreciate it and hope you learned something new about yourself, art, or the world. And please do let me know what’s kept you going the most this year too, as I suspect I’ll still be searching for new distractions next year, even after I’m able to get a Covid vaccine injection. As Red Green would say, we’re all in this together, and I’m pullin’ for ya. <3

#2020 #hobbies #art #youtube #reviews #entertainment #games #books #film #tv #netflix

[tessatechaitea]

The Invisibles #3

This is exactly what taking drugs isn't.

Our world is composed of geniuses and not-geniuses. That's the kind of statement a not-genius makes because it's so fucking obvious. Do you ever have to say anything that pretty much says "All of the people on the world are either this or that"? Anyway, the point I was making wasn't that I'm one of the not-geniuses even though it's the point I accidentally made. The point was that in the non-genius camp, we have those who are smart enough to recognize genius and those who sit grumpily in their pee-puddles whining about how the high-falutin' elites are trying to make things different. Different, in this case, generally means better but if you're a non-genius who can't recognize geniuses, you're just mad that somebody said french fries might not be the most nutritional side dish (even though you could still live in a world where you acknowledge that french fries are both not even close to nutritional and also the best food on the planet. I mean, you have that choice. But I guess the pee-puddle you're sitting in (which is slowly leaking into your gun cabinet) has probably distracted you from rational thought). Again, that wasn't the point I was going to make (about the french fries!) but I have a problem staying on topic. Partly it's because I've never been able to stay on topic (you should read some of my college essays which I'm not going to release to the public so even though I suggested you should read them, you won't be reading them. Ever) and partly it's because of another reason that I forgot while typing the college paper parenthetical statement. My point might have been that you can recognize a genius because they can state plain what other people are obfuscating in their pronouncements. If you're not smart enough to recognize the genius, you might think the genius is spreading propaganda, mostly because you really want to believe the thing that isn't true because it shields you from guilt or blame or repercussions stemming from following your own selfish desires at any cost. The genius is reviled by people who can't recognize genius and viled by people who can. Or unviled? Previled? Maybe I should have just gone with lauded. You might think I'm saying all of this in regards to Grant Morrison but you'd be wrong. I'm actually saying this about A.R. Moxon, the author of The Revisionaries, whose Twitter handle is @JuliusGoat. He did not pay me to point out that he's a genius although he probably should have. I suppose it's not too late. Being that he's a genius and knows the smart thing to do, I'm sure he'll buy my RPG when he Googles his name and/or Twitter handle and finds me sticking my tongue way up his asshole in this post. I mean, I'm basically saying he's smarter than Grant Morrison! Getting back to Grant Morrison, is he really a genius? I'm not so sure. I think maybe he's just a libertine who did a lot of drugs and traveled to a lot of sort-of-spiritual places (not to be more spiritual but to get his hot genius take on spirituality in a place that smells of burning corpses and goat semen while he shits his guts out back at the hotel high on hashish). Sometimes when you've done acid and other illicit substances, you feel the need to think you've risen above the flock by doing a thing most people will never consider doing. Maybe Grant doesn't exactly feel this way but some of his stuff sometimes comes across as that. I mean, sure, if you've ever done LSD or the like, you've definitely experienced a sort of melding of yourself with the profound and the mundane and the timeless in a way that usually only schizophrenics experience. You have done something that has changed you from the person you were before. But thinking that it has somehow made you different or better than those who haven't done it just means that you've never talked to people who went to high school in the flyover states. I've known some really boring and backwards people who did a lot of acid simply because there wasn't anything else to do out in the cornfields. It really did surprise me, a resident of the San Francisco Bay Area, to discover how prevalent psychoactive drugs were in the Midwest and Plains states. I thought that was just the hippies and children of hippies! What I didn't think, though, was that it made me a non-sheep (like the guy in my San Jose State creative writing class who once wrote a story about how he had broken from the flock because he dared to try LSD. The teacher loved his take and luckily for me, she was blind so she didn't see me rolling my eyes and making jerk-off motions from the back of the class. I mean, wow, dude. You dared to try LSD. I was probably on LSD while listening to the teacher read that stupid ass story!). Okay, maybe my whole take on "Grant Morrison thinks he's better than everybody else" stems from my envy of the idiot jock who wrote a stupid story that the teacher loved while she mostly just reacted to my stuff with "WTF? I guess I see how nostalgia can seem like a dream and the pop culture death of Superman can sometimes be more powerful than the death of a close family member but why did you choose to make none of this linear and what the hell do your Star Wars figures have to do with your future death? Also, the baseball game between Heaven and Hell where Heaven wins because Hitler snarls 'Jew' and then beans Jesus with the pitch to push in the last run was decent." Now that we've resolved some of my issues (I mean, maybe not "resolved" but at the very least "put out there in the open so you know where my biases are coming from"), let's get on with The Invisibles #3. When we last left our homophobic pouting white suburban "my mother doesn't hug me enough" anarchist protagonist, he was about to be hunted to death by a mystical group of human fox hunters in the secret London hidden beneath the one everybody thinks of as the "real London." I sort of hope the kid gets murdered. But then we won't get to see him learn his lesson which allows viewers to also maybe a learn a lesson. It's sometimes why you need characters like Mrs. Oleson from Little House on the Prairie. Although it was kind of enough to have Laura Ingalls who was a selfish devil child who was always learning lessons from humble and righteous Pa (who probably only killed one or two Native Americans, making him a stalwart saint of the frontier). I suppose the audience didn't need an over-the-top scurrilous villain like Mrs. Oleson. Although without Mrs. Oleson, how could the show have glorified the true saint of the frontier, Nells Oleson? The patience and kindness of that man were a testament to, um, patience and kindness!

I'm assuming Dane spends the next twenty pages snot-crying into a used coffee filter.

