#-- and with how the mechanics are designed around it'

[waystatus]

I have played enough 2e to say that my experience with it definitely doesn't match what you're saying about older editions. It's very much still a game about tactical combat. The main change WOTC brought with 3e is that it was a lot more systematic about a bunch of core gameplay stuff (the d20 system, how stats work, etc) instead of what 2e had, which was a bunch of strange exceptions to general rules like 18/50 Strength.

Which is not to say combat in early editions wasn't more dangerous. It absolutely was, especially at low levels. But, like, Baldur's Gate 1 and 2 are both built in 2e and they are very ordinary video games where you fight many monsters on the way to a boss fight. (Even Planescape Torment which famously allows you to talk your way out of most combats still has plenty of required fights.) And the rules in early editions are still very clearly designed around combat as the main thing your character will be doing: a 1e character sheet is still about 50% combat stuff, which is less than current editions but way more than CoD and way way more than, like, The Quiet Year.

From the beginning the name of the game has been Dungeons and Dragons, which means that one of the core assumptions is that you are expected to fight a dragon at some point. The first Monster Manual was published in AD&D in 1977. D&D has been a game about fighting monsters since the very beginning and I feel like I'm taking crazy pills trying to explain this to people.

Part of what you're seeing is that the earliest editions were in fact SO wargame influenced that it wasn't really expected you would care that much if your PC died. You don't really care if your army dies in Warhammer, so the people behind Chainmail and later the earliest versions of D&D hadn't initially thought that it was a big issue if your adventurer died, and the rules of the games that were adapted to make the earliest editions definitely weren't built to allow protecting an individual army. What's actually happened is that modern editions are actually assuming campaigns will be more narrative and less murderhobo, which increases the chances you will care about character death and causes demand for mechanics that allow you to protect your character.

One of the funnier manifestations of gleeblor is Pathfinder players: I'll make a post about how D&D will color people's expectations of what RPGs can be like and create a very narrow set of expectations about the medium, and inevitably some Pathfinder player will be like "haha yeah those D&D players should really broaden their horizons, Pathfinder fixes all of their issues," and my friend. I'm sorry to say this but you are not immune to gleeblor and in many regards where it comes to expectations of playstyle created by the game, your favorite game is in fact just another company copying D&D's homework and slightly altering the wording.

[ganondoodle]

botw2 (totk rewritten) ganondorf design (+some story) post

Mummy version what link and zelda discover beneath hyrule castle when investigating the failing shiekah tech and discover a cave system that leads to several abandoned shiekah research/security sites and ultimately lead to a cave in which ganondorf is still sealed away by the ancient queen of hyrule; after the initial sealing (or capture rather) her descendant and the shiekah, who were rapidly advancing their tech at the time, build around it, both to keep the seal secret and safe (as the actual sealing was a short but intense battle between him and the queen that wasnt intended to happen like that, in the middle of the throne room that got broken and both ended up in the underground, the only survivor being the young princess of hyrule from that time- since all involved parties except for her died little was known as to how and why but the stories were spun regardless and ultimately the final narrative was in hyrules favor) and to use ganondorfs immense spiritual power and magical skill- eventually becoming one of the main power sources for all shiekah technology (ouch)

the chamber is all shiekah built (post sealing) and similarly secured like the monks in shrines (though visibly decaying and failing)- once disturbed the remainder of the ancient queen fused into zeldas hand (with seemingly no effect but temporary pain, perhaps she will hear voices from the past telling her not to explore any further .. still working on that) ganondorfs body falls to the ground but then springs back to life, somewhat clumsily but fiercly attacking zelda and link, the shock from being in this horrendous condition between life and death for thousands and thousands of years and suddendly being thrust back into his decayed and used up body still fresh

the mastersword is broken and links arm destroyed, both link and zelda start to flee from the crumbling cave, zelda dragging link behind her in panic (and as he is hurt)- after which link gets his shiekah tech arm (and the arm stays gone) and the world changes

mid game fight- this game is not as free in progression as botw, you can do alot when you want but some things will remain locked, the mid game fight can only happen once the 4 main regions problems have been dealt with (very different to canon totk, but that is for a different post) and the castle, which fell into the underground shortly after the intro, is made accessible (specific way how still in work) the interior is both broken castle, rooms previously blocked, and shiekah tech- since beneath the castle was a whole, giant array of tech made to secure the castle, including reserves of ancient energy specifically for the royal family and the entire mechanism behind the rising pillars filled with guardians-

at the start of the dungeon link is grabbed by malice/miasma hands and dragged into the castle, seperated from zelda and the mechanics she introduced (crafting/reparing weapons and more), theres no way out, teleports are blocked; after getting further in alone, zelda finds you again, and nothing seems out of the ordinary (unless you have a keen eye, she only uses her left arm and would walk past things she usually wouldnt) after a certain amount of progression, without warning, as soon as zelda is out of the cameras view she will attack you relentlessly, not speaking a word and with changed eye color- after fighting with her/beign chased into the main throne room, the real zelda breaks through a wall, her friends in tow (yunobo, teba+tulin, riju, sidon, which she went to to ask for help, explaining the time gap), and ganondorf drops the disguise, a fight with him (mummy version) ensues, though he is very much back to his senses

at the end of the fight he shows (or forces her to see) zelda his last memory from when he lived, the confrontation with the ancient queen to his sealing (since she doesnt know/is in denial of her families role in both all this and the sonaus (zonais) extinction (as well as the betrayal and persecution of the shiekah later on), and his beef is with her specifically, link is just her guard dog after all) (i wasnt sure to include a direct scene from the past, but this one scene is very self contained and gives alot of context while still letting most of the past be a mystery- as i want to keep it as feeling ... removed and unknown as much as possible from the world you know)

