#Adventure Tips

[trip-to-barcelona-spain]

Pisa, Italy

[spadeandpalaciotours]

Experience Montreal's vibrant culture and thrilling outdoor adventures. From hiking scenic trails at Mont-Saint-Bruno to kayaking the Saint Lawrence River, there's something for every adventurous young adult. Explore street art, camp under the stars, and immerse yourself in nature's beauty just beyond the city's bustling streets.

[delicatelysublimeforester]

Important Update: Rescheduled Date for Frozen Trails and Wagging Tails

Please note that there is a date change for the eagerly anticipated “Frozen Trails and Wagging Tails: Dog Sledding Delight” event. Dog Sledding Event Saturday January 13, 2024 at Richard St. Barbe Baker Afforestation Area The event has been rescheduled to Saturday, March 30, 2024. This decision was made to prioritize the safety and enjoyment of all participants, including dog mushers, dogs,…

[exploretravelfashion]

Adventure travel enthusiasts, welcome! The world is full of exciting places waiting for you to explore. Whether you are an adrenaline junkie looking for heart-pounding experiences or a nature lover craving serene landscapes, there is an adventure trip for everyone. However, choosing the right destination for your adventure is a crucial decision that can significantly influence your experience. In this comprehensive guide, we will tell you about the essential factors to consider while choosing the right adventure travel destination.

[liquidstar]

adventure time lore is insane. it starts off just being a goofy kids show that has magic for no reason, but then you learn that all magic users are manic and/or depressed (what betty calls sadness and madness). because it turns out magic is actually a cosmic force beyond mortal comprehension, that itself was learned from cosmic entities that predated the existence of time itself inside a sea of monsters. and "magic" really is just understanding more about the nature of the universe than most people. that, in a way, reality isnt "real" and understanding that allows you to mold it. and thats magic. but that drives you to insanity and/or apathy. and there are beings who hold significant cosmic importance who are more prone to magic. and the reason magic became prevalent on earth is because of a nuclear war a thousand years ago, which released the entity that represents the destruction of all life onto the world. and after a nuclear apocalypse this gave way to a new earth, where magic could thrive. but a lot of the beings we see arent even magical, theyre just mutants from what happened 1000 years ago. and humanity as we know it has been all but wiped out. but everything stays the same because cycles of war and violence continue. and it doesnt matter if its nukes or magic. everything stays the same, but still changes.

[originalartblog]

Apparently much-needed reminder that reposting artists' art (by saving the images or screenshotting them and reuploading them yourself) on other platforms without the artists' expressed permission and without credit is theft and an insult to their passion and craft. You are profiting (in views, in attention, in feedback) from someone else's work and ideas, who do not get that feedback for sharing their creation.

If you are an art reposter, you are a thief and I have no respect for you.

[lilyblossom-art]

Got an idea for a taol au where zelda doesn't end up getting cursed and young impa is there also :> It's vaguely based off the zelda cartoon? Mostly just to get an idea for link and zelda's dynamic and also some of the designs

Oh and yeah link's there- i don't actually remember why i decided to add her (since as far as i'm aware there was no link at that time) but she's here now :> she's based off that one magazine that had fem pink link lol

The bottom left doodle is not related to the au but it's to show that classic zelda and zelda I 's brother look very alike

Anyway i do not know what to name zelda's brother lol

[writing-with-sophia]

Common character motivations

Revenge - seeking to get even with someone who has wronged them

Love - driven by romantic feelings for another character

Greed - motivated by a desire for material possessions or wealth

Power - seeking to gain control or influence over others

Justice - motivated by a sense of fairness and a desire to see justice served

Redemption - seeking to make up for past mistakes or wrongdoings

Curiosity - driven by a desire to learn or discover something new

Duty - motivated by a sense of responsibility or obligation to others or a cause

Ambition - driven by a desire to achieve a specific goal or succeed in a particular endeavor

Fear - motivated by a desire to avoid danger or harm

Guilt - driven by a sense of remorse for past actions or decisions

Jealousy - motivated by envy or a desire to possess what another character has

Betrayal - motivated by a sense of betrayal or desire for revenge against someone who has betrayed them.