Dane continues to hang out with Tom of Bedlam because Dane can't survive on the street on his own and he knows it. He's not hard at all. He's a little wanna-be suburban gangster who read half of a book on anarchy and now thinks he's better than the slack-eyed populace going about their normal day-to-day bullshit. But he also thinks he still needs money and a place to live. He's not really great at the anarchy thing. But maybe if he listens to Tom, he'll learn a little bit about life and his heart will grow three sizes. Not because he suddenly cares more about everybody; it'll be a side-effect from learning the Dark Arts. Tom casts a spell so that Dane can look through the eyes of a pigeon as it flies about London. While Dane is seeing the hidden, creepy monsters lurking behind reality that pigeons can see (just as Pigeons can enter the afterlife in Moore's Jerusalem. I'm sure there are other urban horror stories that tell of the magic of pigeon vision. Did Lovecraft ever right any pigeon poems?), Tom tells Dane the secret history of cities. They're a virus that has propelled man from small villages which barely change across the centuries into huge population centers that use up the life force of the hosts as they build more and more and more, bigger and bigger, until, one day, they can build a rocket to propel the city virus into space and onto a new planet. Tom has seen, in visions, other planets affected by the virus, dead planets where the buildings stand as gravestones for the previous used-up races that contracted the virus. It's all very Lovecraftian. Not in the racist way but in the visions of other realities that change the nature of your own reality once you realize their existence. Hmm, that can actually kind of describe racism. I suppose Lovecraft's xenophobia was what made his stories about strange, unknown terrors so compelling. After teaching him loads of magic, Tom decides to teach Dane the most important lesson:

It's a really good lesson but also it's just Tom's attempt to get Jack Frost to appear.

Tom teaches Dane not to be a sheep or, in Tom's words, a robot. It's one of those weird lessons that everybody thinks they learn but nobody really learns it. Like when people read just that one Frost stanza on some poster in their English Lit class from "The Road Not Taken". Everybody gasps in air as the profundity of that single stanza (extracted from the context of the larger poem, much to the detriment of all of us) washes over them and they suddenly believe they've seen what life really is. Life isn't doing the thing you're supposed to do! Life is living to the fullest! Carpe diem! But the feeling of that moment erodes. It is eroded by the path we all take as we pretend we've taken the other path. We stop seeing that their weren't just two paths but many. And we get a job and we get a spouse and we get a house and we get a child and we occasionally think of Frost's single stanza and we decide, "You know what? I'm going to find the time to jump out of a plane!" or "I'm going to climb Everest!" or "I'm going to sleep with somebody of my same sex because I've always wanted to and hopefully my wife won't find out!" And sometimes we do and sometimes we don't; it doesn't really matter. Because the thing about taking the path less traveled is that it's still a path and it still represents the path you took and, you know what, there's that other path over there that I never got to experience and it's just shitting all over the path I'm currently on. Some people somehow block out the phantom possibilities and they're the lucky ones. The ones you can claim they have no regrets and maybe they're speaking truth when they say it. But mostly they just try not to think about it. Because once you start peeling at the wallpaper of your current life because the wallpaper, which others upon first glimpsing might think is beautiful and extraordinary, but which you've looked at every day for thirty years, you're done for. And you don't do it to find the beauty of what's underneath; you simply do it to see something different. And the new thing hasn't been scrutinized and deconstructed and critiqued; there's been no time to obsess over it. It's imaginary and if you happen to be like most people, imaginary must be better because why imagine the worst?! Okay, okay. I've just outed myself as not an anxious or depressive person! But I also don't go peeling at the wallpaper, so who knows? Maybe I do imagine the path less traveled was an intense tragedy?! The Invisibles #3 Rating: A. It's still pretty good and I'm still upset that I only have a few issues. Recently, I was thinking of writing an essay about how the worst thing about growing up is how you stop feeling things. Not that you stop feeling anything at all! Just that you stop feeling feelings that were once overwhelming and all-important. Like the crush you had in junior high. Can you imagine if, at forty, you still felt those feelings so intensely (among all the other ones you've felt across your life)? I understand that feelings must abate over time or we'd all be fucked up from not being able to get over our first crush while simultaneously not moving past the death of our closest grandparents. I get it. And some would say it's a mercy. But lately I've been wondering, "Is it?" Maybe I want to still feel those seemingly inexhaustible passions. I was reminded of wanting to discuss this because Tom says in this issue, "They made you forget how to feel, eh? Remember it now? Like everything new and the sun itself spinning behind your ribs, filling you up with silver. Like the way it was before they made robots of us, sentenced to a life behind bars we're trained to set in place ourselves." Now, that Tom speech was more about the whole "we're the shepherd of our own sheepdom" thing but in a robot and prison analogy. But the other thing about feelings made me remember how I was recently lamenting not feeling all of the things I once felt. Like the basket case from The Breakfast Club says, "When you grow up, your heart dies." And while you can argue whether that's true in the sense that you just stop caring about things, I think it's absolutely true in that it just slowly winds down and isn't capable of feeling how it used to. It's like a rechargeable battery that can no longer keep a charge. When I was in my late teens and early twenties, every single one of my friends, at one time or another, wound up weeping in my basement apartment about something in their lives (usually a woman!). I can't even fucking imagine that now. Maybe they'd be a bit upset or hurt or depressed but hardly disconsolate. I thought I would never get over the sadness at the loss of my grandfather or (and this might sound ridiculous to some but others will understand) the loss of my first cat as an adult, my precious little Judas. And while I obviously won't ever "get over" them (my eyes tear as I write this), I am no longer destroyed by the mere thought of their non-existence. A week after my Judas died, I saw Guardians of the Galaxy in the theater. Judas was always my Raccoon Boy so I almost broke down near the end when one of the characters put their arm around Rocket to console him. I made it out of the theater before absolutely losing it and snot-crying all the way back to the car. And so I can see how retaining that level of feeling over anything would be counterproductive to actually living, I absolutely miss it. I profoundly miss it. I want to be kicked in the stomach until I can't breathe by my feelings. I want this every day even if I know it's the cursed wish of a Monkey's Paw. How can anybody feel everything so palpably for their entire lives? And yet, how can we not?!