(after which he leaves the scene as zelda tries to understand what she just saw)

post revival Ganondorf (beginning of end fight cutscene and phase 1.) only appears at the end (excluding the possible cutscene in the mid game fight, which shows him in his time, alive, which is a different design than this that i will make for a cutscene/story post)

the end of the game is in/on the forgotten plateau (it ends were botw began :) ) perhaps it rose higher and revealed an entrance after more game progression (at least one more dungeon, master kogas, and the restorations of the master sword via deku tree dungeon and sword quest involving the dragons; how much of the past you cared to explore within caves, which ARE the underground- its in several bigger and smaller, harder to access caves, each being somewhat to very unique and reveal more context, is largely irrelevant, it mostly serves to give YOU more context and make you think)

the dungeon is within the plateau, once to the end there is a longer cutscene of zelda trying to talk with ganondorf, now in his, largely, restored form (largely as in, not exactly as he was in past, clothing difference etc), her having come to understand what her legacy is and wanting to take responsibility for it; he listens calmly and talks to her for a bit (but the tension is very high, he knows what threat he poses and his goals, zelda is visibly trying to keep it together) and for a bit it might look like she can avoid this conflict

but he makes it very clear then, that she cannot undo anything, there is no possible price she could pay, he has suffered at hyrules hands for generations, having seen the world that was his home grow into myth, see his own people forget him, and how the history was remembered, not as it was, but as they wanted it to; he is forever changed, ripped from his time and all he ever held dear (there are clues and a mention of him having had two daughters, a little boar figurine, carved from wood of trees now extinct, hangs from his belt even now)- he wasnt a perfect king, but well liked and kept his country to stay strong against hyrules schemes .. until he fell- he is not truly alive, he is in a strangers world and this world hates him, it is anger and hatred, rage against all that happend, guilt for having failed his own, feeling betrayed by them yet, even if not truly their fault as no one knew what really happened except him, but he was imprisoned, with no breath to speak nor air to scream

he does not care for this world and his only goals now are to disrupt as much as possible, be the unstoppable force that hyrules always been, be the monster they wanted him to be, do as he wants until someone stops him ...and kill zelda to end her rotten family- but even if she gave up her life willingly he wouldnt take it, she will have to fight and make her own hands dirty and she does not want to die.

your friends arrive, and the battle begins.

(rough examples of his weapons are further below; he fights with one arm only in phase 1. then reforms his missing arm with malice, borrowed from the boar appearance, though it is not usable enough to truly replace it, it acts more like beasts claw and to copy some of links abilities, like the hookshot)

Beast Ganon(dorf), normal appearance (phase 3)

at the end of phase 2 he knocks out your friends, changes into beast form and attacks you, zelda using her magic to shield both her and link so he cannot bite through, instead smashes them both through stone and dirt all the way to the surface of the plateau on which the fight continues, this time only link and zelda

(his movement isnt a senseless rage, but a graceful being, he moves and jumps, floats and swims through the air as the ground in an almost dragon like way, he still wields magic, not all malice, but lightning and perhaps even more too, it is still him, just a different form)

Beast Ganon(dorf) while charging magic (phase 3)

Ganondorf phase 2 + Ganondorf phase 4 (slightly out of order but the boar wouldnt fit on one picture with other forms)

at the end of phase 3 (beast) it seems like you have beaten him, he is down and zelda takes charge, ready to do as she did to the dark beast she faced before (dark beast ganon in botw) but as she raises her hand a sword slash cuts off half her right hand- he is not done yet and refuses to be dealt with like that again, not by her hand again-

the final phase is a mix of all, including his appearance, this is the final struggle, to give every last drop of strength, the hole in his chest is open, malice eyes staring from within, it keeps him alive yet still-

zelda is disabled for this fight, she has been taken to safety by your friends, this fight is all on link to finish; while this is his most desperate and vengeful form, he is not senseless either, he summons his sword to attack you with as he did in phase 2, then throws it at you, quickly conducting lighting to it and while you are busy dodging lunges like in beast form (to paint the picture a little), this fight is supposed to be truly challenging.

(heres a rough example for his weapons)

(not fully sure of the ending scene, but there is supposed to be a short view into a timeskip in which zelda also has half a prosthetic hand made from shiekah tech)

[goddamnitmahtin]

Beauty and the Beast

(A dc x dp prompt)

Danny was in college online so he didn’t really leave his house much. It was probably why he didn’t really realize it when Jazz started going out more than she used to. He was so swamped with his mechanical engineering major and astrology minor that he didn’t even bat an eye when Jazz started to go out at night. Most days, Danny didn’t even know what time it was anyways. He was constantly up at his computer, studying for this or designing that.

Every once in a great while he would go out to pitch his inventions to WE but nothing ever came from it most of the time. It wasn’t like he was expecting for it to go anywhere, he was just trying to get his foot in the door a bit. Maybe if they saw something in him now, he could get hired right out of college. That was the hope anyways.