Ambivalence - a character who is conflicted or uncertain about their goals or desires

Freedom - a character who seeks to escape from a restrictive situation or society

Fame - motivated by a desire for public recognition or notoriety

Identity - driven by a need to understand or define who they are

Family - motivated by a sense of loyalty or obligation to their family or loved ones

Discovery - driven by a desire to explore or uncover hidden knowledge

Patriotism - motivated by a love for their country or a desire to protect it

Rebellion - driven by a desire to challenge authority or the status quo

Artistic expression - motivated by a need to create or express oneself through art, music, or other creative endeavors

Religion or spirituality - driven by a desire to connect with a higher power or to live according to certain beliefs or values

Altruism - motivated by a desire to help others or make the world a better place

Atonement - driven by a need to make amends or seek forgiveness for past actions

Nostalgia - motivated by a desire to return to a simpler time or relive past experiences

Status - driven by a desire for social or professional standing or recognition.

Insecurity - driven by a need to prove their worth or gain acceptance from others

Legacy - motivated by a desire to leave a lasting impact or to be remembered in a certain way after they're gone

Survival - driven by the need to survive in extreme circumstances, such as a natural disaster, war, or an apocalyptic event

Belonging - motivated by a desire to fit in with a certain group or community

Love of knowledge - driven by a passion for learning and acquiring new information

Addiction - motivated by a compulsion to engage in a particular behavior or activity, such as drug use or gambling

Inciting incident - motivation driven by a specific event that triggers or sets the character on their journey

Fear of death - driven by a fear of their own mortality or the mortality of others

Intimidation - motivated by a fear of others or a desire to intimidate others for personal gain

Envy - driven by a desire to possess what others have or to be like someone else

Manipulation - motivated by a desire to control or manipulate others for their own benefit

Protecting others - driven by a desire to protect loved ones or innocent people from harm

Sense of duty - motivated by a sense of responsibility to fulfill a particular role or obligation.

If you want to read more posts about writing, please click here and give me a follow!

[a2zillustration]

I love the patch 6 kisses they're very cute :)

This one felt a little too emphatic for Croissant so here's their version.

| First | | Previous | | Next |

[[ All Croissant Adventures (chronological, desktop) ]]

[[ All Croissant Adventures (app) ]]

[weepingtalecowboy]

Hero tips from Legend

For Wild,Hyrule and Wind

Lesson No.1 how to get free rooms

Legend : “I can get us an Inn with three meals a day reasonably well maintained rooms and a bathroom all free of charge just follow my example all you need is to say you are my accomplices when talking to a guard”

Warriors: “Legend that is a FUCKING PRISON CELL?!?!?!”

Legend : “Only if you let it.”

“Prison’s just another option, really. You can always say no to it. If they don’t catch you, you’re good. It’s their problem, not yours.”

The young members of the chain(thoughtfully): “So, prison is only for those who get caught. I like that. It makes sense.”

The rest(horrified): “No, it does NOT make sense! If you break the law, they WILL come after you!”

Lesson 1.5 how to leave the hostel :

Legend: “If you get caught, don’t worry. Breaking out is half the fun. It’s like a puzzle in a dungeon . You just need to be smarter than the guards.”

Young Heroes (taking notes): “Right. Prison break—step one: outthink the guards.”

Seniors (in disbelief): “That’s not supposed to be part of your life! You’re supposed to avoid prison entirely!”

Legend(casually): “And if you get locked up, just stay calm. Bars can’t hold you forever. There’s always a weak point. Find it.”

Wind(confidently): “Every prison has a weak point. Got it.”

Warriors(sighing): “I can’t believe I have to say this, but…don’t go to prison in the first place!”

Lesson No.2 how to deal with the fame:

Legend(smirking): “You know, if they start putting your face on wanted posters, that means you’ve earned their respect. They want you that badly. They’re paying attention to you now.”

