#And literally they do its just called different things. like DND that is straight up roleplay

[roachemoji]

Stranger Things Season 4 Thread!!!!!!!! 04 01

theres NO realistic way in hell some kid was chucking that shit every damn day and making it !!!!!!!!! bro would have smacked someone in the fucking FACE by now!!!!!

starting off with a freak ass routine gotcha gotcha gotcha !!!!!!!!!!!!!!!!!!

aGAGGLE OF BALD CHILDREN!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

its been. 4 minutes and im already so uncomfortable with how they hold the kids hands to lead them around lmao

Brenner cant draw for SHIT girl if that was me id tell him i dont know bc its fucking UGLY!!!!!!!!!!!!!! YEAH. HES RIGHT.

GOD hes. i hate hate hate hate hate hate his fucking face it makes me so uncomfortable.

GIRL HELLO !!!!!!!!! DAMN LMAO

EXPLODES THEM EXPLODESTHEM EXPLODES THEM !!!!!!!!!!!!!!!!!!!!!!!

the TONE shift from the last season is really getting to me girlie like that last one didnt feel REAL and this one feels VERY present. even with the rainbow visuals in the room?

OUGHH GOD HES SO UNCOMFORTABLE.

HIS EXPRESSIONS ARE SO ???? HIS GASP SEEING A DEAD KID??? IDK HOW TO PLACE IT.

damn girlie what did you do !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

EL'S !!!! FUCKING AUTISM ACCENT? LOVE HER. LOVE HER.

ARGYLE!!!!!!!!!!!!!!!!! GODIM SO EXCITED TO MEET HIM !!!!!

I CANT PUT INTO WORDSS HOW MUCH I LOVE THE TONE SHIFT AND THEM BEING OLDER AND EL'S LETTER TO MIKE BEING !!!! SO.

THEYRE ALL SO BIG NOW!!!!!!!!!!!!!!!!!!!!!!!!

KAREN LOOKS SO CUTE AND TED? KILLS HIM.

SUZZIIEEEEEE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! AND DUSTIN <3333333 THEYRE SO CUTE

STEVE AND ROBIN!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

PEOOPLE WHO LIKE BOOBIES!!!!!!!!!!!!!!!!! FUCK ING STE VE. BI MEN AND THEIR LESBIAN BESTIES ???

MAX IS NOT BEATING THE TRANS MASC ALLEGATIONS!!!!!!!!!!!!!!!!!!!!!! NOT NOW NOT EVER NOT IN MY HEART

UCAS LOOK SO FU CKING GOOD!!!!!!!!!!!!! HIS HAIIRRRRRR

WHO TH FUCK IS THIS ARCHIE LOOKING WHITE MAN ?????

THEIR PANTS ARE TEAR AWAY ? I GUESS THOSE HAVE A FUCKING USE .... WHEN IT COMES TO SPORTS ? BUT STILL KAJDSHKJHADS IM FU CKING KAJHDKJAHSD. THEY DIDNT DIE SO WE WOULD LOOSE AT BASKETBALL!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! SHUT UP

Lucas is making a good ass point butalso im so sorry he doesnt wanna be a loser nerd freak anymore :pensive:

the fu cCKING RUSSIANS LAKJSHDAKSJHDKJ HDAMN GIRLIE HOLY SHIT BE CAREFUL ? EW. EW? WHOSE THE LITTLE WHITE WOMAN!!!!!!!!!!!!!!!!!!!!!!!!!!!!

OH ELL BABY YOU GOT THIS. YOU GOT THIS!!!! GO AUTISM GIRLIE!!!!!!!!

IM GONNA KILL. EVERYONE IN THAT ROOM. !! PLEASE LET HER JUST. OUGHHGH GODD. WILL TEARING UP TOO. FUCKING EXPLODE HER!!!!!! EXPLODE THAT FUCKING. BITCH HOLY SHIT ?

WILL IS.

MAX ?? QUEER WHATS WITH THE... GREEN SCRUNCHIE?? THAT THE OTHER GIRLIES HAVE

LUCAS approaching Max who... is the only one who is like ? LOUDLY suffering with shit after watching Billy die and be traumatized vs the core group not NOT being traumatized but handling it VERY DIFFERENTLY ? like they always "bounced back" and Max isn't

o h JESUS WHAT THE FUCK HELLO ?????? bro aksjdhkasjhakhkKJHDFKJSDHFKJH DAMN I WOULD NOT HAVE LEFT THAT BATHROOM HELLO WHAT THE FUCK

Eddie doesnt SOUND like i thought he would ???? AKDHAKDJH i forgot about the hanky code my mans wearing

dustiinnNNSFNKJKSJH DUSTIN. AKJSDH!!!!!! MIKE'S FACE.

Eddie's vibe is. AKHASKDJASHD like my ex boyfriend from highschool

MURRYYYY !!! MISSED HIM. LOVE HIM. RIP ALEXEI!!!!!!!!!!!!!!!!!!!

she has nIPPLES!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

ARGYLE AKSJHDKASJH!!!!!!!!!! MOPEY DICK!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! NANCY LOOKS SO CUTE!!!

ARGYLE CALLING HIM A FUCKING GOOD BOY KJHSDKAHADSKJHADSKJH YELLING

im sorry literally N OON wants to play DnD you just have to find the gay people !!!!!!!!!!!!!! (40 years from now)

Out h ere being Mentally ill in da Woods as you do!!!!!!!!!!!!!!!!!!!!!!!!!!!!

what gay ass drugs are we selling!!!!!!!!!!!!!!!!!!!!!

Oh hes DRAMATIC fucking theater kid. that man's NOT STRAIGHT !!!! and also defenitely has ADHD. chewing on his fucking HAIR !!! stimming i see u !!

EL BABY GIRL IM SO SORRY I WAN T TO EXPLODE THE WORLD FOR YOU!!!!!!!!!!!!!!!!!!!!! I WANT TO KILL FOR HER !!!!!!!!!!!!!!!!! HOY SHIT . MAKE THEM PISS THEIR PANTS GIRL !!!!!!!!!!!!!!!!!!!!!!!!!!!!! OO OoOOO H BABAKJSHD I FORGOT HER POW ERS ARENT ,,, WO RK ING,,, ABY IM,,,,,,,,,,,,,,,,,,,,,,,,,,,,, THIS IS FUCKING PAINFUL.

tHE focus not having been on Will the entire time except for a snippet here and there is REALLY NICE ACTUALLY likE!!! IDK BUT IT IS. TTHAT MANS FIGURING OUT HES QUEER TOO

MURRY JADKASLASKLJSADKJ !!!! MY MAN ABSOLUTEL LOSING HIS MIND

sTEVE IM AKSDJHS SORRY GIRLIE LMAOOOOOO fuc kinggGGGG TAMMMYYYYY AKSDJAKDHAKJSDHKAJSHD ROBINNN GIRLIEE IM SO FUCKING SORRRYY. JDKLKJDLKJFDSJLKDF I WA NNA FUCKING.

ERICA!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! BABY GIRL IS BACKKKK YEAHHHH FUCKING LOVE HER !!!!!!!!!!!!!!!!!!!!!!!!! AND HER HAIIIRRRR!!!!!!!!!!!!!!! I CANT WAIT FOR HER TO DESTROY EDDIE

DESTROY HIM DESTROY HIM DESTROY HIM!!!!!!!!!!!!!!!!!!!!!!!!!!!

the fucking mountain dew cansssss his DM set up is so good

I JUST LOVE HOW DND IS USED AS FORESHADOWING BABEY !!!

Dusstin and Erica working together like THIS IS!!!!!!!!!!!!!!!!! UGH. love u lady applejack <33333

FUCKING GET IT ERICA!!!! LUCAS!!!!!!!!!!!!!!! PLEASSSEEEEEEEEE

YYYEAHHHHHHHHHHH!!!!!!!!!!!!!!

i thOUGHT he was tlking to like a lizard and not a guitar AKSJD

IS Chrissy just experiencing like a psychotic break ?? delusions??? I cant tell if its like. ACTUALLY happening to her or something to do with the UD ? Dissociative seizures????? DISSOCIATIVE SEIZURES AND THE UD ?????

FEEL LIKE ALL THE SPIDER VISUALS AND SHIT ARE IMPORTANT AND I JUST DONT KNOW HOW YET !!!!!!!!!!!!!!!!!!!!!!!! OH IS THIS VECNA ? SIR !! YOURE. WET :/

BRO HELLO WHAT

KING WHAT DOES THAT M EAN

ASDASKJHD KASHDKASJH SORRY TO EDDIE WHO THOUGH YEAHHH A FRIEND :3c

GIRL WAHT THE FUCK EXORCIST SHIT HOLY HSHKJASJK LSHAJKHAD HE RE YEB ALLS!!!!!!!!! BROOOO AKSJDHKASHDKASHD

yeah so season 3 was. liike. different and now ? we're back at it!!!! we're back at it!!!!!!!!!!!!!!!!!!!!!!!!! ALSRRIGH alright

ending with a half song again no lyrics inchresting

[that-agender-from-pluto]

Can I just rant for a second

(And I ask that you read this in its entirety before sending hate)

Adding a read more bc it's a long post

I don't like the fandoms obsession with Eddie munson

Like, do I think he's an ok character? yeah sure

But some of you treat him like he's the second coming of christ

Y'all treat him like he's a god

And I personally hate that with a burning passion

HE WAS AN ASSHOLE

To Lucas, my baby, my bff

To Steve

To literally anyone he interacted with

And some of you will be like "but he was bullied and he was just trying to protect himself 😔"

Yall will act like he was regularly getting beat up in back alleys when realistically the most that happened was he got called names

He was, as far as we know, the only drug dealer at the high school. No one is going to want to be on his bad side if they ever wanted drugs

He was a three time senior let that sink in

Three time senior

He was 20 in the show or at least almost 20

No teenager is going to go beating up a 20 year old no matter if their in the same school or not

Now correct me if I'm wrong, but I don't think anyone is bullying people in a grade above them

You know Jason big bad evil jock basketball player Jason

The most we see before the whole murder thing (which I will get to) is him calling Eddie a freak, and that's it

And Honestly, if I was trying to eat my lunch and some theater kid started standing on tables loudly yelling about things that really don't matter, I would call him a freak too

Jason was a sophomore when Eddie was in his first senior year

Jason is not doing shit to Eddie

But you all will take what he did when they found his girlfriend dead in Eddie's trailer and treat it like it's his everyday life

And this was right in the middle of the satanic panic. So, the rumors of him worshipping the devil make sense for the time. It wasn't anything targeted. It was just what everyone thought about people who played dnd

And can you honestly say that you would react differently than Jason did?