So imagine Danny’s surprise when the CEO of WE himself asked Danny into his office. The Tim Drake. Holy fucking shit. This was either gonna be really good for him or REALLY fucking bad. Danny assumed it was about one of the inventions he had submitted. What if it was great and they wanted to patent it? What if it was absolutely trash and the CEO was calling him in just to tell him to stop sending in his shitty ideas? Knowing Danny’s luck it would be the latter.

“You wanted to see me Mr. Drake?” Danny said sitting in the chair across the desk.

“Yes I did,” Mr. Drake said, “And please, call me Tim.”

Danny wasn’t sure where this was going at all, “Sure, uh Tim.”

The young CEO looked to be about Danny’s age to be honest. He must have been really something if he was able to have been given the position so young. Mr. Drake- Tim sat forward, leaning on the desk with his elbows. Danny couldn’t help but notice that it was kind of attractive how he demanded power over the room even when acting casual.

“Danny, I have seen your work. It is remarkable to say the least. You have impressed me,” Tim said.

Danny smiled. That was a good sign. Maybe he could get a job upon graduation after all.

“Thank you,” he said in response.

“But that’s not why I called you here,” the CEO said, standing up from his desk. Danny watched as the man walked around the desk to sit on the tabletop right in front of Danny, smiling almost seductively.

Danny felt his face go hot as he realized that the man’s legs were placed right between his own. Mr. Drake was attractive before. But now… ancients be damned… how could he not be hot? Should Danny have been a bit more concerned with the clearly inappropriate behavior in a work place? Probably… but Danny was never the best at self preservation.

“Oh?” was all Danny could get out of his mouth before Tim flashed a dazzling smile that made his brain short circuit.

“You see Mr. Fenton, I seem to be more enamored with you,” the young CEO said, leaning in enough that his breath ticked Danny’s neck.

As we have established, Danny’s self preservation skills were absolute dog shit. So instead of any sort of alarm bells going off in his head, he felt that the next logical step in this situation would be to shoot his shot. Fuck it, why not?

“What, are you telling me to ask you on a date Tim Drake?” Danny asked, his lips curling into a smirk. Fuck the job, this guy in front of him would be much better.

He watched as Tim’s cheeks flushed for a moment before returning the smirk, “Are you asking me out on a date?” Ancients, his eyes really sparkled huh?

Danny crossed his arms, leaning back in his chair, “I dunno. If I did, would you say yes?” Be smooth Danny. Be smooth. You got this.

Tim leaned in, impossibly close, “Hm, I think I would.” Danny could feel Tim’s breath on his lips and ancients be damned if he didn’t get to find out what those lips tasted like later…

“Then I guess you have a date Mr. Tim Drake,” Danny said smoothly.

“I’m counting the seconds, Mr. Danny Fenton,” Tim replied. UGH THIS GUY WAS SO HOT- WHAT THE FUCK-

…

Now that Tim had secured a date with the Fenton guy, Operation Belle could start. Seducing the guy into letting him go on a date with him was remarkably easy. Now Tim just had to use his leverage to get what he really needed. Answers. How the Fentons knew about their secret identities. Who were they and why were they in Gotham? Whether or not Jasmine Fenton was really in cahoots with Killer Croc and if she was, was she involved willingly. In the meantime, Tim had to get ready for his date.

…

Anyways something something shenanigans, Danny thinks he’s landed himself a hot CEO boyfriend, Tim thinks Danny is some sort of villain who knows his identity, Jazz is just trying to date her “monster” boyfriend in peace and get him out of the criminal life, and Killer Croc is just trying to find a legal job to provide for Jazz.

Chaos ensues.

[toaarcan]

I'm not wading into CR God Discourse this week, shit seems especially angry this time around and I've made my thoughts on that pretty clear already (no, the needle hasn't moved any). But man... I do not vibe with Predathos as an individual at all.

Like, the fights themselves were fantastic. Possessed Imogen was great, Imogen's escape leading to it turning into a more monstrous form was great, its evolution into an N64 "Head and Hands" monster for Phase 2 was great, and the fight in E120 was immaculate, I had so much fun watching it.

But man does Predathos itself, as an entity, disappoint.

Like, we have this eldritch monster from beyond all living memory, that's been imprisoned for thousands of years. It's been trying to find a way out ever since then. But all it does once it does get out is roar and attack things. Its characterisation can be summed up with "Hungy."

The campaign's earlier episodes present it as a terrible, horrifying thing, that the gods and primordials united to imprison. Its presence created the Ruidians, not by artifice but because being in its presence heavily mutated everything on the moon. They used to be regular Exandrian mortals and now they're not! And when Ludinus first made contact with it, it destroyed and permanently blighted an entire city. But apparently now it's no danger at all to anyone else. The Primordials were just doing the gods a favour by imprisoning it, I guess.

And the way it's been presented in these last two episodes is just inconsistent between story and gameplay. "It doesn't see mortals, it only sees the gods" but it has no issues having a full two-phase boss battle with a group of mortals, where it makes strategic and deliberate moves against them. "The Ruiner flees at the mere sight of it within Imogen, and the gods and all their celestial creations are helpless against it" but Braius can smite it and the Matron's boons can turn the tide and the Arch Heart's bottled Meteor Swarm is used to kill it.

Gameplay!Predathos can see mortals well enough to fight them, and has no trouble eating them. Lore!Predathos can't see them at all, and only wants to eat the gods. Gameplay!Predathos can be blasted with divine power and divine weapons and divine magic and it will be beaten. Lore!Predathos is totally immune to divine anything.

