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Rpf is fine if its mozart and salieri

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THE FELL STAR

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if you ever wanna be humbled just go on sporcle and play one of those "name the most popular baby names of all time" quizzes and watch as all of your intelligence is siphoned from your brain the minute you're put under a timer

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sick and tired of seeing these ace trainers brag about their super smart badass level 100 shiny mons.

This is Sol. She is a fucking idiot. She regularly forgets that she is a flying type and sits at the bottom of cabinets n such crying cause she doesn't know how to get up. I would die for her.

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Finished a new piece. I think it speaks to my state of mind. Notice the fine details. :)

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I think it would be really fucking funny to write a piece of fiction set entirely in real life but using lazy fantasy worldbuilding talk. I gather coin* for the road west** - I will need it to enter the Capital.***

* two quarters and two dimes

** Interstate 64

*** Richmond, Virginia

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every now and then i have to relisten to natasha pierre and the great comet of 1812 all the way through to remember what it’s like to experience the full range of human emotion. actually i think this also unlocks shrimp emotions

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i love kamet because he is a cunty little bitch

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hadestown yet again making insane decisions with its cast recording releases

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If you see this you’re legally obligated to reblog and tag with the book you’re currently reading

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Started a new vest project this week ! Test swatch + bottom section ⛪🌿

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Tusk Love is becoming a very real novel! Written by Thea Guanzon, with a cover illustrated by Erion Makuo, the favorite novel of Jester Lavorre herself will be published July 1, 2025.

The publisher's summary from Random House Worlds reads:

As the daughter of an ambitious merchant, Guinevere’s path has been predetermined: marry into a noble house of the Dwendalian Empire, raise her family’s station, and live quietly as a lordling’s obedient wife. But Guinevere longs for a life unbounded by expectations, for freedom and passion and adventure. Those distant dreams become a sudden reality when her caravan is beset by bandits, leaving her guards slain and Guinevere stranded alone on the dangerous Amber Road. Her only chance of survival is to travel alongside Oskar, the aloof half-orc who saved her during the attack. Unlike Guinevere, Oskar’s path is not so set in stone. With his mother dead and his apprenticeship abandoned, all that’s left is a long, lonely walk to a land he’s never seen to find family he’s never met. The last thing he needs is a spoiled waif like Guinevere slowing him down—even if the spark between them sizzles with promise. Despite his cold exterior, Oskar is brave and thoughtful and unlike anyone Guinevere has ever met. And while Guinevere may be sheltered, she brings out a softness in him that he has never dared to feel before. As the flames of their passion grow, they realize that soon they’ll need to choose between their expected destinations or their blossoming romance.

You can find more information about this and other Critical Role books at CriticalRoleBooks.com.

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I understand the impulse to clown on Essek for walking around in Vasselheim with his recognizable voice with the Bright Queen's spearhead commander, and of course we could turn to the metatextual elements (the necessity of signposting the world for players on the part of the GM, the ease of using a familiar ally to introduce a relevant NPC and new point of contact) to dismiss this if we wanted, but I think it's more interesting—and funnier, as you'll see—to imagine this as simply an extension of the laws and logic that dictate the Mighty Nein as a narrative entity.

Fundamentally, the Mighty Nein within their campaign pursue personal and collective agency, often at the expense or in denial of political power. Where they do interact with more political forms of power, they evade its grasp upon them, most notably in their interactions with the war, but also while they engage with the Cerberus Assembly, the Cobalt Soul, and even the Revelry. The way they pursue agency, on the other hand, has far more to do with their own support of one another and their own individual power, especially where there is magic involved, and manifests in having the freedom to move and act as they wish in the world.

The culmination of this, as we know, is the mechanical ability in their final battle against Lucien and the Somnovem to manipulate the terrain of the battle map to their advantage with only imagination. At the same time, Jester and Caduceus can both call in free favors from their gods, one of whom is unlimited by the Divine Gate and in fact is far more governed by fey logic. Fjord has made three different divine pacts and is virtually unrestricted by any of them. Caleb's hallmark is an almost infinitely malleable home that almost literally seems to operate as a hammerspace, with a pinnacle dedicated to the potentiality of the universe, the application of which is one of his signature spells—against all odds successful in his initial goal, no longer fueled by guilt and grief, of bending reality to his will. It's narratively and thematically cogent that this be the calling card of the party as a whole.

The Mighty Nein are, in effect, dictated by Looney Tunes logic, and nothing else. They have been so successful in their pursuit of their own freedom that they no longer abide by the cosmic laws of Exandria, let alone the laws of physics or sense. So yes, from an external point of view, it does look exceedingly foolish for Essek to be traipsing around in Vasselheim under the Bright Queen's nose, but it's far more entertaining to argue that being a member of the Mighty Nein in fact simply confers the capability of ignoring the laws of reality without consequence when it's narratively convenient, characteristically interesting—or just really fucking funny.