If your girlfriend was found dead in the trailer of the three time senior (again 20 year old) the same senior that has a reputation for dealing drugs and playing a game linked to devil worshipping (again satanic panic it's what most people thought at the time)

Think of it from an outsiders perspective

There's a murderer on the loose, and the police aren't doing shit about it

What would you be doing?

And let's talk about chrissy

We don't know how old she was

We don't know if she was graduating that year

She could have been under 18

If you found out that a 17 year old was found dead in someone's trailer, you would be so angry, and you would be wishing death on whatever predator killed her.

And y'all will say "oh he's an outcast he's someone people who feel like outcasts can look up to"

And like great, im glad you found a character you can relate to

But like did you watch the first three seasons?

The whole show is about outcasts

Lucas is black in a small town in the 80s

Dustin is disabled in a small town in the 80s

Will and Robin are gay in a small town in the 80s

If you were anything other than straight white and able-bodied in the 80s, you were an outcast

Eddie is nothing new

Y'all just like him so much because you think he's hot

And don't even get me started on how y'all treat robin and steve

[ms-scarletwings]

Nothing messes me up like knowing that magic absolutely exists in invader Zim and the only beings to capitalize on its potential are like a tiny handful of sapient primates on Earth. Demonic entities exist and sometimes pay visit to this plane… but only on Earth, as far as we know.?

But then, again, maybe I’m wrong and aliens absolutely do take use of magical forces, and just don’t make the categorical differentiation between the two concepts like we do. Kind of like how Star Wars is literally a high fantasy setting but it has the outward aesthetics of a futuristic sci-fi. Kind of also like how humans are comparatively primitive and ignorant compared to sum of their society’s knowledge. Maybe part of the difference was that they cracked powerful “natural” forces we aren’t even aware of yet. Vortian tech is not only hyper advanced, but actually does things technology should not ever be capable of under the limits of basic physics and universal laws, unless the “infinite power generating thingy” is not a literal concept and is more like a very efficient fusion reactor. The meekrob are still beings of pure unspecified energy, and the standard voot cruiser’s capabilities are far beyond what even Professor Membrane calculates should be possible for interstellar travel.

Spelldrives are fascinating to me in particular

In effect, there’s no practical difference between them and a dnd wizard’s scroll. They’re digitized magical tomes. I never thought about how cool of a concept that was until these babies came along. It’s good proof of concept regarding integrating advanced technology with what is absolutely and without question straight up sorcery. It also applies heavily that warlocks or mages or whatever they would call spell casters in IZ have persisted into the modern world, and have adapted to the current standards of media storage. But that also makes Dib’s collection and use of them extremely reckless because the show clearly conveys he has no idea how they actually work, he understands their powers about as well as I understand Minecraft enchantment tables, and he’s never gotten a moment to speak with one of their intended users. (Plot hook where a very pissed off technomancer finds the twerp who’s been playing with his dangerous af tools like they’re toys when?????)

Your last paragraph I believe encapsulates exactly what I think has been happening to Dib’s perception of magic, this sort of expectation and outcome conflict. The “spiritual” kind of paranormal is an especially difficult beast for him to try to tackle and tame, because by definition, magic does not follow conventional scientific understanding of the world. Aliens and Bigfoot and lake monsters are some things that mostly do. They’re material and grounded, just really damn good at hiding from average humans. Irken technology is something that operates in ways predictable and usable to anyone who can get a firm grasp on its machinations and counter its protections.

And I think Dib runs into a wall when he tries to deal with magic the same exact way. A wall that especially loves to burn him for his naivety and shows how sometimes he can be a lot like his father when it behaves as though it doesn���t want to be conveniently figured out. His disappointment with magic being a very unreliable and high-risk tool, and how it reflects his broader frustration with his whole hobby was the straw that broke the camel’s back in “Mopiness of Doom”, after all.

He also read a freaking pamphlet about Mortos and showed up entitled to a boon without much real respect for the entity, just “Now that I think I know the rules I can command this creature as a weapon that makes me look very badass, like it’s a freaking genie”. Turns out mystical stuff not only takes great offense at his abuse of it, but it’s way more capable of retaliating against an unworthy user than the Takship is. So, he’s probably going to still passively study it where-ever he can, but as far as what to bring to the field and gamble his life on, I wouldn’t blame him for sticking with more reliable methods and gizmos in the meanwhile.

New headcanon, in fact: A lot of Dib’s general misfortune and random events of the universe screwing over victory every time he’s in arm’s reach of it is all actually a karmic result of how thoroughly he’s attracted the spiteful attention of very annoyed higher beings.

Something I wish they did more was having Dib try to combat Zim using magic instead of science. He did try summoning a demon to steal his soul in Mortos and in Mopiness of Doom he attempts to use a talisman from a wizard store in the mall, (which led to him giving up on trying to defeat Zim altogether). But we never really got to see Zim actually try to grapple with magic being used against him.

Normally Zim's knowledge and resources dwarf's Dib's when it's a battle of science vs science, perhaps no better illustrated than in The Wettening. But Zim doesn't know dick about magic or the supernatural, so he'd be way out of his depth trying to combat Dib if he ever found something actually effective he could use against him. You could have Dib use a protection spell that prevents Zim from harming him, or a curse that makes Zim unable to lie, recruit a ghost to harass him in his own home, take control of him with a voodoo doll, or magically summon fire and shoot it out of his hands. Lots of possibilities to keep him on even footing with Zim as their conflicts escalate.

I kinda like the idea of Dib becoming a super powerful warlock who still somehow can't get anything done because of how overwhelmingly corrupt and ineffectual the world around him is and who's also still desperate for approval that he never receives despite how outrageously accomplished and OP he gets. In a way, becoming even more like Zim, who absolutely has the resources to destroy the world, but has no idea how to use them effectively and constantly wastes them on petty skoolyard bullshit.

Either that or everything Dib finds that he thinks he can weaponize against Zim always comes with a serious design flaw or drawback that makes it functionally as useless as the Megadoomer's cloaking device. He studies mystic lore, learns spells, and collects ancient relics, building up this huge knowledge base and arsenal that's almost entirely useless bullshit. Over time he becomes super jaded about magic not living up to the hype. Like, not so jaded he loses the curiosity and enchantment that keeps him pursuing paranormal investigation, but he definitely stops getting excited about the latest source of "untold power" he hears about and approaches the legends with a lot more skepticism about what it can actually do.

[creacherkeeper]

i keep telling myself im going to catalogue all the dnd characters ive actually played over the years so HERE IS A POST for my own reference

disclaimer that most of these characters have been played completely serious but my original conceit in making them is usually to get as buckwild as possible

paladin whose gender is cowboi who is oath of devotion which is in universe just Cowboy Code. goddess of agriculture. no one knows their big anger issue is because they were raised by a clan of barbarian elves and their 1st level is barbarian. main weapon giant scythe. always wearin cowboy hat

extremely powerful wizard named Sir Bramwell Elingston the Elder, noble background. also totally got cursed to be a one year old baby forever. his walking speed is 5 and he gets around by holding himself on a horse with mage hand. his inventory is held in a diaper bag and his arcane focus is a rattle. he is lawful evil

rogue who is a rogue for hippie reasons. doesnt believe in "ownership" so just helps himself to stealing things. very much believes in the cycle of life and our connection to nature so killing people is like, Not a big deal cause we'll just feed plants and shit. about two years into the campaign he developed Anxiety and it went very badly for him. also became a dad much to everyones horror

bard who is a wereboar. she is huge and gnarly looking and also plays a tiny ukulele. she totally murdered her parents but is also Very Shy About It

super old New York Jewish bubbie who is a retired police detective. very late in the game became a necromancer to bring her dead partner back to life but cant stop sniffing out clues

path of the drunken master monk who got raised as an orphan kitchen girl in a castle and then found out she's actually the bastard princess and was like. well!! time to leave immediately and tell no one!! everyone was suspicious of her because she's so friendly. her twin brother played by a friend was a very gay slutty warlock who for some reason had a completely different accent than her

former angel soldier who fell and became a demon after his god left him behind in a holy war. now is trying to raise an army to kill god but he's turned SO many people into warlocks and his demon magic is spread so thin that theyre all incredibly weak. does NOT stop him from going around all the time being like "HEY PAL YOU WANT SOME MAGIC POWERS??" and just being very friendly and flirty and way too overly earnest for a demon

underdark orc war cleric who is also Very Femme. she totally abandoned the main storyline to go on a date with a cute girl that the dm had to make up on the spot

9 year old tiefling boy whos dad is a big time demon and whos mom is a totally regular human woman. he became a ranger demon slayer at a young age to get his dads attention because his dad wont fucking pay child support. wants to be called something super cool like rex knifeblood slayerdoom but his mom is very insistent he go by jacob candor because she thinks its a very nice name

literally actually lady macbeth. tiefling pact of the blade warlock. she was a follow of pale night, a ghostly "female" demon lord whos appearance caused madness. she straight up got smited by oberon at a fae dinner and died

non dnd tabletop characters:

child actress who is incredibly precocious and intelligent who is currently the only one who knows her demon cat is actually a demon so is very much In Therapy (call of cthulhu)

woman in olden times salem, mass. who is convinced another woman in town is a witch and will stop at nothing to prove it while ignoring all other witch activity. Is Secretly Just A Big Lesbian And Doesnt Know It (fiasco)

bug person called The Guide who broke out of their hivemind to become a pyramid scheme cult leader. what religion are they representing? Dont Worry About It Just Take This Pamphlet (starfinder)

ANYWAY DO I HAVE A CHARACTER CREATION PROBLEM??? MAYBE. H E L P M E I CANT STOP

[consilium-games]

Setting, Genre, and Principles

I talked recently with a friend about Apocalypse World, genre, and Principles. For those unfamiliar, Principles are a design and game-running technique that Apocalypse World did not invent, but did refine and explicate, a bit like how the Greeks knew of static electricity, but it was Galvani who made a battery on purpose, that others could study. Since I haven't died yet, I have a project in mind, in this case one that really explicitly relies on Principles in its basic design, so in this essay I want to work out a basic edge of 'what Principles can cover'. Namely, the edge of 'genre'.

I'll define a couple technical terms here because I intend to use them pretty narrowly:

Diagetic means the usual, "bound within the world of a given story".

Commentative means "outside of any story, things we say about stories-generally".

So a setting counts as diagetic, bound within its own logic and the logic of the single work it appears in. Diagetically we'd ask "why does the author choose to write dragons in this way?"

A genre counts as commentative, not bound within any story. It may or may not codify some stories, an author might consciously bend to or defy a genre as they understand it, but most importantly on the genre level, we don't ask "why did the author write dragons like this?" Instead we ask "why do people-generally like to see dragons?"