#The Invisibles #Grant Morrison #Steve Yeowell #DC Comics #DC #Vertigo

[myfriendpokey]

Morality Play

What does it mean to have a videogame tell you you're a good person? It doesn't know me, can't see me. I don't know if you can be *immoral* in a single player game outside of some very inventive custom controls. Why should I care what a game says? Any inner moral life that a videogame or a painting might possess would be more alien to me than that of a bug or a starfish. Of course videogames and paintings are made by humans, and shaped by the moral opinion of humans.. but we might make a distinction between what the human says and the object says, we might still feel the latter is more important, somehow. 

The moral authority of an artwork or object comes from the fact that it's not quite human, that it comes to us from outside humanity to an extent, is distinguished from the unreliable back and forth of human consciousness in motion. But this distance is exactly why you might expect those moral verdicts to be unintelligible to us, or at the very best, to be untrustworthy, an imitation. So what's the appeal – that of having a human voice which speaks with the gravitas of an immortal object? The pleasant conceit that the general shape of our minds is universal, like all those Star Trek aliens that are just regular guys with slightly weirder ears or foreheads? The void speaks, and turns out to sound like a computer engineer.

But maybe not necessarily, maybe in fact it's sometimes not universal authority and moral support that we seek from the object: maybe a certain jankiness of verdict around the way these things communicate in human terms is itself part of the appeal. I think of paper fortune tellers, magic eight-balls, "love tester" machines that return a romantic prognosis based on palm temperature. The entrancing bathos of the chance-driven or mechanistic judgement that still speaks with a human voice: I’m sorry, I cannot answer right now. Please shake me, so I may try again. How different is that to the widely beloved and magnificently broken romance system in Dragon's Dogma, where, spoilers: your "soulmate" is not a matter of direct moral choice, but of variables being tracked over the course of the game including who you talked to and what sidequests you completed - which means it could arbitrarily turn out to be the weapons merchant, or a grandpa npc you found a potion for. Which is goofy, but only in a slightly more blatant way than "accidentally unlocking the romantic option in a dialogue tree from just clicking around" or "having your morality score drop 5 points because you pressed the wrong button and accidentally hurled a rock at someone's head while trying to equip shoes". 

I think something I appreciate about videogames is the kind of insectlike moral life that they tend to portray, the sense of value systems which are in some way recognisable but which have mutated in conversion to something alien and horrifying. Lara Croft shooting a wild eagle is unfortunate, Lara Croft shooting a thousand wild eagles is bizarre – but really those thousand eagles are just the one eagle, the one self-contained pulp encounter fantasy, which has been extended, extrapolated, systemised as result of being placed in this machine. The latter may be more egregious but it’s still composed of repeated incidents of the original encounter - and part of the strangeness in these games is just the uncomprehending machine effort to systemise the half-formed gunk substance of our terrible fantasy lives, which only bear a vague and halfhearted relation to any notion of ethics in any case.. We can contemplate with envy and excitement the possibilities of running more realistic, recognisable emotional and moral situations through the meatgrinderof the format in this way. How about a solemn middlebrow videogame about divorcing 50 different wives, each one larger and more powerful than the last (excluding sprite recolours)? 

All this is not to say that the casual political and moral stupidity already in videogames should simply be excused or exist outside of critique. But in addition to the body of discourse  around "moral commodities" - commodities invested with moral  or political meaning independent of any brutal labour practices they might entail or monopolistic accumulation of private  wealth they might support – I think it's also worth considering the purpose of the "moral object" itself. The alienation intrinsic to the object form can be a way to think, and also a way to avoid thinking. To project moral beliefs away from the specific context of a creaturely human existence can be a way of expanding that existence, but also of denying it. The paltriness of the human can itself be problematic next to the splendour of the object, and the reflected moral superiority of those with the means of producing such objects.

*****

There's a famous line in the Spiderman comics that with great power comes great responsibility. But it's also kind of a weird line because, while obviously applicable to Spiderman, the person it's actually delivered to is Peter Parker - who is, for all his uncle knows, still a physically awkward and friendless nerd with no immediately visible "great power" to speak of. He does like nuclear physics, though - maybe the advice was intended as a friendly intervention to keep him from turning into the next Edward Teller? Or possibly it's just a kind of unconscious, pulp-writer-trance-appropriation of the muscular liberal rhetoric of the then-current Kennedy administration. Or maybe, and stretching a bit, it's a line that relates more to the conditions of pulp culture manufacturing itself, to the awareness that the stuff you make will be printed thousands of times and sold to kids around the country, poured raw into the national subconsicous. With great sales figures comes great responsiblity.

I mention it because I think it connects to an issue with the kind of cultural criticism that emerged, like it or not, from the specific context of an age of mass media. With great power comes great responsibility - but conversely, to execute your great responsibility you also need great power. And what are you meant to do if you don't have it? Does no power mean having no responsibility? It's possible, but i feel like most people would be dubious about this as a moral lesson - and the inescapability of heavily-financed blockbusters in the culture means that an assumption of already "having great power" sometimes becomes a critical starting point. If you don't have power you should get it, so that you can then have great responsibility and contribute to the discourse. The effect can sometimes be like climbing a mountain of corpses to get a better platform for your speech about world peace.

A good essay on jrpgsaredead.fyi points out the way that certain industry conversations on "accessibility" revolve specifically around access to whatever mainstream AAA action games are currently dominating the news cycle. And the related effect where both problems and proposed solutions are particular to these games, the audience they have, and the resources they can bring bear: More consultants! More characters! More romance options! Better character creators! If you're speaking to an (essentially captive, given the marketing monies involved) audience of five million people you'd better be sure your ideas are, at least, not actively harmful, and in fact should ideally be improving - - fine. How about an audience of 50 people? Or an audience of 0? Does that mean this work is less moral than what speaks to a larger crowd - in effect, that it's worse? And what about the relationship to audience that this kind of teaching implies? i can think of several occasions where people from different subcultures or minority groups were reprimanded because something in their own experience might read differently, or problematically, when presented to a presumably white/cis/affluent etc audience - which is of course the audience that matters, because what's the value of presenting work from an alternative perspective to an audience already familiar with that perspective, to whom it has no automatic moral significance (might, in fact, merely be 'aesthetic')? Compare the complexity of a specific local audience which can think for itself to the easy win of the alternative:  a phantasm audience of moral blanks to whom rote lessons in hypothetical empathy can be tastefully and profitably imparted over and over, forever.