Predathos doesn't feel like a coherent character design for a game, it feels like a plot device designed to result in the exact end-stage scenario of E120. The gods can't fight it, so they and their followers have to do whatever BH says, because the alternative is them dying anyway. It has no desire to eat mortals so that there's no negative consequences to releasing it, just ignore Molaesmyr and how dramatically it's mutated the Ruidians (reshaping pre-existing life is only bad if the gods do it I guess). But none of this factors into the actual fight with it, where it has no problems seeing and eating mortals, and it can't no-sell divine power. And the fight was fun as hell, but Predathos' mechanics as an RPG Final Boss Monster do not reflect Predathos' in-lore role as the consequence-free invincible deicide machine.

[theresattrpgforthat]

THEME: Lesbian/Sapphic TTRPGS

I can't not contribute to this! Let me throw a bunch in the ring! I don't know if all of these are specifically toxic yuri or violent, but they are undeniably queer!

we burn together, by Shouting Crow.

WE BURN TOGETHER is a rules-lite tabletop roleplaying game that has swords, skeletons, and drama. What else do you want, really?

It is inspired by the Locked Tomb series written by the incredibly talented Tamsyn Muir. You don't need to know anything about the books to play, though. All you need to know is that it has necromancers and people swinging blades around and if a caster and a duelist work together, they might become something more (but they'll probably lose something profound in the process).

You'll need a twenty sided die and at least two people to enjoy this compact little game. The current version is text-dense because it was designed to fit on 20 A6 size pages. It's black and white and dead all over. 

I’m submitting this one as a Lesbian game even though it’s not necessarily specific about the gender of the characters, because so much of its source material is considered fairly iconic and queer. It’s about relationships that create something new while taking something away from both parties to it. If you want unhealthy attachments and metaphors all about forbidden relationships, you want this game. In the words of the creator: “Print it, play it, tell your friends about your big feelings and die terribly. They can wear your finger-bones on a little silver chain around their neck and think fondly of you or something.”

Toxic Sword Lesbians, by Carly Smallbird.

Toxic Sword Lesbians fight their shared enemies when they’re not fighting each other. They know they shouldn’t say something hurtful or give in to escape over responsibility, but they do. They lash out over disagreements on ideals and on expectations. They give in to their worst self-destructive impulses. And then they pick themselves up off the ground and go help their loved ones, because that’s the right thing to do.

Toxic Sword Lesbians is a game for telling stories about the most awful women you can make up to love, which is to say: it's a hack for telling spicier, more emotionally fraught stories in Thirsty Sword Lesbians. In it, you'll find tools for Making Her (Your Character) Worse!

Yeah, I know you said that you wanted to see what was out there other than Thirsty Sword Lesbians - well Toxic Sword Lesbians is a hack of TSL! It includes updated sex and intimacy moves, more evil Truths of Heart and Blade, and custom mechanics for body horror, monstrous hunger, and more. If you want to make your lesbians obsessed, over-thinking danger-addicts who jump to the worst conclusions and dig into their self-destructive habits all of the time, you want Toxic Sword Lesbians.

No Love’s Land, by Adira Slattery.

DESIGNED FOR WAR YOU ARE ON OPPOSITE SIDES YOU HAVE FALLEN IN LOVE You are a killer robot stationed on the moon of Ahava, covered in a dense radiation field. The only way you have to get a message to your secret girlfriend and fellow killer robot is to send them a message inscribed on a missile. Time to fire… LOVE CONQUERS ALL AND YOU WERE MADE TO CONQUER

No Love’s Land feels somewhat like a larp; you have to physically create a space that feels like a bunker, and then toss notes to each-other rather than speaking out loud. You can send messages, but as soon as the two of you embrace, the game ends.

I love how much this game just dives headfirst into tragedy. With each not, the two of you can get closer and closer together, symbolizing the way you are able to bypass subroutines and infiltrate your mech’s code. I think it would make such a fun date night with a loved one, a chance to create a big personal mess that culminates in a cathartic emotional moment.

Supernatural Sapphics, by Transcendent Tapir.

Supernatural Sapphics is a role playing game for 2 or more players, one player taking the role of the Top, who runs the game and plays the Dolls (important NPCS), Extras (unimportant NPCS), and Obstacles (nonsentient beings, environmental hazards, or any other non-person barrier preventing progress). The rest of the players take the role of Bottoms, which are characters in the game. This Distortion Dice game is about the messy queer relationships between beings of the veil (vampires, fae, ghosts, cryptids, etc) and the humans fascinated by them. To play this game you will need several sets of polyhedral dice and optionally tokens to represent Drive.

The designer is fairly up-front about the messy relationships that can show up in this game, including PvP rules for handling inter party conflict.Your characters are collections of vibes, skills, pet peeves and insecurities, constantly reevaluating their relationships every time they get overwhelmed. From what I can tell, the theme of being supernatural cryptids is more of a flavour than being something intrinsically baked-in, so you could likely replace that aspect with a different setting or flavour and still explore those messy relationships.

Tension, by Adira Slattery

Tension is a Tarot based roleplaying game for telling stories like Killing Eve and Hannibal, letting you explore queer experiences in the cat and mouse genre.