In talking with that friend, she said she had difficulty reading AW, which I can't really fault anyone for: I'd consider AW almost as much a polemic manifesto as a procedural manual. And the former undermines the latter. Part of her issue came from her looking for a setting, not realizing that properly speaking, AW doesn't have one. I said as much, and as we talked, I then said a lot more than I should:

After confirming that "Baker does not give AW a setting", in a bit of enthusiasm on the idea of 'genre emulation', I went on to say that "Baker gives his apocalypse". This prompted confusion, for the reasonable question arises, "how can Baker provide his own, particular, post-apocalypse story without giving a setting?" So I should have spoken more carefully, and I wrote most of this essay to over-answer that question for my friend. I've massaged it into its current form, for you non-her readers, in hopes that it helps someone, or if nothing else I can refer back to it as I clarify my own cranky lit-game-dev ideas.

To me, 'a setting' goes like this:

DnD has a kind of proto-setting, it has dragons like-so, it has elves who look pretty and live in the woods, it has dwarves who look TV-ugly and live in the mountains, it has orcs who look ugly-ugly and live in the wastes, it has humans it treats as default and live wherever. It has vague gestures of settler-colonial race-relations but not enough anything to explore, unless you the reader put it there. DnD doesn't really have much of a genre more specific than "uh, generally sword-and-sorcery fantasy".

Shadowrun has basically the same things, and a specific setting: neoliberal dystopia and collapse of the state, but otherwise 'basically our world'.

But more than that, Shadowrun also--for its many faults--has a commentative-sense genre: in Shadowrun, might makes right (or at least right-now); money rules everything, except maybe loyalty; it treats magic as innately cool and natural but technology as evil and you maybe would better die than get an artificial heart. These story-contours don't care at all about where things happen or what institutions exist.

To take another example, Cowboy Bebop tells a solid noir western story set in space. The fact that it takes place in space ultimately matters very little to the 'western' or 'noir', though. Spike knows he lives in space, and he'd agree that--to someone alive in our world today--he lives in a sci-fi story. He doesn't know that he got cast as a western-revenge-fable protagonist (though he might agree if someone asked). He definitely doesn't know that he has a corner of the story that goes more-western, while Jet lives in a corner of the story that goes more-noir.

If you wanted, you could tell Cowboy Bebop beat for beat, almost unedited, as a straight-faced noir western. Instead of Jet's main ship they have a wagon, the individual bounty-hunters have their own horses, Ed does something weird with telegraphs and adding-machines. Instead of vacuum between planets of our solar system, they weather the desert waste between far-flung towns. It would remain a story about revenge, losing oneself, finding oneself, remaking oneself, and the things we have to do for the people we love, and what happens when we don't.

You could not do this and also remove the noir, or the western, those define the kind-of-story. If you left it in space but took out the noir, entire episodes of moral ambiguity would disappear (like Ganymede Elegy). Likewise taking out the western, the premise of bounty-hunters wouldn't fit and couldn't stay. I would even go further, and say that while I don't mind Cowboy Bebop sitting on the 'sci-fi' shelf so that consumers can find it, I wouldn't class Cowboy Bebop as sci-fi. A masterpiece, but not sci-fi. Because I think that as a genre, the core of sci-fi asks "where are we going, and what will we do when we get there?" Cowboy Bebop does not care to ask this question, it cares about the human condition right now, and what people right now will do. It takes place in space because space is cool.

Second hot take: Kafka's The Castle counts as sci-fi, by the above conception. Extremely, disturbingly prescient sci-fi, precisely predicting things from call-centers to Big Data and the professional managerial class, and warning of the ease with which a competent, level-headed, and well-meaning person can confront The Machine, and The Machine will completely hollow out and dehumanize them, rob them of every competence and agency, until The Machine no longer notices them as a foreign object.

No one would put The Castle on the sci-fi shelf, because it has no shiny labcoat SCIENCE![tm], telephones and typewriters show up as cutting-edge in the setting. But just look at the concept of tracking, monitoring, filing, and refiling, and bureaucratic shuffle and managerial maladaption and "not my department" and "oh you have to fill out a form 204B -> well file a form AV-8 to requisition a 204B -> look do I have to do everything for you, I'm a busy cog you know". Look at that concept as a technology, like Kafka did.

The story explicitly refers to this as innovation, as a deliberate thing that the Count and his bureaucrats did, on purpose, with intent and expected effect. The Castle explores social science, political technology. And Kafka rigorously explores its psychic effects on the subjects, more thoroughly than Gibson waxing poetic about VR headsets and the Matrix. The Castle qualifies as fiction about science, where we're going and what we'll (have to) do when we get there. It takes place in a quaint provincial village that might lie somewhere in Bohemia in the very early 20th century.

So I allege that while setting matters for writing a given story, it doesn't matter a lot for kind-of story. And in my conversation with my friend, I should have sensed the kernel I could have dug out, but instead, I wrote the rest of this essay, particular to post-apocalyptic genre fiction, and germane to Apocalypse World.

Bringing this back to apocalypsii:

In the Australian outback in the late-70s, the gas supply all but disappears, causing societal collapse and civil breakdown.

In the American midwest, an unspecified disaster wipes out communications and supply-lines, causing survivors to turn feral and cannibalistic.

In New York in the late 60s, food shortages and overpopulation cause the government to criminalize almost everything so that they can grind people up into food.

These are settings in the sense that I mean: a place, a time, implicit societal structures and institutions, "where is this, what world is this, what is here?" DnD's setting doesn't have much of a 'where' but it more or less assumes "uh, Earth kinda, sorta"; Shadowrun says "literally Earth but N years after magic becomes real and also DnD races". But the above three post-apoc settings have very different everything-else: if you were making a post-apoc section of a library and wanted to break down into sub-genre, you'd want to put the three works above on different aisles.

Mad Max tells a story where holding on to old power structures is complicated, sometimes good, sometimes bad, and it emphatically matters how we go about doing it: when marauding punks kill your family, you may justifiably go and kill them back; but when a power-mad warlord inflicts his brutal regime, you owe him no allegiance.

The Road tells a story where everything we care about can just blow away in the wind, and at best we can only cling to what we cherish, while we can. Power comes and goes, structures don't last, but cruelty and misery endure eternal and will always win--but we try anyway.

Soylent Green tells a story where societal structures can technically endure, but themselves have no moral compass and can inflict as much cruelty as uncaring nature. You may live in an illusion in which civilization appears to function, but in fact you have no more safety than the wilderness, and indeed you didn't realize it, but you're the cannibals, and perhaps soon the meal.

Those considerations all sit at the genre-type, commentative level, and I class them as wholly unconcerned with setting. Each of these stories would tell just as well in space, or an underground complex, or even Bronze-Age Fertile Crescent if you twist a few narrative arms. The where and when and what doesn't define or determine the kind of story, the genre, even if setting can help or hinder genre goals.

Bringing this back to Baker: he doesn't give a place where things happen; he doesn't give an inciting event that brought the apocalypse; he doesn't even describe what happened during the apocalypse, or how long ago it happened, or give a date for "today". I'll list three AW settings I've run or played in or heard about:

Sunlight vanished altogether, though somehow it hasn't gotten any colder. Darkness and shadow can become animate and even sapient, and can claim people, though it doesn't seem exactly malevolent or 'evil'. Rule of law has mostly fallen apart, but out of fear and prudence people mostly avoid wanton violence, because if you see someone you don't like, you could roll up on them and take their stuff--but just as easily they could kill you, and just as easily as either, the Dark might just take both of you; you're safer keeping the Dark at bay and not hassling someone else, unless you've got good reason.

A few years(?) ago, survivors woke up from total amnesia and some kind of fugue: it seems like this fugue lasted at least some years, there's some decay of modern-to-us structures, but the ruins look fully recognizable and often quite well-preserved. But signs abound, literally painted twenty-feet-high on buildings and structures, that something unfathomable happened. The giant wordless pictograms seem to warn to protect tools and structures, to stay together and not go off alone, indicate places that once had lots of food or other important resources, and most alarmingly they show gigantic hands reaching down from above onto some of the pictogram figures. No one can remember anything from before the wakeup though, so the meaning is lost.

Something like twenty years ago, the world broke in some fundamental way: it always rains or at least fog abounds, long-distance communication inexplicably but insurmountably fails to work, and cityscape has sprawled on its own to incorporate seemingly the entire world. As far as anyone knows, the city spans infinitely in every direction, it has no edge, only more city. The city-cancer seems waterlogged and rotting everywhere, some few places fit for use and occupancy, but if you go down any given street and step inside an empty house or shop, it probably won't suit human habitation. People still habitually carry on the forms and outlines of societal norms, mostly, because what else can they do? You can't burn it all down as long as it keeps raining.

I brought these up because Baker's conception of 'post-apoc' does not cover the whole of "all post-apocalyptic literature"--it couldn't, shouldn't, and if it did it would have little or no use to anyone. Baker's narrower conception, the Principles that AW's rules expect a setting to follow, narrow things down and keep the rules crisp, tight, and tractable.

Each of the AW campaigns above has a totally different setting, aiming in totally different directions for different things--but, they all live inside Baker's Principles for a post-apoc that fits within AW: scarcity, weak but present society and norms, a Before, an After, and no going back, and each has a 'Psychic Maelstrom' that excuses a lot of narrative fiat and deus ex machina and having characters just do weirdness not otherwise specified.

That 'Psychic Maelstrom' comes closest to giving what I'd call "a setting" as in "place, time, institutions", because it sits at the diagetic level. A distinct thing bound within a given story--except it only barely counts as 'diagetic'. Because Baker only gives loose guidelines for what a Psychic Maelstrom should be or do. Baker's own at-his-table Psychic Maelstrom will look nothing like mine, or my girlfriend's, or her erstwhile friend's, because in those three AW settings up there, each of us had totally different ideas for what to do with a Psychic Maelstrom in a post-apocalyptic setting.

But: all three of us used our Psychic Maelstroms for the things Baker says to use them for: unleash weirdness, justify unrealistic but narratively satisfying twists, allow and excuse extra awesomeness, maybe use as a metaphor or allegory for "how it got this way", as well as "where it could go", in literary terms. And . . . Baker doesn't really get closer than this, to giving "place, time, institutions, history and people and events". So in the sense I understand 'setting', a diagetic construct within a given story, AW doesn't have one.

But in the commentative genre sense, AW very definitely gives Baker's apocalypse, in that it gives a recipe for the things that Baker considers essential to the post-apoc genre (or at least, the aisle of the post-apoc library he wants to confine his game to). He doesn't try to tell a Soylent Green apocalypse so much--you'd need to twist some arms and ignore some Principles to tell Soylent Green. Nor does he try to tell Children of Men so much--you'd have to leave a lot out to rein AW in to just Children of Men. He instead aims* for something closer to Mad Max, but heavy on Weird West, and a lot less somber and desolate, so more like Fury Road. And he says, "here's how:".