Youngest (genuinely listening along ): “I knew it! If you’re wanted, it’s basically like they’re giving you an award for being a problem!”

Senior links(exasperated): “That’s not respect—that’s desperation to catch you!”

Legend(pointing to his wanted poster): “Look at that. They took the time to draw me! That’s how you know you’ve made an impression.”

Juniors(awed): “How do we get one of those?”

Senior Links (panicking): “You don’t want one of those! That means they’re after you!”

Lesson no.3 How to get “treasures” :

Legend being a helpful role model : “Stealing’s only a problem if you get caught. If they don’t notice, it’s basically a free trade.”

Juniors : “So it’s like finding treasure? I like it!”

Warriors(horrified): “That’s stealing! It’s not ‘treasure’ if it belongs to someone else!”

Legend (mock whispering) : “Then make it yours...”

Until next time with the hero of Legend's personal life tips about heroism

[trip-to-barcelona-spain]

Secrets - Wild Orchid, Montego Bay

When people hear the name “Secrets Resorts,” what comes to mind? Luxury, beauty, and an adults-only, all-inclusive paradise. One of these stunning spots is located in Montego Bay, Jamaica. If you haven’t been there yet, it should definitely be on your to-do list. Location: This is the ultimate getaway you’ve been dreaming of! In my opinion, Secret Resorts in Montego Bay, Jamaica, is in a prime…

[thatsbelievable]

[dailyadventureprompts]

Dm Tip: Playing the Villain/ Guidelines for "Evil" Campaigns

I've never liked the idea of running an evil game, despite how often I've had people in my inbox asking how I'd go about it. I'm all about that zero-to-hero heroic fantasy not only because I'm a goodie twoshoes IRL but because the narrative-gameplay premise that d&d is built around falls apart if the party is a bunch of killhappy murder hobos. Not only would I get bored narrating such a game and indulging the sort of players who demands the freedom to kill and torture at will (I've had those before and they don't get invited back to my table), but the whole conceit of a party falls through when the obviously villainous player characters face their first real decision point and attempt to kill eachother because cooperation is a thing that goodguys do.

Then I realized I was going about it all wrong.

The problem was I had started out playing d&d with assholes, those "murder and torture" clowns who wanted to play grand-theft-auto in the worlds I'd created and ignore the story in favour of seeing how much unchallenged chaos they could create. They set my expectations for what an evil campaign was, and I spent the rest of my time developing as a dungeonmaster thinking " I Don't want any part of that"

But what would an evil campaign look like for my playgroup of emotionally healthy friends who understand character nuance? What would I need to change about the fundamental conceit of d&d adventures to refocus the game on the badguys while still following a similar enough narrative-gameplay premise to a hero game? How do we make that sort of game relatable? What sort of power/play fantasy can we indulge in without going off the deepend?

TLDR: In an evil campaign your players aren't playing the villains, they're the MINIONS, they're mooks, henchmen, goons, lackeys. They're the disposable underlings of uncaring overseers who have nothing but ill intent towards them and the world at large.

Where as in a hero game the party is given the freedom to challenge and overthrow corrupt systems, in an evil game the party is suck as part of that corrupt system, forced to bend and compromise and sacrifice in order to survive. The fantasy is one of escaping that corrupt system, of biding your time just long enough to find an opening, find the right leverage, then tossing a molitov behind you on the way out.

Fundamentally it's the fantasy of escaping a shitty job by bringing the whole company down and punching your asshole boss in the face for good measure.

Below the cut I'm going to get into more nuance about how to build these kinds of narratives, also feel free to check out my evil party tag for campaigns and adventures that fit with the theme.

Designing a campaign made to be played from the perspective of the badguys requires you to take a different angle on quest and narrative design. It’s not so simple as swapping out the traditionally good team for the traditionally bad team and vis versa, having your party cut through a dungeon filled with against angel worshiping holyfolk in place of demon worshipping cultists etc. 

Instead, the primary villain of the first arc of the campaign should be your party’s boss. Not their direct overseer mind you, more CEO compared to the middle managers your party will be dealing with for the first leg of their journey. We should know a bit about that boss villain’s goals and a few hints at their motivation, enough for the party to understand that their actions are directly contributing to that inevitable doom.