Play as an investigator and a killer as they get entangled in each other. You will pursue after another back and forth while everyone in your orbit drops like flies. But it’ll all be worth it, because you’ll be in love. Or dead. Or both maybe? How exciting!

Another game by Adira Slattery, I don’t know if Tension is explicitly lesbian, but it’s definitely queer. Rather than play a single character, you and up to two friends created a cast of characters, using the Major Arcana of a tarot deck. The bulk of the story, however, follows a killer and an investigator, both who know who the other is, but still experience an inexplicable attraction. The other characters are pawns, victims, and various other minor characters that help raise the stakes.The story is meant to weave a complicated web that likely implicates both of them - great for a high-stakes, intense game.

And They Were Dortermates, by unseeliejess.

From matins to compline, every day has been the same. Free from worldly concerns, your days have been spent in song and prayer, in needlework and gardening, in feeding the hungry and teaching the young. You have heard rumors of revolution from pius petitioners expressing fear for you and all the faithful. There are only a few months until your way of life is completely overturned. You may not survive the upcoming terror. You will never lose your faith, but you may lose…her.  

And They Were Dortermates is a GM-less game for one or more players. Players are cloistered nuns in a medieval convent in a time shortly before a dissolution or suppression of monasteries and convents. They are also secretly in love with the other character(s). 

A classic story of love that cannot be, And They Were Dortermates uses a block tower and a deck of playing cards. Similar to Dread & Star-Crossed, the block tower is used to represent a big event that will change your life permanently - and if it falls too early, you may not be able to confess your love. Each turn, you draw a card from the deck, follow the prompt, and pull a block from the table. A classic will-they-won’t they with a Catholic flavour!

Underlie Jess has a number of lesbian-themed games for you to check out out, including Just Gals Being Comrades, as well as the core We Love In Whispers System, a GM-less, diceless game of romance and politics.

Sapphic Slumber Party, by deecity.

Be brave. Be beautiful. Fall in love, just for a moment. And really just nail a beautiful girl with a pillow. 

Sapphic Slumber Party is a short zine game for 2-5 about a pillow fight at a slumber party, and all the joyful, melancholy, amorous, and vulnerable feelings that come out when you're playing in your PJs. Brief and lyrical, Sapphic Slumber Party is GMless and plays in 30-45 minutes. Rather than a sweeping epic or a high-stakes romance, Sapphic Slumber Party focuses on a single, rather mundane night. Over the course of a single pillow fight, your characters will attack each-other with pillows and attempt to pile Vulnerability upon each-other. It’s a subtle game of pushing your crushes closer and closer to something a bit more intimate, a bit more risky than a pillow fight, a chance to get closer and closer - until a button pops, a bra strap slips, or some other symbolic representation of getting more and more vulnerable with each-other.

What you do at the end of the pillow fight depends on how much Vulnerability you get, and who got vulnerable first.

Deecity also has a Locked Tomb hack for Ten Candles, this time called Tomb Candles!

I (and others) have also recommended…

Dungeon Bitches, by Dungeon Bitches.

The Girlfriend of my Girlfriend is My Friend, by stargazersasha.

Deadly Weapons, by Adira Slattery (honestly, a champion for lesbians).

The Rain Still Falls In My Heart, by Roz.

Breakup on Re-Entry, by Riverhouse Games.

Doll.Bod, by @ribstongrowback

Lesbians Built This Farm, by che.

Gay Crime, Sapphics Against Capital, by Evey Lockhart.

You can also give me a tip by donating to my Ko-fi!

i remember you writing a list of something in some fucking context (i remember nothing), and on that list there was a lesbian ttrpg that really stuck out to me that i didn't save. It was a real edgy one about being lesbian violent and mean (i think), which isn't really much to go off. Where i'm going to is, would you be interested in just listing every lesbain indie ttrpg you know of? Its fine if you dont wanna, of course.

You're probably thinking of this thread here, though you're quite correct that "mean violent lesbians" isn't sufficient to pick out a specific entry – several of the titles plugged in that thread would easily qualify!

As for "listing every lesbian indie ttrpg [i] know of", that's a trickier demarcation problem than you might imagine. What is a lesbian tabletop RPG? Is it one where the player characters are obligatorily lesbians? (If so, we end up excluding games which are explicitly about the lesbian experience, but feature some other type of character.) Is it one written, at least in part, by lesbians? (If so, we bump into the problem that not all indie tabletop RPGs are autobiographical, the maunderings of certain self-appointed critics notwithstanding.) Is it one where the game itself is a lesbian? (Not an impossible brief, but now we're catering exclusively to folks who are into meta bullshit.)

Ultimately I'm going to pass the problem down the line and just ask folks in the notes to name the first game that comes to mind when they think of the phrase "lesbian indie ttrpg". Let's see what sort of consensus evolves.

[torchship-rpg]

Dev Diary 19 - State of the Union Part 1

It’s been a while, cosmonauts, but we’re back at it. This last week has been an incredibly productive one for Torchship, solving a ton of longstanding issues holding up the Alpha, and digging back into the art.

But you’re here for the mechanics, and boy, we have some pretty cool ones for you this Diary. Today we’re going to be talking about the meta-campaign and the core of what drives a multi-episode run of Torchship; playing not just to encounter little morality plays out in the stars, but to find out how the resolution of those issues changes things back home.