(*) But, of course, he doesn't actually tell these stories. Instead he has the project of telling the reader how to tell this kind-of story. So, while he gives some sample poetic images of skylines on fire and the world torn asunder, he doesn't care to talk about the virus, or the metorite, or the gas-shortage or the food-shortage. He doesn't care about the where or when or what, and even with the Psychic Maelstrom, the one concrete diagetic thing he gives--it sits there as a meta-thing, explicitly unstated whether it resulted from The Apocalypse or its inciting event, or caused it as the inciting event, or something else.

All of which boils down to: commentative, about-stories, genre-level stuff owns bones, and I weigh it heavier than diagetic, in-stories, setting-level stuff. Baker gives excellent tools, within his purple polemic prose, for that first stuff and gives little or nothing for the second.

[keepingupwiththeboltons]

Did you ever reveal what your URL is referencing? Just curious

I guess it's time for me to do some explaining, so one of the first jokes me and my sister (the other runner of this blog) had when we first started watching got together was this weird au idea of game of thrones families as shitty sitcoms *all of which are modern au (there were 3 main ones)

That stark show = a sitcom about the stark family in modern day just sorta vibing. Some examples of what some episodes of that stark show would be like in one episode the A plot would be like sansa dumps joffrey to date Margery and then the B plot would be like jon starts playing dnd. Some running jokes in that stark show were bran can blackmail like literally anyone cause he knows everything about everyone, theon has a different girlfriend every episode half the time it doesnt mention it, bran and jon look into the camera like Jim on the office and robb is overly stressed but also incredibly positive (think like Chris trager on parks and rec)

Lannister golden years = it's just the lannisters and baratheons being dysfunctional. An episode of this one could be like the A plot is cersei finds weed in joffrey's room and decides to fire her maid and move the weed just enough for joff to know she knows, then the B plot would be like Jaime getting absolutely wrecked at laser tag by brienne. Some running jokes in lannister golden years are jaime and tyrion have a podcast (some times cersei comes onto it and spills tea), at the lannister house there are 2 master bedrooms, renly still sits at the children's table durring holidays becouse fuck Robert and fuck cersei and fuck stannis and fuck selyse and shireen is chill, cersei goes through everyone's shit becouse she hates people hiding things from her and whenever Robert tries to tell his kids about his past they just straight up dont beleive him

And now time for the grand finale

Keeping up with the bolton's = you know how I said these were modern au well this one is technically still in modern day but it doesnt make sense, ok so one all the bolton's still dress like they do in the show even though it's modern day, two they still kill, torture and flay people openly even though it's modern day and three the dreadfort looks the exact same even though it's modern day. Now whenever they interact with regular people the regular people do react to how strange they are but like the bolton's themselves never acknowledge it. The characters in this one are of course roose, ramsay, walda, theon, og reek and domeric. An episode of this show would be like the A plot is ramsay is trying to hide a body, he tries numerous different places it ends at ramsay just shoving it in like the washing machine and saying fuck it and then roose sees a arm dangling out of the washing machine opens it and just says "i cant beleive ramsay didn't do the dishes." And then he just closes it with the rotting corpse still in it, then the B plot would be like domeric is litterily just going horseback riding with some friends. That's it. Some running jokes for this one would be ramsay calls og reek and theon reek 1 and reek 2, roose and walda sometimes have brunch with catelyn, lysa and littlefinger, walda and domeric act normal but they also don't react to ramsay or roose litterilly murdering people and will really casually make incredibly dark jokes, theon looks into the camera like hes on the office and usually reacts to the others insanity and it just never says what roose's job is like they are super rich but it never actually says how they get money, whenever someone asks roose what he does before he can explain he gets cut off.

Other details: all of them are supposedly in the same universe and happening at the same time (i know it doesnt make sense that reek theon and pre reek theon would exist at the same time, that's the joke), sometimes the shows will interact with eachother, Like someone would make a joke about the lannister bros podcast or ramsay would run into robb at Starbucks and they'd just glare at eachother while both of them buy the same basic bitch coffee. All of them have cold opens that make no sense. Sorry we never thought of a show for dany so she's just never mentioned. It started as pure show but now its a weird hybrid of book and show that makes little sense. There's specifically a Christmas episode of that stark show where the starks invite asha/yara over for Christmas for theon (i just didn't know where to mention that). It's very unclear how old anyone is. Robb, being a workaholic that never takes breaks, had a mental breakdown in college when he walked into a joanne's fabrics and crafts store, went over to the buttons reached out to grab a pack of brown buttons, the buttons fell to the ground and then robb just started sobbing in the middle of that joanne's fabrics and crafts store, after this he decided to take a gap year. Shireen's friend group is rickon, edric storm and daven seaworth (okay I've seen alot of people are down shireen to be friends with rickon but I haven't seen people also age down shireen's friends) and that entire group shows up in that stark show and lannister golden years. Anyways that's all that I want to write

[horde-princess]

An Analysis of 4 Key Relationships in Season 2

Now that we’ve had some time to digest season 2, I wanna take an in-depth look at some of the new relationships and group dynamics that have popped up in the show. Specifically, seeing Catra interact with Bow and Glimmer was something I’ve been excited about for a really long time, and then of course there’s Scorpia, and wow do i have THOUGHTS alright here we go

Catra and Bow

i know, weird right. there’s a reason i’m writing about these two first and it’s because i have a lot of feelings lajksdfd just hear me out okay

Idk about you guys, but when I was watching Catra attack Bow in 2x02 it just felt so weird, like in a bad way. Catra’s anger towards him for stealing Adora away is obviously valid, but Bow is just so pure and righteous and good, you know? He doesn’t have a bitter bone in his body (unlike Glimmer, who can give as good as she gets). Bow doesn’t know how to respond to Catra’s anger... and I think the reason that it was so hard for me to watch is because Catra and Bow actually have the potential to be good friends.

Think about it like this. Catra and Glimmer are a lot alike--they’re fierce and intense and they each have someone who helps bring them back down to earth: their respective best friends, Adora and Bow! And we see how much Adora and Glimmer have grown to love one another, right? It’s because their different personalities complement each other so well.... So I think that, given the chance, Catra and Bow could have a similar dynamic :)

There was a sweet moment in 2x02 that offered a glimpse of this, when Bow was trying to show Catra some kindness. He’s such an earnest, straight forward character, he sees right through Catra’s bullshit and knows exactly what to say to get through to her (i mean look at her expression here, the way her ears are flattened--so different from her absurd behavior in the rest of the episode).

Lock these two in a room for an hour? Yeah, they’d come out best friends 😭💖 I hope we get more of them in future episodes!! 

Catra and Glimmer

Oh man...... Whew. YIKES. Where to even begin with this alsjdfsdjld. Catra and Glimmer’s rivalry is just. everything. 

To Glimmer, Catra is the girl who is trying to destroy her home, murder her and her loves ones... the girl who’s breaking the heart of someone she loves (Adora).

To Catra, Glimmer is the girl who stole Adora away from her. She tore her life apart. She represents what it means to be born into a position of privilege and (literal) power, which Catra resents with a burning passion.

Seeing these two go head to head, sparring physically and verbally, it’s so freaking delicious. Catra has the advantage over her in almost every way: she’s a better fighter, she lies and manipulates, she’s willing to do evil things to win battles that Glimmer, as a typical hero, refuses to do. But despite all that, Glimmer still wins every time... Because she has Adora.

It’s interesting, though. Even though Adora is on Glimmer’s team, Catra knows that she is the one who holds Adora’s attention, if not also her affections--and she knows this fact drives Glimmer crazy. I mean come on, Adora means everything to Glimmer! She loves her as a friend but more than that, She-Ra gives her hope that they can save the world. Yet Adora loves this feral half-cat demon over her?? what???? lmao. So I think part of what’s fueling Glimmer’s hatred, her desire to just beat the absolute shit out of Catra, is that she feels like she’s contending for Adora’s love.

There were four glitra moments this season that I wanna highlight.

First, when Catra tries to get in her head and make her doubt her relationship with Adora. I found this interesting because you almost see a glimpse of sincerity in Catra--as if she’s trying to warn Glimmer against repeating the mistake she herself made. Glimmer’s reaction to the words are just as telling. She gets angry, but I don’t think it’s because she believes Catra. I think she’s angry because Catra is slandering Adora’s character. Unlike Catra right now, Glimmer sees Adora for who she truly is. She knows that Adora isn’t the kind of person who abandons her friends in pursuit of power. So yeah this was a cool moment that illustrated Glimmer and Catra’s contrasting perspectives.

Second, I LOVED this line, when Catra makes fun of Glimmer and Adora’s relationship (but it just comes off as jealous lmaoo). The reason I love it is because it’s so true!!! Glimmer and Adora are perfect for each other. What this line proves is that she is absolutely threatened by Glimmer in a romantic context. She recognizes that Glimmer might actually be more compatible for Adora than she is, and that Glimmer is her foil (which I’ll explain more in a minute).

Next is the scene where Glimmer actually threatens to kill Catra in cold blood. If you’re like me and you missed that when you first watched it, yeah, that’s what happened--Catra gives Kyle the order to “take Entrapta out” and then Glimmer slams her against the tree and says “two can play at that game.” She gets this close to blasting her face off but Bow is able to talk her down from it. And the whole time, Catra is just fucking smirking at her, calling her bluff because she knows Glimmer won’t compromise her morals (parallel to catradora in 2x05 anyone??). But yeah this was crazy. Catra just wanted to see how far she could push her and it turns out... pretty damn far. 

One of my favorite lines in the whole season was Glimmer telling Catra “I’m not as naive as you think.” Catra thought she had her outsmarted, forced to deplete her magic, but in the end Catra had underestimated her as an adversary.

The more I think about it, the more I realize Glitra’s rivalry is a hundred times more intense than Catradora’s. Remember in the DnD ep when femme fatale Catra points at Glimmer and calls her her greatest enemy? That was veeery interesting... Their relationship really has a life of it’s own now, like, separate from Adora. They hate everything about what each other stand for. They’re both so strong and hot-headed, with opposite moral compasses--like two rockets on a collision course. But I also love that they have this sort of begrudging respect for one another. Look at what Glimmer says here in 2x03, the ghost episode:

How random, right, that Glimmer would be thinking about some offhand comment from Catra from the previous episode? AND! In context, it just sounded to me like Catra was saying Glimmer was terrible at taking people hostage lol. Glimmer extrapolates and applies her comment to her courage, her capability as a hero. That’s like.... whoa. It shows that Glimmer actually cares about Catra’s opinion of her.