****

If the ethical act is that which we'd be willing to posit as universal law, perhaps we could say: the ethical artwork is that which we'd be willing to mass produce. Small or hobbyist developers are encouraged to work from the perspective of a mass-productive capacity they do not in fact possess; their successes and inevitable failures are hoovered up alike by the industry proper for later deployment in the form of cute dating sim or inspirational narrative with similar but sanitized tone or aesthetic. In essence a kind of moral QA testing, with all the job security and recompense that this implies. 

The hobbyist is, by definition, not universal: they are enclosed within the local and the material. What time do you get off work? What materials do you have to hand? Are those materials always legal? The entire western RPG Maker community exists as result of widespread bootlegging; the entirety of videogame history and preservation essentially depends on stolen copies; we find out about it through ROMs, videos and screenshots which mostly depend for their continued existence on copyright holders either not finding out or choosing not to pursue these debateable violations.  It's a complicated discussion whether this stuff can be justified on a general, universal level - but also I'm not sure we can do without it. When Fortnite uses dances from TV and music videos of living memory they're considered to be in the public domain; but Fortnite itself is not in the public domain, even though it's so inescapable that even I have a pretty good idea of what it looks and plays like despite having made a pretty determined effort to not find out anything about it. It's "public culture" in that sense, and it includes public culture within it, but both game and imagery are privately owned and aggressively policed (suing teenage hackers, etc). What does it mean for art to emerge from an ever more privatized sense of public life?

In 2007 the RPG Maker game Super Columbine Massacre RPG was added to, then removed from, the Slamdance festival following complaints; it was a minor cause celebre at the time following concerns about censorship and the lack of protections for expression in the videogame format specifically following the Jack Thompson media crusade in the United States. In 2019 the same festival retrospectively changed their reasoning: now the game had no longer been removed on the basis of questionable taste, but on the basis of questionable compliance with copyright law, since it included music from the likes of Smashing Pumpkins without paying for licensing fees (and also because the author generally "hadn’t created several of its elements" - asset flips!!!). There's some humour in the fact that a benign-sounding concern with "artist's rights" could just be swapped in as a more respectable-sounding surrogate for general prudery with exactly the same result. But also, in this instance, what does it mean about the game? As facile as SCMR is, the bootleg use of graphics and music was its most interesting element: the game was a bricolage of American pop culture at a specific point in time, as were the killers, as are we. The nearness and recognisability of that culture, the sense of not being able to get enough distance from it to properly fictionalise or think about what happened, is what stands out. An "ethical" version of the same game which used original music - Nirvanalikes, some tastefully copyright-adjacent Marilyn Manson clones - would not just be diminished, it would be actively insulting in the false distance it implied.

I don't mean this at all as a request for more edgelord-ism. But it's worth remembering that videogames themselves are not ethical; are, in fact, colonized materials assembled with exploitative labour and dumped aimlessly into public life by electronics corporations looking to make a buck. The bizarre and haphazard ways this long dump of poor decisions has manifested, warped, been adjusted into culture is part of what's worth attending to about the format – I think it's worth looking closer into all these pools of murkiness, before ethical  landlords can come drape a tarp over them as part of the process of divvying up the property.

(image credits: youkai douchuuki, quiz nanairo dreams, trauma center: under the knife, espial)

#gamechat #games criticism #moral

[thetygre]

Arthurian D&D Books

So before the tumblrpocalypse hits us all, I guess I better belt out that mini-review of D&D books that deal with Arthurian legend for @magitekbeth, @fuckyeaharthuriana, and @lucrezianoin. These are specifically 3rd Edition books since that was the edition I started with, and it also had the greatest body of material to work with. 3rd was famous for its glut of books by third-party publishers, and Arthurian mythology was a recurring subject under the Open Source Rules (OSR).

That being said, Arthurian legend has always had some form of presence in Dungeons and Dragons. It is very openly an inspirational source in the fantasy gumbo that is D&D. The original 1st Edition Deities and Demigods included ‘Arthurian Heroes’ in it, along with gods from just about every pantheon. 2nd Edition had a supplement detailing Arthurian legend, though for the life of me I can’t find it.

But let’s start cracking on the 3rd edition books. Atlas Games’ Love and War isn’t necessarily about Arthurian legend, but it is about knights, particularly the romantic characterization of knights that is attached to a lot of versions of Arthurian legend. The book is built around the four concepts of knightly virtue (love, valor, piety, and loyalty), with special knightly orders and character options for each one. It expands outward into fantasy rpg territory a bit more by also offering race-specific concepts for knights, such as orders specifically for dwarves and elves.

Since it doesn’t have to explore Arthuriana, that also gives Love and War more room to explore knight concepts that other books here typically don’t; female knights, knight duos, fallen knights, etc. And as is standard for most of the books mentioned here, Love and War also introduces a variety of subsystems for a chivalric setting, including tournaments, piety, honor, and renown. Interestingly, one of the subsystems is courtly wit, which is a non-combat system meant to emulate the verbal sparring and social maneuvering present in stories about nobility and knights. Again, not Arthuriana, but recommended.

I’ve already talked about I, Mordred before, and it’s what got me thinking about this list again. Like I said there, I just feel like the premise of fighting an evil King Arthur alongside Mordred as the good guy just didn’t go far enough. If nothing else, Morgan le Fay should have been at least Neutral instead of still being cast as Evil. Really, everybody needs to be some kind of Neutral to really get an ambiguous setting of competing factions with no clear ‘right’ choice. Personally, I still want to see a version that goes super-hard with the alignment flip; paladin Mordred and white witch Morgan versus the half-demon warlock Merlin, his puppet king Arthur, and the death knights of the round. But then again, subtlety was never exactly my forte.