To be clear; this is campaign mechanics, and long campaign mechanics at that. You can play short campaigns and one-shots too, but we want to write a game that’ll hold up to truly epic campaigns, or sequential campaigns if you ever wanted to do Torchship: The Next Generation.

Your campaign can take you a great many places, but all of them revolve around one question:

The Star Union & Representative Agents

As we’ve mentioned before, the players are not just playing the crew of their spacecraft as they go trekking around the stars. That crew is the product of a society, and when the players are out making decisions in the stars, we assume that similar choices with similar reasoning are being made by the people back home.

For that reason, players get to have a lot of influence over the direction of the Star Union both through their actions in the actual episodes, and through decisions and votes they hold over what the Star Union does. This isn’t actually their characters deciding what’s happening unilaterally; it’s the assumption that your crew are, in a sense, the median voter. When the players decide to invest the Union’s resources into a certain upgrade path or project, this represents the Union’s population settling on that course of action for all the same reasons the characters would make that decision in their place.

For this reason, while you can be many things in Torchship, you can’t really be a rebel. If you try, you will be part of an enormous rebellious movement that will very quickly become the new authority and now you’re right back to your day job as a government employee, looking wistfully at your old leather jacket as you file a T-18 Use Of Telemat Report.

I can already hear your protests that you want to be a bold iconoclast that strikes out in defiance of the norms of society. I regret to inform you that you want this because it is a norm of your society to be a bold iconoclast striking out in defiance of things.

It’s The Economy, Stupid

The Star Union is mechanically represented with its own character sheet and its own stats; changing that sheet over time is your job. It’s relatively simple, with stats primarily acting as ways of gating your access to the cool upgrades that improve your capabilities, make your rocket better, and get you shiny new toys, but it matters a lot.

At the end of every Episode, you go into a mode of the game called Resupply. This quite literally represents the time passing as your rocket flies from one star to another, usually taking about one week before arriving at the next planet/on the television sets of households across the nation.

Resupply is a portion of the game which can be resolved immediately after the start of one episode or before the start of another, but one of the best ways to do it is during the time between your play sessions; it’s designed to be something easily hashed out over chat programs and the like. We’ll go into more detail about what you do there and how in the future, but the important part is knowing that this is when the Union’s economy starts mattering.

The Union has two sets of Economic stats. The first contains just a single stat, Productivity. This is how many Credits the Star Union generates at the end of each Episode because it has a bunch of factories and farms and stuff. Productivity is difficult and costly to increase; you can do so by starting Projects, with the amount of time and Credits required varying depending on what kind of Project it is. 

Getting infrastructure in place to exploit a rich belt of Very High Rotation asteroids for the valuable quark nuggets inside is a relatively quick and cheap project; it just requires you the players to find and secure such a resource. By contrast, building up Production through modernization and expansion of existing industrial capability is slow, hard work that will take multiple episodes to complete.

The second set of stats is the Infrastructure stats, covering all the stuff that production is used to maintain. These are Social, Technological, Military, and Redundant Infrastructure. Respectively, this is the Union’s standard of living, how shiny and new its stuff is, how big Star Force has gotten, and how many warehouses you have. You increase all of the stats by paying into funds for them, investing your Credits when you have a surplus until you’ve paid them off.

For the most part, these are used to gate access to upgrades; if you want that shiny new laser, you need to get Technology and Military Infrastructure to a certain point first. Redundant Infrastructure is the odd-man out; it doesn’t really give you access to many new Upgrades, but it has a vital function we’ll get to in a second.

Every point of Infrastructure costs 1 Credit per Episode to run, and at the start of the Campaign, the Star Union is overextended; it’s trying to take on all the costs and responsibilities of being the leading power of Local Space while simultaneously managing an enormous humanitarian crisis partially of its own making, and integrating a large number of refugees from the aforementioned enormous humanitarian crisis. Infrastructure will be higher than Production, and that means the balance has to be paid by none other than the Star Union’s exploration, diplomacy, and prospecting service.

That’s you.

This difference is called your Union Dues, and it's very important that you pay them. If you fail to pay, you’ll have to roll on the WHOOPS I FORGOT TO PAY THE POWER BILL table. Regrettably, this is not its final name, but it is what’s in the document right now.

You might think that this isn’t too big a threat; you’ll just always make sure to save up enough Credits to pay your Union Dues even if you have a bad Episode. That’s where we smile maliciously and tell you that you can’t. Societies don’t typically like sitting on huge amounts of surplus production and not using it on things that people want and need, so for that reason, the amount of Credits you can store between Episodes is limited by your Redundant Infrastructure. You know, Infrastructure you also have to pay for.

If your Dues aren’t out of control, you aren’t running too many Projects that you don’t want to fail, and you’re not burning your expensive consumables, then yes, you can usually meet your Union Dues no problem using the banked Credits from Redundancy. But a streak of bad episodes or out of control spending can send your campaign into a death spiral. The good news is that eventually, the Star Union will contract until it reaches equilibrium, either voluntarily or through terrible rolls.

The bad news is that the Star Union will contract until it reaches equilibrium, and you live in the Star Union! And so do a great many people who are going to have opinions about that.

Speaking of…

Getting Political

The Star Union is more than just a series of economic stats. All the people those stats represent have hopes and dreams, and more importantly, they have voting power on local councils. Being a direct democracy, the Star Union has a tendency to undergo pretty seismic political shifts very quickly when circumstances change, and any good campaign is going to have a lot of Circumstances.