So yeah Glitra’s dynamic is more amazing than i could’ve ever dreamed.. not to mention their weird flirtation and oh no looks like we’re out of time for this section kjdfljsdkaskjd

Adora and Scorpia

Ok seeing these two dorks together in 2x05 was so amazing 😂😂 As cute as it was though it was one of the most heartbreaking parts of the season. I can’t remember a time that Scorpia ever demonstrated such bitterness towards someone.

Not exaggerating when I say that last line brought me to tears like wtf.... 😭

I’ve mentioned this before but Scorpia genuinely loves Catra so much and she just can’t stand seeing her heart breaking over Adora when Scorpia feels like she could treat Catra better. She’d give her the whole world if she could (which is quite literally what she’s trying to achieve!)

Adora, on the other hand, she doesn’t really know who Scorpia is. To her, Scorpia is just someone who is enabling Catra’s descent into darkness, so there is a hostility there already. If I had to name one thing that I’m excited about for upcoming episodes, it would be Adora inevitably growing jealous of Catra and Scorpia’s relationship. We haven’t seen it yet but mark my words we WILL AND ITS GONNA FUCKING DESTROY US okay i could yell about adora and scorpia for hours but let’s just move on and get to my fave part of this meta laksjdfs

Catra vs. Glimmer, and Adora vs. Scorpia

So Catra and Glimmer rivalry’s is obviously really fun, same with Adora and Scorpia. But the real magic comes in when we look at the dynamic of this whole 4-person group. I didn’t take Scortra seriously in season 1 (blasphemy... i know) so it took me until season 2 to catch onto this pattern, but now that I have it makes so much sense and gives the show a new perspective for me. 

Glimmer and Scorpia’s relationship hasn’t really been explored in the show but there is one thing we know they have in common: they both love two girls who are obsessed with someone else. And they both act as foils for our two protagonists. 

Glimmer is Catra’s foil. The similarities between these two are obvious. They’re both passionate and angry and driven and traumatized. But Glimmer’s strong moral code contrasts sharply with Catra’s lack of one (and really that difference is just a result of their disparate upbringings). 

Glimmer is right in front of Adora. And she’s everything that Adora only wishes Catra could be... yet Glimmer will never be able to compete with Catra in the contest for Adora’s affection. Adora is stuck between loving someone that she can’t be with, or being with someone she can’t truly love... at least, not in the same soul-altering way that she loves Catra.

Scorpia is Adora’s foil. Scorpia and Adora are also alike in some ways, but there’s a key difference. The fandom has discussed before how, yeah, Scorpia is part of the Horde, but she doesn’t appear to have any kind of moral stake in the war that’s going on. What Scorpia really cares about, what she’ll fight to the death for is... her friendships. She’s loyal to a fault, and she would do absolutely anything for Catra. Catra is her number one priority. 

GUYS! This is the exact opposite of Adora!! Adora may love Catra, but she will always choose the greater good over her. She won’t betray her convictions for love. That’s just who she is. Thus, Scorpia is everything that Catra wishes Adora would have been for her. Someone who would have stayed by her side no matter what. Someone who wouldn’t have cared whether or not the Horde was evil, as long as she could be with Catra. But again--though I do think Scortra’s budding romance will continue to develop--in the end Scorpia simply cannot compete with Adora for Catra’s affection. She acknowledged it herself. 

I wanna mention one more thing here.. So Scorpia and Glimmer are playing similar roles for their respective love interests. From my point of view (feel free to disagree this is just the way I’m interpreting things) I don’t believe that those relationships are gonna be endgame. To me this show always has been and always will be about Catra and Adora. And while I can’t wait to see them reconcile with each other, Noelle has suddenly got me falling in love with these other characters, too, and I'm so afraid??? ESPECIALLY for Scorpia. While Glimmer at least has Bow and the Princess Alliance, Scorpia has absolutely no one. Catra is Scorpia’s whole world. What will she do when that falls apart? (god please i’m begging, just let scorpia find happiness 😭)

Catra and Scorpia

Honestly I don’t even think I can write this part without having a meltdown but its the last one so im gonna push through alksjdfls. I already talked a bit about how Scorpia is exactly the kind of person that Catra needs at this point in her life, and I think it’s best summed up in this quote from Noelle:

“We see Scorpia expressing this admiration for Catra, expressing desire to get close to Catra... Catra is just not at this point super open to Scorpia’s affection. So I think it’s kind of tragic at this point. And I think for Catra, although she’ll never admit it, what she really wants is love and acceptance. Suddenly she is getting that, no strings attached, from Scorpia, and she is not ready.”

-wiping away tears- okay so yeah, Scorpia is over here offering Catra unconditional love and Catra’s just.... she’s so traumatized and has such deep-seated abandonment issues that she just doesn’t know what to do with it. She doesn’t feel she deserves it. Also, up until 2x05, Catra didn’t respect Scorpia much at all and definitely did not see her in a romantic light. But I have a theory on why that changed. 

For much of her life, I think the Horde taught Catra to associate love with blind loyalty and submission. Now, she is starting to question this belief. She thought Adora loved her, but Adora ended up being disloyal. She thought she could earn Shadow Weaver’s love by submitting to her, but Shadow Weaver continues to prove her wrong. So what is love, exactly? What is an expression of love? Catra’s not sure anymore.

When Scorpia defies Catra’s orders in 2x05--she destroys the First Ones disc, lets Adora escape, fucks up Catra’s plan--Catra is completely thrown. In the animation alone, you can see they’re trying to convey that Catra is seeing Scorpia in a way she never has before.

It’s precisely because Scorpia defied her and chose not to blindly submit to her, that Catra is still alive. It’s the first time that Scorpia went against Catra’s wishes in a big way. And I think this moment shook Catra to her core because it made her question what love is truly about. Like maybe Scorpia understands something that she doesn’t.

We see this again in episode 2x07, where she’s stressed out about Shadow Weaver and yelling at Scorpia to just obey her orders but Scorpia isn’t having it. And in that we see a special trust developing between them. Even when Catra’s being a dick to her, denying that they’re friends, saying things like “get used to not getting what you want in life...” Scorpia stays by her side and refuses to be discouraged. and I think that really is something that’s going to leave a huge impact on Catra. Scorpia is no longer just a tool for Catra to manipulate--she has come to seriously rely on her without realizing it.

Still, Catra doesn’t seem quite capable of understanding what a beautiful friend she has in Scorpia. and I’m afraid (predicting) that she might take it too far one day, and figure out the hard way exactly how much she had to lose. But that tragedy may also turn out to be her saving grace ✨

congrats if u read this whole thing lmao id love to hear your thoughts/criticism on it!! i was gonna discuss catradora too but actually i think that should be a separate meta so..... yeet .

[caramellody]

As someone who hasn’t watched ninjago since like,, the green ninja was revealed .. what the FUCK is going on in the show? Idk abt spoilers bc I’m so bewildered and can’t piece anything together

Yeah, I think of ninjago kinda like rvb in the sense that the moment you drop off of ONE season, the later seasons are so buckwild and a mess to keep up with. I’ll definitely try and give as best of an explanation but I am also prone to rambling myself (there's like 11 whole seasons since I'm assuming you fell off after late season 1 to go though) so i’ll put this in a read more. I’m also assuming you don’t care about spoilers but just for others who might(?) know i’ll be talking spoilers for almost everything, there may be somethings i don't mention because, there's a lot, but just as a precaution i gues dhfijkhfdsj

EDIT: this actually turns out to be VERY long even when opting certain  things out in order to make it shorter

-Season 1 and season 2 (Rise of the Snakes and Legacy of the Green Ninja) are easily the most straight forward episodes of the series. it’s all about training Lloyd in being the green ninja to defeat his father. Lloyd grows up at one point? it’s so buckwild because its in the episode where the OG 4 turn into kids (and yes theres a reason) and Lloyd has to use this tea to turn them back (as well as make a revived monster go extinct) and as a result he ages up like the rest of them. Aside from that and the inclusion of the overlord (an even worse villain who actually possesses Lloyds dad), season 2 is all about prepping Lloyd up for that final battle

And TECHNICALLY, season 2 was where it was gonna end, the franchise was basically discontinued after season 2, but then was brought back up for a 3rd season, which is where things get more character-focused.

-Season 3 (Rebooted) revolves around technological advances (you might even consider it cyberpunk-ish in concept) and the main villain is the overlord who has basically taken over everything in the city. this season introduces P.I.X.A.L whos clearly set up as Zane’s love interest. There’s also this REALLY stupid love triangle between Nya, Jay and Cole that everyone pretty much unanimously hate because its done so forcefully and is really there just so that jay and any could have romantic drama (which. is dumb even for 2014 standards). it ultimately culminates to Zane fuckin DYING (but its okay he's a robot) in what is still such a banger of a theme. the end of the season teases that he comes back. Also Garmadon isn’t a villain and is easily one of the best characters in that season, he acts like the father Lloyd needed for so long, its not overtly important to the plot but it’s a big dynamic shift compared to S1 and S2.

-Season 4 (Tournament of Elements) takes place months (it's not explicit but it's assumed that its a year) after s3 and the gang have all broken up, but Lloyd tries to bring them back together. they all get invited to a tournament that claims they have Zane (that gives me mortal Kombat vibes) with all the other elemental masters (by this point they are able to use their elements without the need of weapons as a proxy like in seasons 1-2). Zane’s revealed to be back and in a new robot body and the main bad is the guy running the tournament. 

-Season 5 (Possession) is all about ghosts! the gang meets Morro, who was a former student of Wu who was training to be the green ninja but never became it because that was lloyds spot. he then ran off on his own to change fate but died and later comes back as a ghost to take over Lloyd. this season also has Cole turn into a ghost and Nya officially joins the team as the water ninja. 

-Season 6 (Skybound) is all about sky pirates, after being released from his lamp, djin Nadakhan tries to find his old crewmates. he also finds out that his homeland was destroyed as a result of the events of season 5 and goes all out to make the ninja criminals for what they (unknowingly did), this is by all means a Jay and Nya season about their own struggles but its also one of those seasons that never happened because jay literally WISHES to retcon all of season 6, so this season never ‘technically’ happened

-Day of the Departed is a special that mostly focuses on bringing back old villains who were killed, but mostly focuses on cole slowly being forgotten.this special is specifically important because Cole becomes corporeal again (and he gains a new ability)

-Season 7 (Hands of Time) is a time travel season, theres things relating to Kai and Nya’s past and their parent’s connection to the main threat in the present (I'm sorry if i don’t sound as enthusiastic compared to other seasons season 7 is imo my least favorite so there’s not a lot i can say about it) it’s also the last season were the original designs are used!