But this is where we get into the real good stuff, the books committed to Arthuriana. Relics and Rituals: Excalibur is the book of choice for if you want to plop a faux-Arthurian Britain into a high fantasy setting. It comes at Arthurian legend from a perspective that inherently has multiple races, high magic, and wandering monsters. You can play as not just a human, but a sidhe elf, halfling, dwarf, or even hobgoblin. Even half-orcs have made it in, though reflavored to be their own race of ‘Wild Man’.

Like most extensive themed campaign books, R&R: Excalibur takes an extensive look at what aspects of the base Dungeons and Dragons systems stays the same and what changes. For instance, some player character classes like fighter, rogue, bard, and paladin fit right in to Arthuriana, while other like the oriental-themed monk and the spell-slinging sorcerer are right out. (Regular classical wizards are still fine, though.) And, as is to be expected, there is a new knight class, though the author does note that it can seem somewhat redundant with the fighter and paladin still around, and its use is optional. There are a few prestige classes, with the one sticking out most in my memory being the classic Green Knight, complete with chlorophyll and resistance to decapitation.

There are a variety of essays encompassing everything from tournaments to the importance of knightly decor to honor and, perhaps most importantly, how to manage D&D’s vastly overpowered magic system and magic items into an Arthurian setting. There are no less than two pantheons, one Faerie lords and the other of this new-fangled ‘God’ fellow. Me being me, I mostly remember the chapter on how to treat different kinds of monsters; I was particularly fond of the idea of making the Fisher King’s cursed kingdom filled with undead trying to enact a danse macabre of everyday life, complete with skeleton farmers driving skeleton horses to plow barren fields. But again, that’s just me.

Relics and Rituals: Excalibur is definitely a worthy book for lovers of Arhturiana. But that’s the thing; it captures the spirit and tone of Arthurian legend, but not Arthurian legend itself. There’s definitely an appeal to it; something novel about the idea of jousting on a chimera, or cockatrice fights at the local fair, but it’s not quite the same. It’s high fantasy D&D stepping into Arthuriana, not the other way around. For that, for the real Arthurian legend lovers, you’ve got to get the real gem.

*Slaps top of book* This bad boy can fit so many knights in it. This is arguably THE book for Arthurian mythology in Dungeons and Dragons. Legends of Excalibur: Arthurian Adventures is a love letter to Arthurian legend. It starts with an incredibly brief summary of the history of Arthurian legend, from Wales to La Morte D’Arthur to John Boorman. LoE:AA makes it clear that it’s up to the reader to go research Arthurian legend for themselves; all the book can do is point them in the right direction. After that, it’s right into the content.

There are some pretty drastic changes made to the base 3rd edition D&D core rules before really setting in. The Alignment system is gone entirely, replaced by a character’s honor score. What are the character race options? Get out of here with that; LoE runs old school, so it’s human or nothing. What you do pick, though, is your starting social class, and that can make just as much difference as whether you have pointy ears or not. All the base D&D classes are chucked out except for fighter, rogue, barbarian, bard, and druid.

All that uprooting is fast replaced by a host of new character options. Legends of Excalibur is smaller than Relics and Rituals, but definitely packs more bang for its buck. The new character classes include the fool (with a special nod to Arthur’s fool, Dagonet), the hedge mage (new general mage/spellcaster), the hermit and the priest (for divine spellcasting), the minstrel (meant to represent more traditional Celtic/druid bards instead of the base D&D one), the noble (so that you can finally live out the fantasy of being rich and respectable), the robber baron (which is like the noble, but with more stabbing and shaking people down), the skald (another bard, but for vikings), the yeoman (Robin Hood/archer type), and, of course, the knight.

As if that wasn’t enough, there are a metric ton of prestige classes. Some are fairly bog standard, like the alchemist or berserker, while others are meant very explicitly to play into Arthurian archetypes. Remember how there was actually more than one Lady of the Lake? Now you can be one too. Merlin? Court mage. Morgan le Fay? Fae Enchnatress. And knights? Oh, you bet there are knight prestige classes here. There are no less than SEVEN knight prestige classes, including Quest Knight (specifically for seeking the Holy Grail), White Knight (to replace paladins), Black Knight (to replace blackguards/antipaladins), and practically every color knight in between.

Legends of Excalibur also offers rules for characters that advance beyond the standard level cap in the Dungeons and Dragons system, into the ‘Epic’ character levels. This is actually one of the reasons why I feel like Dungeons and Dragons can be a good fit for Arthurian legend. A character can start out as little more than a wandering soldier and advance to become as powerful as a demigod. While the typical image of Arthurian mythology is of a fairly low-fantasy medieval Europe, the actual source material, throughout its multiple incarnations, isn’t stingy about giving its characters magic powers, legendary equipment, and impossible challenges to face. While it still needs to be toned down to some degree, there is definitely room in Arthurian legend for the kind of superheroic powers that the Epic rules can bring. (Or at least as long as the setting keeps spellcasters to a minimum.)

This book isn’t just a guide to playing Arthurian characters, but the Arthurian world. There is a complete map of Arthurian Europe that has to reconcile Arthur’s given time with accounts of him rebelling against the Pope and fighting in the Crusades before Islam even existed. It’s a wonderful little detail, trying to account for everywhere that Arthur or one of his knights or relatives supposedly lived in or visited. Another detail is accounting for the the timeline; Legends of Excalibur designates five important time periods in the Arthurian cycle, from just after Uther’s death to the Golden Age of Camelot to the civil war with Mordred. Each period has different effects on not just characters, but the geography, people of the land, and magic. Try to go into the forests just after Uther died, for instance, and a character is likely to run into monsters like dire wolves. Go back when Arthur is on the throne, though, and the forest and its animals will be tamer. It’s a world very committed to the idea of Divine Right, and how a king affects the universe.