To represent this, we use a series of Movements. You may remember us talking about these way back, or rather an earlier version of them; we’ve since expanded how they work and set up a system which allows them to exist alongside others.

So… let’s meet a Movement.

The Centralists are the Leading Movement at the start of your Campaign; they’ll be largely unopposed for the moment, but the Civil Anarchists and the Neo-Trotskyites are waiting in the wings and can join them in a coalition fairly easily.

What that means in practical terms is that they have the highest Power Rank at 5. As both a Major Power and the Leading Power, the Centralists give you two passive effects. Their Major Power bonus relates to Stability, which we’ll talk about in a moment, while their Leading Movement Effect is the benefit you get for being at 10-12 Unity on the Unity track. You’ll remember that from Dev Diary 15; that universal rule is actually just the default you get from these guys being in charge!

They also have a Taboo, which represents a value of this Movement, the violation of which discredits their influence; it’s stuff that makes them look hypocritical or disgusts their followers. For the Centralists, that’s failing to keep Promises made to groups in negotiation; their reputation is built around being the trustworthy and reliable ones that follow through on their deals.

Here’s some examples of other Movements’ Major Power Effect, Leading Movement Effect, and Taboo:

Progress Triggers

Movements advance in Power Rank by gaining Progress; that’s what is tracked on that neat little circular dial. At the end of each Episode, you go through the Triggers for all the active Movements and add Progress based on which ones got done. As a Movement rises in Power Rank, the Triggers are reduced in strength proportionally; at Rank 5, the only Trigger which actually gives the Centralists Progress is bringing new Members into the Union. Don’t worry, though; they have another means of keeping power.

You’ll notice that the 4 Progress trigger, Focus on Fundamentals, triggers when you miss Union Dues. A lot of Movements have triggers like this; this is where we put the stuff that the Movement specifically believes they’d do better. So when the Centralists are out of power, they get a boost from the economic mismanagement of whoever is, but once they have influence in government, failing to balance the budget isn’t going to work in their favour.

By extension, lower-value triggers tend to be things that drive or revitalise a weak Movement, while high-value triggers are triumphs or threats that validate them, either mobilizing a weak movement with a victory, or cementing the authority of a strong one.

For another example, here are the Neo-Trot Triggers. You can see how their lower triggers, the first ones to fade, are the relatively small fundamental issues that form the emotional foundation of the Movement; the Neo-Trots won’t be irrelevant so long as we keep finding planets ruled by jerks and evil computers, and their quest for increased military spending grows more pressing every time a Star Patrol rocket limps back full of holes.

The #4 trigger here ceases to help the Neo-Trots once they take power; it’s expected of them. Both the Centralists and Civil Anarchists get this trigger at 5 instead, which creates an interesting contradiction; once they’re in power, winning battles empowers their rivals because, through victory, they are making themselves obsolete. If they keep winning their fights, why do we need to shovel more resources into Star Force?

That’s why their highest triggers are stuff that give them more material power directly instead. Producing and distributing weapons increases the size of those sectors in the Union’s economy and bureaucracy, increasing their influence, while a war breaking out mobilizes the economy and places all their experts in positions of authority. This also, of course, gives them an incentive to keep arming people and fighting wars once they’re in power…

Stability

Each time an Opposition Movement (that’s any Movement which isn’t the Leading Movement) goes up by a Power Rank, it prompts a Stability Check. You also have to roll Stability Checks if you fail to pay your Union Dues. This is pretty simple; Stability is a number from 0-6 representing people’s faith in the current leadership of the Star Union. You roll 1d6 for each Stability Check; if the result is above your current Stability, the Leading Movement loses 1d6 Progress, potentially sliding back to lower Power Levels. If that happens enough, they’ll be displaced as the Leading Power.

Note that passing Stability Checks has an effect; each test you pass lowers Stability by 1. Fortunately, restoring Stability is pretty easy; every Credit put into the Social Infrastructure fund raises Stability by 1, and incidentally also gives the Leading Movement 3 Progress. 

So basically, the Leading Movement can have whatever ideologically it wants, but once it's actually in power, it only stays in power by raising people’s standards of living, though it does benefit from a slow decay of everyone else’s Progress. If the Centralists spend the entire budget on giant golden statues of Yuri Gagarin, then they won’t be in power for very long, and if they really screw it up… well, that’s what Crises are for.

Endgames

Each Movement has a number of Endgames; the five major movements all have a sort of soft ‘win’ condition that cements their power in some way and makes a lasting change on your game. For example, Federation-Builders basically cements the Centralists’ power for the foreseeable future by having them make good on their promises, and in the process gain a new and fiercely loyal following.

Well, I say soft win condition; they aren’t always.

A ‘lose’ condition deactivates or disempowers a Movement, representing the movement breaking apart, being thoroughly discredited, or otherwise losing their ability to carry on. For the Centralists, the only thing that’ll knock them out of the game is the Cybernetic Democrats actually getting their wild experiment off the ground and fully implemented, which is a huge and expensive Project.

How severe these lose conditions are will vary. Some movements will be outright destroyed, either instantly or by fading out, but others are more resilient.

Finally, we have the Crisis. Crises are triggered if Stability hits 0, and they’re bad. The most survivable ones prompt multi-episode arcs in a mad scramble to save the Union; the worst functionally end the campaign. The Centralists being in charge when the state they build fails means that it all comes apart in their scramble to save it; the cordial competition for the future of the Union becomes a shooting war. This might be where you end your campaign, or it might be where you throw in with another Movement and try to win it for them!