-Season 8 (Sons of Garmadon) is the first season that came out AFTER the Ninjago movie (which for the record takes place in a separate universe, the characterizations are different despite their appearances being similar.) it revolves around a gang (called the sons of garmadon) trying to collect the three oni masks in order to revive lord garmadon again (and they’re successful too)

-Season 9 (Hunted) takes place RIGHT after S8 (specifically a week after). Lloyd and any are forced into hiding while the original 4 ninja and wu (who is a baby, this is a plot point that begins at the end of season 7. they find a baby in s8 and that baby ended up being their original master) are trying to escape the realm they ended up stranded in after the events of s8

-Season 10 (March of the Oni) another that takes place right after season 9, the oni (who are hellbent on destruction) basically invade all of ninjago and the ninja have to stop them. this is a simple 4 episode season that really acts more like a movie than a season.

After S10, the series sorta gets a soft reboot. the previous seasons are still canon, but there's a clear tone shift (and animation shift) in the show overall)

-Season 11 (Secrets of the Forbidden spinjitzu) is broken up into two parts

(The fire Chapter) revolves around the ninja trying to find something to do and ultimately opening up an ancient tomb where an ancient group of snakes lives 

(the Ice chapter) builds off of the fire chapter, zane was sent to a different realm and the gang goes out to save him, but the realm they end up in is controlled by a powerful Ice emperor who is trying to freeze the entire place.

-And finally, Season 12 (Prime Empire) is a tron-styled season where Jay goes inside a video game, the gang goes out to look for him before finding out that the A.I in that game is trying to get out and forcing people to get trapped in the game in order to leave.

Season 13 (Master of the mountain) is the upcoming season, and it seems to be very DnD aesthetic, and all about cole which is gonna be exciting 

And that's all there is to it dbhubjfdsbhjdsj idk if you expected me to go on a FULL ON ESSAY and for that i apologize in advance, but...there's a lot going on in this series and it's such a wild ride

[starshipsandsuperheroes]

1) i accidentally unfollowed you while trying to send this ask, thanks tumblr ui 2) regarding top dnd moments: have you had any moments where you suddenly realize something big about your own character? or like, a moment that sticks out as when you realized that the character had really come into their own and was something more than just you playing the role?

1.) that’s hysterical omg

2.) Yeah I actually do, weirdly enough?  (Also ty for indulging me on this alsdkjfasd ily)  I’ve actually got one who this happens to all the time - she really kinda lives like, independently of my immediate intent, and I feel like I’m constantly surprised by her.

For those that don’t know her, the character I’ve played the second longest is a rogue assassin named Amelia.  Her original name was Amelia Shepard, she started out neutral evil, and the only thing she really cared for was whatever it was gonna take to keep herself alive (yeah i went edgelord rogue it’s fine she’s working on it).  Currently, she goes by Amelia Foster (Foster being our party’s “family” name, which is of import in the world of the campaign), she’s a true neutral character, and while she still prioritizes her own life, she’s been known to take a few more risks for the party.

I remember sitting in Denny’s with my party a few months into playing her and the DM looking at me and saying the words “I don’t think Amelia is capable of love.”  At the time, I agreed with them, and as far as I could think ahead, that was gonna remain true.  She definitely got away from me though, and without me noticing, started taking steps closer and closer to true neutral.

There are two moments that stand out in particular on that path - the Tetanus Orb Incident, and the Karl Marx Incident.  It’s some of the most connected to a character I’ve ever felt while playing D&D, and I’ll detail them below a cut for anyone curious about what those were (to save dashboard space).

(also side note: it’s weird as shit in a very fun way to talk about my own pcs, because i feel like i usually end up doing so in a way where i frequently deflect to the rest of my party, so the last few days have been really interesting in reflecting on like, my own personal experiences dsjfalsdkfjas)

Curious about any of this?  Come ask me about it!

The Tetanus Orb Incident came at the end of a rather weird session.  We were playing in a room we’d never played in before, the majority of the party had been asked to leave the room for like a half hour and go sit out in the freezing cold hallway while the DM and one party member had a talk (in character about things we Couldn’t Know), and then we had come in and to make a very long story short gotten chased by a Rakshasa through a church while ZZ Top’s Sharp Dressed Man played for literally two and a half hours straight in the background.  For the most part, it was a really good time, it was just a lot of weird energy that ended up combining to, I think, set the tone in a very specific way.

We also had these things our boss had given us that, as far as we could tell, were little chalky orbs that could cause rapid onset tetanus.  Amelia was the most bound to our boss, and also deals primarily in poisons, so she ended up carrying them.  Generally the use seemed to be to put them in water and then cause rapid onset tetanus in everyone who drank of it.

There’s a scene that would pretty regularly play out.  Our boss was a terrible person, and hated us all, but for various reasons had it out in particular for Amelia.  We’d get back from a job, get a debrief, and the party would get into an argument with her.  She’d snipe at them, they’d snipe at her, this would go on and she would get more and more agitated, Amelia would say one thing in contribution, she’d set Amelia on fire (long story), the group would get her to let Amelia go, she’d drop it, and we’d go our separate ways until she singled people out to torment individually.  Sometimes she’d set other folks on fire to change things up, but it was a pretty cut and dry encounter we came to expect.  That scene started to play out when we got back from the Rakshasa chase - Elle (our boss) was already agitated from the incident at the church, so it didn’t take her too long to get worked up.

This time, though, she didn’t outright target Amelia.  It was sammygiddings’s Satomi that she turned on.  The room was shaped differently than we would normally have to play, and the physicality of the scene had increased a bit - people were standing, and our DM as Elle was walking between people.  They approached me in character and demanded one of the tetanus orbs.  It was technically hers, so I mimed fake obliging.  And then Elle told Satomi to open her mouth and moved to have her swallow it.

I was in motion literally before I realized what was happening.  By the time I focused again, I was standing too, my hand on my DM’s wrist, knocking it away from sammygiddings’s face.  At first I was embarrassed, because I hadn’t meant to get so into it that I actually, physically grabbed them to stop it, but the scene continued to play out without a word or anyone seeming weirded out.  Elle ripped her hand away, tossed me back the orb, called me names, and all the other fun stuff we were used to from that scenario played out accordingly (hope she’s rotting in hell, even though I know she’s not).

It wasn’t until later that I realized that Amelia had moved, not me, and for the first time ever had put her own neck on the line for someone else.

The Karl Marx Incident was the final domino in the line that started after the Tetanus Orb Incident and ended in... well, character development very few saw coming.  To make another very long story as short as possible, the campaign is an exercise in anti-capitalist theming, which is fucking delightful but also can get very dark, and one of the ways it got very dark was the sudden need to move around five million people out of one of the parts of the 50 million-person city when one of the powerful corporations tried to take over their part of the city via martial law.

Originally, the people in the area wanted to stay there and fight the corporation off, reclaiming the third level of the city as their own.  We went to find them to either see how we could help or talk them into something better.

It probably would have been a good idea to let wizardcowpoke’s Junie do all the talking , in hindsight.  The situation was far more of a setup for her to shine, and she was far more prepared for any sort of charisma skill check (especially at the time) as compared to my Bastard.  I found myself talking before I realized quite what I was doing, though - talking to the people to convince them their ideas of reclaiming the space were bullshit.  

The primary group affected were a union of what the city calls “divers” - the city tends to build on top of itself, and the divers were the ones that maintained the structural ruins that now acted as supports for the current “upper” city.  The group working to take over their level?  The corporation whose primary strength comes its monopoly on the train out to the desert.  Amelia, before I even realized what she was doing, began to rally the assembled group.  They were skilled, she reminded them, and they were survivors.  Fuck UMIC.  You’re stronger as a union than they could ever hope to be.  Go out to the desert, to the mountains.  Commandeer the train, start a new commune, and when you have the strength and resources to do so, build your own fucking railroad.  Take their greatest strength from them, but be patient about it.  You’ll wound them much deeper that way then trying to just kill every base level employee you come across.  With wizardcowpoke’s help, as well as the rest of the party, we managed to convince them to try it the long way.

We ran into other problems from this, including a false hydra later down the line.  But at the time?  The session finished, and the DM took my character sheet for a moment, erased something, wrote something new on it, and passed it back over to me.  My alignment had changed and I hadn’t realized it.

[forestwater87]

A moment to chat about “The Butterfinger Effect” (obv spoilers for S4e17)

Wow, so a lot of people fucking haaaaaated this episode. And since I’m addicted to That Discourse, I had to say something because I think they’re super wrong. (And this isn’t me just being a total Camp Camp fangirl here; like, the pee episode was bad. That was bad tv and bad for all the senses. There have been mediocre and even shitty episodes of this show; this just wasn’t one of them.)

There are a couple different points of criticism aimed at this episode, and while there’s one I’d like to take a deep dive into in particular I might as well take some shots at the others real fast:

The moral was too obvious: god, you guys whine all day and night that you wanna see Max show character growth and whenever he displays it you hate how it’s done. This show has never been one for subtlety. I mean, the climate change ep? This is how the show works; it’s part of its twisted-Saturday-morning-cartoons charm, it’s the most efficient way to get a point across in a short runtime, and it was the set up for the joke at the end of the episode.

It didn’t advance the plot: bitch what plot are you talking about???

Not enough dad//vid: listen I’ve made my thoughts about the fandom’s idea of dad//vid incredibly clear at this point, so let’s just:

The most common argument, though, is that it’s all so very “unrealistic” and “out of character.”

Considering the show’s concept of “realistic” involves squirrel armies (hey, another mediocre episode! See, I can call them when I see them) and a universe-destroying space octopus, I’m not sure how to rebut that without another Bianca del Rio gif. So, the out-of-character accusation. 

Listen, characterization is hard as balls. Everyone fucks it up sometimes, and not every characterization in every episode is gonna work for you. 

But you know who nailed it this time? Eddy Goddamn Rivas, the writer for this episode, that’s who.

In fact, I’d argue that the entire point of the episode is that it’s not Space/Race Kid’s new interest that caused the majority of the changes, or some sort of mystical “butterfly/finger effect,” but Nurf’s attempt to put things back to “normal.” He caused the thing he was trying to prevent -- which happens to dovetail perfectly with the moral of accepting change and not letting it freak you out.

This episode is brilliant, and plays with the canon characterizations of all our campers while staying true to them, and I’m gonna show you how.

Under a cut, because not everyone has time for that shit. But first, a juicy preview of the sexy discourse to come:

Space Kid

This one is the easiest to defend, because Space Kid is just . . . Race Kid. Aside from maybe having an idea that he’s cooler than he used to believe he was -- which makes sense, because why do people buy fancy sports cars except that they think it makes them look cool? -- we’ve seen his tendency to latch onto an interest and go 110%. 

Reasonable, hilarious, and adorable. I actually don’t think anyone has any problem with Race Kid, so this is a quickie. 