Of course there are monsters. There’s the standards; white hart, Questing Beast, though some more obscure monsters like a variety of werewolves are here too. There’s individual entries for monsters to describe their individual place in Arthurian Europe; chimeras and manticores are rare, ogres and trolls are common, etc. The real gem of the monster section, though, is giants and dragons; giants and dragons are staples of knightly mythology, after all, so they get special treatment. Just like people, dragons and giants are categorized by class and bloodline; a noble dragon, for instance, will have scales the color of gold and be the size of a castle, where a lowborn dragon looks like the wrong end of a snake and an umbrella. Naturally, there’s more Honor to be gained fighting one instead of the other. It’s a great system that reflects how, along with the King, giants and dragons are tied to the land.

But the cincher, the real hook that I think makes this book worthy of a true Arthurian legend fan, is the sample adventures and appendix. I, Mordred gave you one shot of teaming up with Arthurian big names; Legend of Excalibur gives you three. Fresh adventurers can help Sir Balin kill the invisible knight, possibly even averting the grail cycle by killing the knight before he reaches Pellam’s castle. More powerful adventurers have to choose sides in the civil war, and Mordred is once again an option. But my favorite of the three adventures has the player characters helping a young Arthur claim a castle. It would be satisfying enough to rub elbows with the likes of Merlin or Sir Kay, but then there’s a side-quest where young Arthur sees Guinevere and is instantly smitten, so he conscripts the players into acting as his go-between for her. Players have to deliver Arthur’s notes Guinevere. They can read the love poems he writes for her; they’re awful. It’s just such a wonderful little detail that it’s hard not to love it.

And then, finally, there is the appendix; a whole cast of Arthurian characters statted out. It would be impossible to cover EVERYONE, but Legends of Excalibur makes a fair effort. LoE remembers some characters that typically get left behind; Dagonet, Morgausse, Sir Bors, etc. Some characters, such as Arthur, are presented at different stages in their life. All-in-all it makes a good roundout for what I’d call easily the best book about Arthurian legend in Dungeons and Dragons, if not one of the best tabletop roleplaying.

If you scanned past all that; this is the book to get for Arthurian legend in D&D. Legends of Excalibur is the beginning, middle, and end of the argument for Arthuriana with tabletop roleplaying. Even if you don’t play 3rd edition, or even D&D, it’s still a valuable resource in converting Arthurian Europe into a tabletop fantasy setting. The only way you could get more in-depth is if you made an entire RPG about Arthurian legend.

But maybe let’s talk about that some other time, huh?

#arthurian mythology #arthurian legend #dungeons and dragons #king arthur #arthuriana #long post

[sepiadice]

Art Direction of Tabletop RPGs

Dungeons and Dragons is good at being Dungeons and Dragons.

That shouldn't be a controversial opinion, and it's not worded as one, yet I have one friend who derisively labels it as a war game, and another friend who believes D&D is all you need in regards to TRPGs. These two are from distinct eras of my life, and have never met.[1]

My moderate view is such: Dungeons and Dragons is good. It's not the ultimate system, but if you want a western fantasy built on the framework of Tolkien, Fifth Edition is the way to go. You could use a different system, in theory, but no other system has the same reach and stability. Everyone knows D&D, which is valuable.

Its combat and mechanics are a good balance of grit and function, and it's mostly teachable. My friend's 'wargaming' derision is because he believes it doesn't support role-playing well. Something about the guy who wrote Dungeon World saying if it's not in the rules, it’s not in the game.[2] But I've always felt that D&D makes the right decision in not bogging it down with structure and dictating the 'correct' way to role-play.

However, if you want to do anything else (Sci-fi, non-european fantasy, superheroes, Slice of Life), best case scenario the seams will creak in the attempt. D&D is good at being D&D, and that's the limit.

I appreciate D&D. I'll play D&D, happily!

There's a reason I bristle when “DM” is used as the generic term.

That said, I've always had a sort of tonal disconnect when I play D&D, and it's because of the art.

Fair warning, what follows is a lot of personal interpretations and vague mumbling trying to relay a point. I’m not actually an authority on anything.

(Dungeons & Dragons owned by Wizard of the Coast . Image sourced from Wikipedia)

Dungeons and Dragons does not have pretty art. It’s technically well done, and far from ugly, but it’s not actually inspiring. Above we have the cover of the Player’s Handbook, the first thing most new players see. Setting aside that the focus of the cover art for what should be the book about Player Characters is a giant monster man[4], the cover is very orange. The actual people are composed of muted, neutral colors, and the background is vague and out of focus.

It’s not really conveying an air of fantastic worlds and larger-than-life characters (giant wearing a dragon skeleton aside). It coveys oppression, monotony, and “realism”.

(Pathfidner owned by Paizo. Image sourced from Wikipedia)

Pathfinder’s core rulebook, on the other hand, is colorful. Look at that big, bright dragon![5] Sensibly dressed Fighter Man’s brown clothes are still bright enough to pop him out from the green-grey dungeon background[6], and Fantastic Sorceress’s red dress is also bright and helps frame the Fighter as her hand glows with magic.

While both covers feature a woman with an orb of magic, D&D’s cover shows magic as contained and lighting a small space, while Pathfinder’s magic is big and trailing, hinting at movement.

Actually, D&D’s mage girl doesn’t have a cohesive movement. Is she falling from above? Jumping in from the left? Where is she going? It doesn’t really follow in a meaningful way.

Anyways: color. Yes, yes, I know the plague of brown and and muted tones is a much whined about criticism, and it might seem odd from someone calling himself SepiaDice, but neutral tones have their place; usually as background and supporting other colors to pop more.

Besides, Sepia has a noble history in film, the brown range isn’t a common image color, and Sepia is fun to say.[7]

Color choice is very important. Bright colors draw the eye and make visuals more distinctive. Bright colors also denote and bring energy to things. Dull colors are used for locations meant to be calm and sedate. If you want the characters and locations to seem fun and full of life, you fill it with bright colors.