“Gee, everyone knows lord Heldred swore revenge after being banished from the king’s council for dabbling in dark magic. I don’t know WHY he has us searching for these buried ancient tablets, but I bet it’s not good”

Next, you need a manager, someone who’s a part of the evil organization that the party directly interfaces with. The manager should have something over the party, whether it be threats of force, blackmail, economic dependency… anything that keeps the antiheroes on the manager’s leash. Whether you make your manager an obvious asshole or manipulative charmer, its important to maintain this power imbalance:   The party arn’t going to be rewarded when the boss-villain’s plan goes off, the manager is, but the manager’s usefulness to the boss-villain is contingent on the work they’re getting the party to do.  This tension puts us on a collison course to our first big narrative beat: do the party get tired of the manager’s abuse and run away? Do they kill the manager and get the attention of the upper ranks of the villainous organization? Do they work really hard at their jobs despite the obvious warning signs and outlive their usefulness? Do they upstage their manager and end up getting promoted, becoming rivals for the boss-villain’s favor? 

Building this tension up and then seeing how it breaks makes for a great first arc, as it lets your party determine among themselves when enough is enough, and set their goals for what bettering the situation looks like. 

As for designing those adventures, you’ll doubtlessly realize that since the party arn’t playing heroes you’ll need to change how the setup, conflict, and payoff work. They’re still protagonists, we want them to succeed after all, but we want to hammer home that they’re doing bad things without expecting them to jump directly to warcrimes. 

Up to no good: The basic building block of any evil campaign, our party need to do something skullduggerous without alerting the authorities.  This of course is going to be easier said than done, especially when the task spins out of control or proves far more daunting than first expected. The best the party can hope for is to make a distraction and then escape in the chaos, but it will very likely end with them being pursued in some manner (bounties, hunters, vengeful npcs and the like).  Use this setup early in a campaign so you have an external force gunning for your party during the remainder of their adventures. 

Dog eat dog:  It’s sort of cheating to excuse your party’s villainous actions by having them go up against another villain who happens to be worse than they are. The trick is that we’re not going after this secondary group of outlaws because they’re bad, we’re doing it because they’ve either got something the boss wants, or they’re edging in on the boss’s turf.  This sort of plotline sees the party disrupting or taking advantage of a rival’s operation, then taking over that operation and risking becoming just as villainous as that rival happened to be. This can also be combined with an “Up to no good” plot where both groups of miscreants need to step carefully without alerting an outside threat. 

The lesser evil: This kind of plot sees your party sent out to deal with an antagonistic force that’s a threat not only to the boss’s plans but to everyone in general. In doing so they might end up fighting alongside some heroes, or accidentally doing good in the long run. This not only gives your party a taste of heroism, but gives them something in their back pocket that could be used to challenge the boss-villain in the future.  

The double cross: In order to get what they want, the party need to “play along” with a traditional heroic narrative long enough to get their goal and then ditch. You have them play along specifically so they can get a taste of what life would be like if they weren't bastards, as well as to make friends with the NPCs inevitably going to betray. This is to make it hurt when you have the manager yank the leash and force the party to decide between finishing the job , or risk striking out on their own and playing hero in the short term while having just made a long term enemy. This is sort of plot is best used an adventure or two into the campaign, as the party will have already committed some villainous deeds that one good act can’t blot out. 

Next, lets talk about the sort of scenarios you should be looking to avoid when writing an evil campaign:

Around the time I started playing d&d there was this trend of obtusely binary morality systems in videogames which claimed to offer choice but really only existed to let the player chose between the power fantasy of being traditionally virtuous or the power fantasy of being an edgy rebel. Early examples included:

Do you want to steal food from disaster victims? in Infamous

Do you as a space cop assault a reporter who’s being kind of annoying to you? in Mass Effect

Do you blow up an entire town of innocent people for the lols? in Fallout (no seriously check out hbomberguy’s teardowm on fallout 3’s morality system and how critics at the time ate it up)

I think these games, along with the generational backwash of 90s “edge” and 00s “grit” coloured a lot of people's expectations ( including mine) about what a "villain as protagonist" sort of narrative might look like. They're childish exaggerations, devoid of substance, made even worse by how blithely their narratives treat them.