As for why he dropped it so fast: I mean, hasn’t everyone gotten really into something before deciding it wasn’t as fun as an old hyperfixation? I’ve been coming back to the Camp Camp well since 2016 because it’s just so much fun.

Nurf

Nurf is the one I think people are sleeping on. All the time, always, but especially in this episode. The summary hints that Max is the one unable to handle the idea of change -- something this entire season has been working towards, and I literally just realized change has been a thematic thread throughout several of the episodes and that’s really cool -- but it’s actually Nurf who can’t stand the thought of things being different.

And, in trying to prevent the “butterfinger effect,” he sets it in motion. The irony is delicious, and his head in a fishbowl makes me laugh every goddamn time.

(Also, “A battle of wits is not my strong suit” was just hysterical. Nurf is full of great lines and y’all need to stop ignoring what a comedic goldmine this kid is.)

Preston

Oh, I’m sorry, are we shocked that Preston would jump at the chance to be admired by people, even if it means doing something he doesn’t particularly enjoy?

Were we all in comas during the episode this very season that was literally only about this exact thing?

As to why he’d pick football: he’s a theater kid addicted to the corniest, most cliche tropes. When he got a taste of power by bullying Nurf -- which was also totally in character, because honestly, Preston is not a very nice kid -- of course he went to the thing that in every 80s teen movie meant “cool bully who’s super popular”: the sports jock.

Add to that getting positive recognition from Campbell -- who we’ll get to -- and this swap is totally in-character, and entirely kicked off by the power rush he got from finally getting to be the one who bullies instead of being bullied. 

Nurf created his own worst nightmare by being afraid of change. This episode is fucking brilliant.

Harrison

To nobody’s surprise, Harrison is a sadist who thinks he’s hot shit.

He’s emotionally traumatized Neil to win an argument, he’s made Max vomit up, just, like, so many things and shown zero remorse, and got an unflappable sense of self-worth that skates right off the edge into total egotism.

These are the things we love about him. (And yes, obviously his arrogance comes from a deep well of insecurity, but that only exacerbates why he’d absolutely refuse to help Nurf, because it gives him a chance to be better than someone.)

As for why he’d choose to model himself after goth!Max . . . 

Honestly, this one doesn’t entirely make sense to me. He’s never shown any particular interest in Max. The only thing I can assume is that . . . well, actually Max was right, and at least in Harrison’s eyes, he is at the top of the social hierarchy. And he got there by giving zero fucks about what anyone thinks of him.

Which is what Harrison did, by refusing to help Nurf. We come full circle!

(WAIT: When Max asks why he’s acting like . . . you know, him, Harrison’s response is, “Why? It’s not making you insecure, is it?” While we could take this as “I’m coming for your shtick,” it could also imply that Max’s general Maxyness makes Harrison feel insecure about who he is. Which explains why, as soon as he’s offered a chance to emulate someone who makes him feel insecure, he chooses Max.)

Ered

Nerris and Ered have established themselves as friends, and she at least has expressed a token interest in playing DnD before. She’s listened to Nerris talk about this stuff enough to repeat it at times -- albeit incorrectly -- and so, when there’s “nothing better to do,” she tries something her friend is super into and finds it really fun and embraces it.

I can attest that DnD totally turns you into a massive, shameless nerd. It’s just that awesome.

Plus, she’s too cool to give a shit if people think she’s being nerdy, so of course she’s not embarrassed about being seen dressed like a Viking; in “Ered Loses Her Cool,” she had that moment of growth where she decided that her coolness comes from her happily choosing to be herself. 

Also, she gets to carry an axe around. So like, extra cool points for that.

Nerris

Nerris is gonna grow up to be a band geek, and she’ll especially enjoy the theatricality of marching around in parades while dressed like a Christmas Nutcracker. It’s like being a real-life bard.

This is the only one that really has a “supernatural” level to its change, except maybe the counselors (yes, I’ve come around on Neil; I’ll defend him at the end). While everyone else can be explained by psychological and in-character reasons, I have no idea what caused her to suddenly have this whole getup. I’d chalk it down to her seeing everyone else trying something new and being interested in upping her LARPing game, except she explicitly says she doesn’t know where it came from.

It’s one of the few that doesn’t make perfect sense, but I don’t really mind it because it’s such a top-tier episode otherwise.

Dolph

This is another one with questionable backing in the rest of the canon. However, I think it works less on a characterization basis than on an archetypical one. 

Hear me out: how many artists actually make it professionally? And how many of them end up falling back on something solid and lucrative and artistically unfulfilling to pay the bills? Some people are of course lucky enough to land their dream job, and others are lucky enough to find something close enough to that dream job to make money while still doing something creative and adjacent to their interests (becoming an art teacher, for example).

But in Hollywood, at least, the idea is that you’re either a professional artist who Makes It, a starving artist who’s sacrificing for their dream, or a total corporate sellout who abandons their soul for the sake of profit. A child, especially one with a father so unsupportive of his artistic interests, would only have the Hollywood idea of success to fall back on, which means if Dolph was tying to think of a way to “grow up” and stop wasting his time on being an artist, of course he’d jump straight into the most famously corrupt, artistically soulless type of job possible.

The problem here, of course, is that I don’t know what triggered it; like Nerris, I don’t really see a clear line from motivation to new hobby. However, it works really well at poking fun of the “artist to sellout” pipeline portrayed in popular media, so I certainly can’t be mad at it.

Also, look at these credit scores:

David’s score is either astoundingly good -- 825 out of 850 -- or astoundingly bad -- 325 out of 850 -- depending on what that first number is. Gwen’s credit is pretty bad, which isn’t surprising considering she’s working at Camp Campbell, but I’m still proud of her for being either the second- or third-highest person at the camp.

None of the campers should have credit, so these numbers are just goofy, but I’m as shocked by Nikki’s “exceptional” credit as I am by Nurf’s “literally not on the chart by 298 numbers” rating. Assuming Dolph made at least the campers’ scores up, and we know he’s pretty good friends with Nikki, I assume he gave her a higher score because he likes her, Max’s is trash because their relationship is rocky at best, and Nurf’s is just petty and spiteful because he bullies Dolph, and I just love it. 

(I assume Mr. Campbell’s credit is in negative numbers, and QM doesn’t exist on any official records.)

Counselors & Campbell

Campbell, I’m going to argue, makes sense.

This? Not so much.

I have no idea what Gwen’s talking about -- “I need her showing. We all agreed to it”???? -- and literally none of this makes sense in any understanding of characterization or anything, but my counterpoint would be:

Look how cute Gwen looks dressed up like David.

“Mumble, grumble, aliens!” and something about Mormons in David’s cheery voice adds 5 years to my life.

David’s floof is now beard.

David is wearing plaid.

QM. Just . . . QM.

Did I mention that Gwen looks so fucking good here? I swoon. So hot. Babe. Step on me, mommy.

Anyway. Campbell. 

He’s not what you’d call . . . nurturing, by any means, so at first this weird dad!swap is totally out of left field. However, he has proven himself to be . . . well, not a great caretaker, but someone who does put in the effort when he has to, and is surprisingly good at dealing with the kiddos when forced.

He’s also proven himself to be remarkably introspective, starting back in Season 3. He does to an extent feel bad about what he’s done, and to varying extents wants to make amends for it. So when he starts talking about legacy, and what a man leaves behind -- 

-- I can’t say I’d be all that surprised if he stumbled upon Preston trying to be “cool” with sports camp and decided (probably with the help of whatever supernatural strangeness came over the other counselors) that he wants to have a better impact on this camp than a bunch of broken-down equipment, a pile of debts, and a “son” who’s disappointed in him. 

Listen, what I’m trying to say is that I will die defending my Trash Grandpa and there’s nothing you can do to stop me. There’s good in him!!!! I CAN SEE IT!!!!!!!!!!

On a less “Campbell is my dad” note, as a rather stereotypical Manly Man(TM), he’d be best served helping some weedy little brat become more traditionally masculine. i’m saying Campbell was great at football in high school and is in part reliving his glory days, okay?

Nikki

Oh, come on. Nikki’s always shown an interest in science, and particularly in the mayhem it causes. When Neil is out of commission, and she sees that everyone else is doing major hobby swaps -- including Ered, who I believe she still sees as her idol -- why wouldn’t she want to join in on the fun in the most destructive way possible?

The show didn’t say she was a good scientist, after all. 

Neil

Remember when I said I couldn’t defend Neil? WELL SURPRISE BITCHES, TURNS OUT I CAN! 

(I didn’t realize it until halfway through writing this post, to be fair.)

But think about it: the boy does not respond well to his mind being freaked. We have observed this.

This is not a good reaction to an unsolvable logical problem.

I’m just saying, there’s not a huge difference between these pictures. Neil doesn’t do well when his brain is overloaded with things he doesn’t understand, and everyone around him turning into different people -- which is how it must look from their perspective, even if I can sit here and explain it in ways that make sense at least to me -- broke the poor boy’s brain.

He’s a very fragile ecosystem, our little Neil. You must protect him from thinking too many thinks and getting overheated.

So . . . yeah. This episode is rad, way more of it makes sense in terms of the characters’ motivations than people are giving it credit for, and the ones that don’t make a ton of sense are at least funny and clever enough to be overlooked, at least in this broad’s humble opinion.

[fistsoflightning]

unending character meme // zaya qestir

RULES: repost, don’t reblog! tag, and good luck!

TAGGED BY: tagged in spirit by @to-the-voiceless

TAGGING: any and all who want to do it but haven’t actually been tagged by anyone!

BASICS.

FULL NAME: Zaya Qestir

NICKNAME: none, really.

AGE: 29 by the end of Stormblood. 30-ish by the end of SHB? Haven’t figured out the time distortion thing.

BIRTHDAY: 17th of the 4th Umbral Moon (8/17)

ETHNIC GROUP: Au’ra; Xaelan

NATIONALITY: Nomad? From the Azim Steppe’s Reunion, if that helps.

LANGUAGE / S: Eorzean Sign Language, Xaelan (crude/unpracticed); understands most languages through use of the Echo

SEXUAL ORIENTATION: Bisexual

ROMANTIC ORIENTATION: Demiromantic

RELATIONSHIP STATUS: dating Thancred Waters??? unsure of status during post-SHB but getting there.

HOME  TOWN /AREA: Reunion, Azim Steppe

CURRENT HOME: A shared room in the Rising Stones or a shared house in the Mist; depends on where they are at the time of night.

PROFESSION: jeweler, weaver, gladiator of the coliseum, bard teacher (appointed reluctantly by Sanson after many a problem with Guydelot’s schedule), adventurer and warrior of light

PHYSICAL.

HAIR: Straight and somewhat below shoulder length. Most of their hair is black, but slowly changes to blue and white at the tips.