Many Crises will be internal…

… but not all of them.

Expanded Movements

The five core movements we mentioned before are all primary Movements, with a full set of triggers, effects, and endgames. Each of them represents a potentially valid direction for the Union that you, as players, can choose to back or suppress. 

However, the nature of this system makes it very easy for us to add new Movements to the game. Most of these Movements are Minor Movements, with reduced triggers and rules which are usually single-issue and whose Endgames are simplified and easier to hit. Minor Movements don’t cause Stability hits when they gain Power Ranks and can’t take the Leading Faction slot, they can slot easily into a ruling coalition without breaking things, or fade once their purpose is achieved.

For an example, if you integrate the Nariene into the Star Union (either by defeating its current government or making an alliance that bypasses that; we’ll be talking about them in the next Dev Diary), you get the very pressing Minor Movement “Nariene Green Movement”, which is clamouring, quite reasonably, to have their planet saved from the runaway greenhouse effect they’re under. They’ll gain power quite quickly with triggers firing based on the Union’s economy growing, and once they hit Major they’ll mandate the funding of their Project. Once their homeworld is saved, their endgame is triggered and the Movement fades, leaving you with a nice permanent bonus as everyone in the Star Union gets a bit better at reducing, reusing, and recycling.

Not all late-joining Movements are Minors, though; some of them can very much become the Leading Power and change your game accordingly.

Finally… not all the Movements are intended to be viable paths forward. Movements can emerge in dire circumstances, reflecting adverse pressures, but they can also come out of your actions as Star Patrol, if you feed the worst impulses of the Union and give material power to bad actors.

Which is why you don’t start your campaign with five moments. You start with six.

[tainbocuailnge]

Downloaded ark knights and gonna start today - read a few guides but there's so much info. Any advice before I start?

arknights as a game is pretty forgiving of just fucking around and finding out. you can read guides and lots of people have typed lots of words about the best way to squeeze out the most digital resources but don't feel like you have to memorize all that or you fuck up your account forever, it's really not that serious. do prioritise building your base though, because it passively generates resources that make things easier long term.

if everyone is saying a unit is good then the unit is good but if everyone is saying a unit is bad don't fucking listen to them, first of all because a lot of units that got called bad turned out to be god tier if you just use them as intended, and second because every unit in this game is perfectly functional and your strategy matters far more than how strong your units are. arknights is a well designed strategy game first and gacha game second.

level your 3* units, they're cheap and completely serviceable, and their functionality is designed to teach you basic gameplay principles that higher rarity units will branch out from. they also have good base skills to help get you started.

if you just want to read visual novel arknights then feel free to follow video guides for every stage, but if you want to also play strategy game arknights then try to understand why the video uses certain units in certain ways. again, an understanding of the game mechanics will take you much further than rolling the latest powerful unit.

the monthly card is a good deal if you're not averse to spending on gacha games in general.

here's the best gameplay information resource

here's the best resource for non-gameplay information like upcoming events and external media like manhua

here's my preferred online story archive

here's the droprates database

the arknights gamepress is dead and I personally avoid the arknights wiki where I can because the lead editor is a petulant despot, I only check it if I need a list of operators that have a certain debuff or something.

[puppppppppy]

sketches for sleight's van, the Magicmobile ^_^

[russianyoshkinaneko]

while looking through games i've played (for the Game Challenge on bluesky) i have (re)discovered my now 12 year old video of my favorite thing to do in Assassin's Creed 1.

wanted to add a couple of other vids of me doing the same thing back in 2022, but tmblr doesn't allow more than 1 file in a post :(

so i compiled all the vids into one

(the old one had no audio so the first ~30sec is silent ¯\_(ツ)_/¯ )

[alienglowgarden]

I shouldve been asleep HOURS ago, instead I did the exo tierlist....

[nomx33]

dude I'll like start talking about things that i findf horribly interesting but all of in depth and awesome analysis will come out "ohhhh hehehe grrr love them the sillies!!! :3 :3" like come on dude!

I could go on forever about how certain scenes in media make me feel and pick apart a ton of little details in character designs, speech, how a character reacts to things, etc etc but it my power is limited to flailing around like a fool and giggling to myself

lmao

[sysig]

A hero is only as good as his weapons, so make ‘em count (Patreon)

[brittlebutch]

i will say i think there’s a Minor exception for more ephemeral emotions where sonic Is willing to be open about them. that’s kind of two sided, bc on one hand it’s okay to be open about those Because they’re ephemeral and no one expects you to hold onto something like irritation over someone going slow, so if you forget about it people don’t consider it a big deal. i also think it works to make sonic Look like an expressive person so people don’t stop to wonder what he’s feeling on a deeper level, so it’s Defensive in that way as well

[fragmentedblade]

Boothill's presentation being entirely on the twitter post makes me think he will be irrelevant in the story in the long(ish) run, and that the game itself won't dwell on him almost at all

[day-mark]

i wanna make a dteam based game so bad

[thiscatiscreepy]

It's funny how Minecraft now has these ancient ruins that you can excavate and you can find remains of a bygone civilization and their art and looms and such.

And right next to them you can find the stereotypical racist "jungle temple" with traps and nothing else of cultural value.