Burn down an inn full of people is not a good quest objective for an evil party, because it forces the characters to reach cartoonish levels of villainy which dissociates them from their players. Force all the villagers into the inn so we can lock them inside and do our job uninterrupted lets the party be bad, but in a way that the players can see the reason behind it and stay synced up with their characters. The latter option also provides a great setup for when the party's actually monstrous overseer sets the inn on fire to get rid of any witnesses after the job is done. Now the party (and their players) are faced with a moral quandary, will they let themselves be accessories to a massacre or risk incurring their manager's wrath? Rather than jumping face first into cackling cruelty, these sorts of quandaries have them dance along the knife's edge between grim practicality and dangerous uncertainly; It brings the player and character closer together.

Finally, lets talk about ending the villain arc:

I don't think you can play a whole evil campaign. Both because the escalation required is narratively unsustainable, but also because the most interesting aspect of playing badguys is the breaking point. Just like heroes inevitably having doubts about whether or not they're doing the right thing, there's only so long that a group of antiheroes can go along KNOWING they're doing the wrong thing before they put their feet down and say "I'm out". I think you plan a evil campaign up until a specific "there's no coming back from this" storybeat, IE letting the Inn burn... whether or not the party allows it to happen, it's the lowest point the narrative will allow them to reach before they either fight back or allow themselves to be subsumed. If they rebel, you play out the rest of the arc dismantling the machine they helped to build, taking joy in its righteous destruction. If they keep going along, show them what they get for being cogs: inevitably betrayed, sacrificed, or used as canon fodder when the real heroes step in to do their jobs for them.

Art

[razzafrazzle]

a woman is an animal

[image description: a page of drawings of fionna campbell from adventure time on a lime green background. in this, fionna is drawn fat with jean shorts, ankle socks and boots, and visible body hair on her legs and arms. on the left is a fully rendered drawing of fionna cheering and running with a determined look on her face. to the left are various simple doodles of fionna, including her sitting on the ground with her arms wrapped around her knees and the caption "the Beast", her looking shocked, and various incredibly simplified blob-like fionnas. the drawing is also littered with small drawings of stars. end id]

[robinsnest2111]

sorry. tweaking rn but i heard that your doing ranson/the passenger art reqs. i need more than anything in the world randy and benson just hugging. like the most passionate, clinging to eachother hug you can muster out of your drawing hand. i need randy being fully enveloped by benson and benson just CLINGING onto him. I NEED THEM TO HUG REALLY HARD. im sorry if you're not taking requests and ive got this all wrong but i love your style so much and if not, then you can throw this away into the trash and forget about it.

yeah YEAH YEAH YEAH I'M ALL ABOUT HUGS!

thank you for the request <333

[plotandelegy]

Crafting Future From Ruins: A Writer's Guide to Designing Post-Apocalyptic Technology

Photo: Standard License- Adobe Stock

Crafting post-apocalyptic tech involves blending creativity and realism. This is a guide to help you invent tech for your post-apocalyptic world:

Tinker, Tailor, Writer, Spy: Start with modern tech. Take it apart (conceptually or literally if you're feeling adventurous). Using the basics, think of how your character might put it back together with limited tools and resources.

Master the Fundamentals: Understand the basic principles underlying the tech you're working with. Physics, chemistry, and biology can be your best friends. This understanding can guide your character's resourceful innovations.

Embrace the Scrapyard: The world around you has potential tech components. Appliances, vehicles, infrastructure - how could these be deconstructed and repurposed? Your characters will need to use what's at hand.

Cherishing Old Wisdom: Pre-apocalypse books and manuals are the new internet. A character with access to this knowledge could become a vital asset in tech-building.

Indigo Everly