Everything breaths, adventure can strike at anytime!

Dull colors, and it’s hibernation. People are around, but they don’t seem to enjoy it.

But let’s turn to the visual storytelling: what does each cover tell you about life in their setting?

D&D: lots of posing to look fancy, but there’s no real sense of energy. Jumpy Magerson’s weird Megaman hop has been mentioned, of course. The Giant has a look of dull surprise as he drops Jumpy Magerson,[8] as he holds a sword in the non-active hand. Foreground fencer man is wide open, holding his own foil up and away from where it might accidentally jab anyone. The locations is… orange? Looks like there might be lava geysers?

Patherfinder: A dragon roars at its enemies! Teeth bared, tongue coiled, tendons on display! Wings unfurled to make it seem larger! The fighter is yelling back at the dragon, his weapons mid-swing! Shoulder forwards to defend the rest of the body! The Sorceress is holding a firm stance as she casts a spell that crackles with arcane energy!

Pathfinder’s cover tells a story of epic combat, fizzly magic, and energy. D&D’s cover tells a story of two adventurers existing in a space also occupied by a giant.

Now, both of these systems have the same ancestry, as Pathfinder is an iteration on D&D 3.5.[9] But one sparks more joy when I look at it.

But let’s do another case study. I’ll need an audience volunteer, and my brother’s the only person immediately on hand.

I’m going to make him list three qualities of goblins real quick:

Green

Wimpy

Sneaky

Awesome. Don’t know if the green text translated, but those are what he wrote. Give him a hand!

So, with those three traits in mind, let’s look at a goblin picture from D&D Beyond:

(Owned by Wizards of the Coast. Source here)

Like, you can’t say D&D doesn’t call that a goblin, it’s literally on the goblin page.

This guy is yellow. He’s built like a four foot tall WWE Wrestler. He’s defending with his advancing arm as he rears up to smack ya!

(Okay, “Sneaky” is a hard one to argue.)

Moving on, what does Pathfinder call a Goblin:

(Owned by Paizo. Source here)

Look at this charming miscreant! Green. Big ole head. Good mix of of ugly and oddly adorable. Probably two feet tall, and happens to want your two feet, please, but you could step on him if you’d like.

He also looks like a Gremlin

(An adorable little chaos monster owned by Warner Brothers. Source)

Point is, Pathfinder’s more cartoony take on the classic monster feels more in the spirit of the thing. Every time I see one of those goofy faces, I feel like I’m in for an enjoyable time.

Bringing us back around to the point of this essay: the art direction of D&D bogs down my theater of the mind. The art in the rulebooks don’t inspire creativity or fantastic visions. It inspires… dull, lifeless people walking through dirt roads flanked by dead grass.

I don’t enjoy looking at D&D’s art. Relatedly, I don’t like looking at the art of Magic: the Gathering, whose style I can’t help by see in every D&D sourcebook cover I see. Neither game invokes an inviting world, but utilitarian ones that exist to give quick, forgettable visual flair to represent mechanical card effects.

To save making this long essay even longer and unfocused, I’ll save talk of actual ‘canon’ lore for another time.[10]

So why do I, a semi-professional funny man and sad dreamer who can’t actually draw, want to talk about rulebook art?

Well, I’ve always felt a disconnect when I play D&D. I make the characters, I roll the dice, I attempt to role-play, but I’ve always had an emotional gap between me and the character I’m playing. I like the concept, but when I use my theater of the mind, the character feels stiff and divorced from everything. Kind of like the 5th Edition rulebook.

Then I saw this:

(Source tweet. All of this artist’s work is great and I wish I could hire them.)

This half-elf showed up on my twitter timeline, and my first thought was ‘How come my characters don’t look like that?’

Soon followed by ‘Why couldn’t they?’

Then I completed the trilogy with ‘Why haven’t I imagined my characters in a style appealing to me?’

As I was deep into contemplating what sort of aesthetic I consider my “brand”,[11] it was entering a mind primed to start overanalyzing.

So, how do I imagine my characters? In the neighborhood of the D&D art, if I have  firm concept. Micah Krane always was mentally nebulous to me, just kinda being a generic half-elf dude. Trix (who was created for the brightly colored Pathfinder) is green-haired and wears a tail coat, but otherwise is also normal looking in my mind’s eye. In the last two D&D campaigns, Tybalt was also vague in appearance, and Teddi had Goat horns, but those were meant to stand out on a generic rogue character.[13]

But you know what I’ve never put on a character I’ve played? Glasses.

I hope that those who read my various media reviews[14] don’t need this overly explained, but I like glasses. I, myself, don’t wear glasses, but I find them to be great accessories in character design. Frames the eyes, come in a variety of shapes, adds bit of extra visual interest. I always point out Meganekkos and pay them extra attention.[15] I really, really like girls with glasses.

But I’ve never made one. Because there’s no cute design in D&D rulebooks. Just a range of handsome people to ugly halflings.[16]

That is the effect of art design in a system. It sets tone, expectations, and aesthetic for the players. It’s so ingrained that everytime I see art of players’ characters that break the standard, it always takes me aback. It’s inspiring to see artists who manage to divorce D&D the game from D&D the art.

I want to imagine fun, personally appealing characters. But the subtle direction of the insert art as I look through to rulebook, or the provided character portraits of D&D Beyond does not suggest things I like to see. It infects the mind, and leaves specific molds. People in practical, mundane clothes, walking down drab, uninteresting roads.

It’s the same lack of escapism that makes Western (Video Game) RPGs super unappealing to me.[17] Dark Souls, Elder Scrolls, Bioshock don’t look like fun places to be, they look tiring and full of splintery furniture waiting to do 1d4 nonlethal damage.

So I have to talk about anime now.

My mother was staying at my home a little while ago, and I turned on My Roommate is a Cat. This prompted her ask me about what about anime was appealing. I couldn’t form a competent answer for the question at the time, but it’s had time to churn in my head.

Anime is a good middle ground between cartoon and realism. It can broach deeper topics and more mature storytelling than children’s cartoons,[18] without sacrificing a light visual tone and fantastic imagery. Also, the fact that it’s produced by a non-American, non-European culture lends a degree of separation with cultural expectations and tropes. Enhances Escapism.

Luckily, in (very) recent years, after generations of exchanging video games and animation back and forth, Japanese Tabletop RPGs are starting to join in on the fun.

Which means I can look at Ryuutama.

(Image copied from DriveThruRPG. Brought over the pacific by Kotodama Heavy Industries. Buy this book.)

I love this system.

Watercolor art direction. Layout evokes a spellbook. Two Characters and a Dog take the focus on the cover, while the road signs and tiny shrine in the background invoke the emphasis on travel and wonder.

The interior art?

(Taken off the Ryuutama (english) website. Buy this book.)

Well, that makes the game just look like fun. Cartoony characters fighting cat goblins. Conflict, but it doesn’t make life feel like a constant struggle. A world I wish to inhabit. There’s also more detailed images of dragons and other world-establishing pictures mixed in to give the art range, but it’s this sort of charming that makes Ryuutama the first rulebook I actually sat and read cover to cover.[19] It’s a good system I already reviewed. Buy this PDF, maybe they’ll reprint the physical book.

Anyways, I’ll admit, the art’s a little too simple for D&D. Perfect for Ryuutama, and the end of the scale I want my mental image to be, but overshoots the sweet spot. And it’s difficult enough to find players for the much more popular 5e, so Ryuutama exclusivity would grind my playtime to zero.

Still, Ryuutama does a great job of setting it’s light, fantastic tone, where D&D has failed me. The art direction of the books, and years of exposure and defaulting to what I assume D&D should look for establishes a mental habit that’s hard to break. Wizards of the Coast has drowned nerd spaces with its particular kind of art, especially with MtG plastered all over hobby stores, deck boxes, dice, playmats, and even D&D sourcebooks.

That’s not even accounting for fanworks and the speculative fiction art in online spaces.

So what do I want to look like? Were I blessed with talent or with patient to actually learn to draw well, what would I be referencing?

What about what set my expectations of fantasy years before IndigoDice invited me to that fateful Traveller game?

(Screen cap of Tales of Vesperia grabbed from here.)

Well, okay, what I’m actually thinking about is Tales of Symphonia, but Vesperia’s graphics are kinda what nostalgia tells me Symphonia tooked like, as opposed to what it actually looks like.[20]

Look at that verdant town! Warm lighting, bright characters, leaves growing to depict life. A hotel built into a tree. This is a fantasy world that is unashamed about life thriving.

Forget solarpunk. This is my aesthetic.

As for the party members…

(Okay, Judith’s a little gratuitous, but The Definitive Edition lets me put her in a suit, and she’s awesome. Art stolen from here.)

Oddly enough, as far as JRPG outfits go, these are pretty tame with details.[21] Mostly bright, popping colors, even Yuri’s dark clothes are done in such a way to not feel grim and edgy, hints of personality, and I just enjoy looking at them.

The Tales series as a whole does a good job of taking European fantasy and applying Japanese whimsy to the design. Also yukatas. Every member looks like the hero of their own story, while still being part of a cohesive whole.

Which is, you know, the ideal way to operate as a TRPG party.

So, what’s the take away?

Artists, keep being creative. Pull inspiration in from things besides the rulebooks and Critical Role. Look at the other things you love and bring visual flare and whimsy to your art. Then share it. Ignite the passions of those of us who can’t do the draw-good thing.

Players, play with the tropes. I love doing it narratively and mechanically. My favorite rogue is still my neutral good stage magician who would never do a crime. Explore what’s possible in the freeform world of tabletop games, both in play and your Theater of the Mind.

Game designers, branch out with the art. And stop using Powered by the Apocalypse as a crutch.[22]

Hope this long ramble was enjoyable and cohesive. If you want more of this, my other works, and maybe to allow me to make an actual play podcast, consider supporting me through Patreon or Ko-fi.

Until next time, may your dice make things interesting.

[1] Though I would love to read a transcript of the two discussing it. It'd be a fun debate. [2] I don't like Powered by the Apocalypse for precisely this reason. Every actual play I've heard with the system has players talking about their characters in the abstract, because they're just pressing the buttons on their character sheet.[3] [3] I maybe should do a breakdown of PbtA one day. [4] Which is pretty poor direction. Do an epic group shot of characters battling a horde around them. [5] None of the D&D core books has a dragon on the cover. Come on, that should’ve been a gimme! [6] Similar note as footnote 5. [7] Also CornflowerBlueDice is too long to be catchy. [8] I figured it out! [9] I haven’t looked at at Pathfinder’s forthcoming second edition. Fifth Edition reclaimed it’s throne as The ubiquitous system after fourth lost its footing, so I don’t think there’s much point. [10] TL;DR: I ignore it. [11] Pulp Fantasy is too mundane. Steampunk is too victorian-y. Sci-fi fractals into so much. Solarpunk has appeal, but isn’t quite right.[12] [12] Haven’t really found the term. [13] Let’s not examine that I put more thought into female character design than male for the moment. [14] Which you should. Validate my efforts! [15] And desperately pray it’s considered innocent enough of a fetish that I don’t have to stop. [16] Never liked halflings. Gnomes are fine. Halflings, in art, have always been off-putting and malformed. [17] That and the emphasis of character customization kneecapping the Player Character’s narrative involvement. Can’t give them a personality if that’s the end user’s job! [18] Even Avatar: The Last Airbender felt like it had to sneak the narrative depth it achieved past corporate. [19] I do need to give it a reread, though. Relearn the system. [20] It still looks good, especially the environment, but the characters are kind of… leaning towards chibi. [21] This, specifically, is why I chose to highlight Vesperia over Rune Factory. [22] Technically nothing to do with this essay, but I can’t stress this point enough.

#SepiaDiceRants #ryuutama #Fifth Edition #Dungeons and Dragons #pathfinder #tales of vesperia