EYES: Dark blue; navy color? Light blue limbal rings that glow in the dark, too.

FACE: Sharp jawline accented by their scales, often covered with some royal blue facepaint similar to Arenvald’s own.

LIPS: Often chapped, but otherwise normal.

COMPLEXION: Ashen brown? Hard to describe bc of weird lighting everywhere they go.

BLEMISHES: None

SCARS: There’s a lot, and I might make a scar map at some point??? Major ones happen to be their legs and their left arm; the legs from Ifrit and the arm from Elidibus in Zenos’s body in 4.5

TATTOOS: None, no matter how much people think the facepaint is one.

HEIGHT: Taller than the average Au’ra, about 5’4

WEIGHT: about 135 pounds

BUILD: Muscular, especially due to their main fighting style requiring muscle literally everywhere. Fistfighting for money is no small feat.

FEATURES: Their scales are an odd color (think black and blue borealis dice, but as scales), and their horns definitely look a bit… ragged. Watching them fight will give the odd realization that lightning sparks in cobalt blue come off of them sometimes.

ALLERGIES: Some undetermined fish allergy. Higiri fed them some assorted sushi once and never did again, so the Scions (and themselves) have no clue what fish they need to avoid.

USUAL HAIRSTYLE: Tied into a loose ponytail at the back. Sanson often comments how they share a hairstyle, but it’s simply from need of clear vision when moving around for monk skills and attacks.

USUAL  FACE  LOOK: Stoic as all hell. Not used to making full-on facial expressions outside of conversation, so normally looks bored.

USUAL  CLOTHING: Tabards, cyclas, or generally something with flowy fabric that doesn’t restrain movement all that much. Metal boots and gauntlets/knuckles are also common, but not always.

PSYCHOLOGY.

FEAR / S: being the last one standing, change, losing their younger siblings/younger friends, spiders, breaking a promise with their mother.

ASPIRATION / S:  To have a proper adventure, and to inspire others to live their fullest lives.

POSITIVE  TRAITS: Devoted, comforting, slightly protective, carefree

NEGATIVE TRAITS: Easily angered, impulsive, emotional, stubborn

MBTI: ISFP-T (Adventurer)

ZODIAC: Leo, apparently? Sort of fits, if you look at it closely.

TEMPERAMENT: Some crazy blend between phlegmatic and choleric? Generally carefree and easygoing with friends and willing to spend a lot of patience on them, but unrelenting and downright frightening in serious situations, especially when involving Garlemald.

SOUL  TYPE / S: Server/Caregiver

ANIMALS: Birds and dogs.

VICE HABIT / S: Drinking, although the Echo does prevent it from having any effect whatsoever, so its more of a taste thing? Tends to sleep a lot when stressed, and often spends their leftover money on gemstones for their shared collection.

FAITH: Polytheistic; the Twelve and Nhaama are gods they generally believe in.

GHOSTS?: Yes, mainly because they’ve seen one.

AFTERLIFE?: Yes.

REINCARNATION?: Probably, with how they’re sure they’ve seen someone who was supposed to be dead before

ALIENS?: before becoming Warrior of Light, it would be no, but with the revelation of Elidibus on the moon and Midgardsormr and OMEGA‌‌ (ALIEN‌ ROBOT????) they aren’t so sure anymore.

POLITICAL ALIGNMENT: Does not care enough even though they are staunch friends with Nanamo. Didn’t care enough to try and challenge Oktai for the seat of Qestiri Khatun, certainly doesn’t care enough to take a political stance in Eorzea.

EDUCATION LEVEL: Barely any; just enough to read letters written in Eorzean and faintly Ishgardian (courtesy of Alphinaud and Haurchefant).

FAMILY.

FATHER: there was one, once, but he’d rather he be forgotten in pursuit of a happier future. Zaya remembers him as Baatar, but they don’t remember if that was actually his name.

MOTHERS: Erhi, Odgerel.

SIBLINGS: Oktai (older brother), Taban (older sister), Sarnai (sister), Delger and Tuya (fraternal twins)

EXTENDED FAMILY: any of the Scions (former or current) or their fellow Warriors of Light, if we’re talking found family. House Fortemps, Aymeric, Estinien, Sanson, Guydelot, Sidurgu, Rielle, and all of the Qestiri tribe are up there too, but you know, that’s kind of a lot of gifts to be sending around during Starlight. (zaya totally sends them all gifts anyways.)

NAME MEANING /S: Zaya means fate in Mongolian, which all of the other Xaelan names seem to be based on. Their previous name, Dzoldzaya, meant light of fate.

HISTORICAL CONNECTION?: Recorded history on the Azim Steppe is easily lost, but if asking around the different tribes, one could learn about a rather prominent Qestiri warrior whose image is painted in some of the caverns nearby where much of important, unforgettable Xaelan history is recorded by the Gharl, swathed in blue cloth. In the days of Amaurot, there was one standout Amaurotine who shared a love for lightning and birds…

FAVORITES.

BOOK: They don’t know enough Eorzean to read a full book, not even a children’s book. The Echo doesn’t help with reading. Urianger has read a book of myths and legends that turned out to be true to them, however, and that has been their favorite for a while. They’ve been considering asking him to read more for them, but that’s been placed on hold after the events of the First and following Mt. Gulg.

DEITY: Nhaama, or Rhalgr, if talking to someone who thinks ‘what’s a Nhaama’ when they mention her.

HOLIDAY: Starlight Celebration. Something about the festive mood always makes them happy.

MONTH: August (4th Umbral Moon)

SEASON: Summer

PLACE: On the Source, Reunion in the Azim Steppe just because interacting with other tribes is rather fun. On the First, Il Mheg all the way!

WEATHER: Clear nights where they can trace the constellations, but it isn’t too cold to need a blanket.

SOUND / S: Excited chatter, harp, singing, small hammers clinking against metal.

SCENT /S: Rain, fresh wood, the air in Gridania, light perfume, Syhrwyda’s food.

TASTE /S: Snurbleberry, honey, most Doman seafood, buuz.

FEEL /S: Soft and smooth fabrics, cold metal, the grip of someone’s hand around theirs, wind blowing through their hair on a warm day.

ANIMAL /S: Yol, chocobo (birds!).

NUMBER: 17, for their nameday and the first year they spent in Eorzea

COLORS: Cobalt blue and indigo, pale gold, soot black.

EXTRA.

TALENTS: Extremely good when working with cloth or metal; even more so when tinkering little trinkets. Interestingly enough, very good at playing flute and harp without much practice. Expert at pulling a person’s true emotions out with simply body language.

BAD AT: Sneaking around/stealth. Do not, under any circumstance, give them a job involving secrecy or stealth unless you want it to fail. Speaking/reading is also pretty horrible, due to how they were raised. Also bad at taking change or lies well.

TURN-ONS: Loyalty, bravery despite all odds, kindness and love even when it would be easier to be otherwise, being able to understand other beliefs, and a love of freedom or new experiences

TURN OFFS: Lying to their face knowingly, extreme greed, lack of self-worth, anger for no good reason

HOBBIES: making music with Guydelot and Sanson, attempting to keep a journal, idle tinkering, dancing, gardening

TROPES: Good is Not Soft, Hope Bringer, Magnetic Hero, Omniglot, The Power of Friendship, The Quiet One, Silent Snarker, Dark is Not Evil, Five Stages of Grief, Horrifying Hero, Magic Music, Warrior Poet, Dance Battler, Warrior Monk, Determinator, Pintsized Powerhouse, Pragmatic Hero (don’t let me stay on TV‌tropes pls)

QUOTES: have a snippet of some writing?

Scrawled onto a piece of paper underneath his arm in Thancred’s handwriting and marked with Zaya’s name reads, “Your words, no matter how I react, do not change how I love you all.”

MUN QUESTIONS.

Q1: If you could write your character your way in their own movie,  what would it be called,  what style would it be filmed in, and what would it be about?          

A1: Honestly, I think there would be two movies that could include Zaya; some comedy musical revolving around Zaya’s bard lifestyle while placing their active lifestyle in the background (called “A Bard Knock Life” bc i think puns are cool) or an action drama framed around Zaya and the Scions living some sort of high fantasy/DND type adventure bc I love that stuff called “The Unbroken Thread”. (THAT‌ QUEST‌ NAME STILL GETS‌ ME)

Q2: What would their soundtrack/score sound like?          

A2: Something featuring a flute, probably. I got attached to Zaya playing the flute being a former flute player myself. (I only wish the oboe performance sound bank clicked with me a little more…)

Q3: Why did you start writing this character?          

A3: Originally, Zaya wasn’t meant to exist. I was literally planning on just creating A’dewah, Syhrwyda, and maybe Lumelle and Elwin in different roles. Then the Au’ra came out; I‌ used my free Fantasia from the sub rewards just to be an Au’ra (I was a miqo’te before; shh, i was still babu who liked cats) and suddenly Zaya started being formed as Menphina Jewel. Before I knew it, that Menphina Jewel grew a whole backstory and a new name and new friends (Azim Steppe arc of Stormblood MSQ? Final nail in the coffin.) that slowly took over the previous two Warriors as the focus of my attention. I wasn’t even supposed to keep playing FFXIV‌ past HW, dude. I had like a million other things to be doing at the time, but here I am, lying in my grave 3 years later still attached.

Q4: What first attracted you to this character?          

A4: They’re (mostly) mute. I really wanted to explore what it’s like to not be able to talk and only converse in body language, but then I discovered that might be a problem, so my interest in sign language collided with Zaya’s backstory. It also helps me work out a personality without them sounding/looking too much like what I think is Basic Story ProtagTM like I tend to do on accident (see A’dewah and Valdis’s dialogue sometimes.)

Q5: Describe the biggest thing you dislike about your muse.

A5: They can’t really speak. Funny how the thing I like most is also the thing I hate most. It’s very frustrating when I want them to convey something and then they can’t without using actual words and a voice because I haven’t got a clue on how to convey that through body language. How in the world do you convey ‘I feel like I’m doing arcanist calculations when you speak’ in nonverbal language??? I have no damn idea and every attempt looks like I meant something else.

Q6: What do you have in common with your muse?          

A6: The snark, man. I have friends constantly commenting on how I’ve made a burn without me realizing I’ve done so, and it’s hilarious. The love for music also carried over big time, especially after discovering how fun the bard NPCs were to write and how they’d fit into Zaya’s relationship web. (they’re totally the more comedic side, but I love Guydelot and Sanson anyways.)

Q7: How does your muse feel about you?          

A7: No clue, dude. Maybe thinks I’m boring? I don’t tend to want to drastically change things or look for new adventures; the biggest leap I’ve taken in two years is probably changing to a reed instrument from flute, and even then I don’t have to change key when‌ I read music, so it’s not that big a deal.

Q8: What characters does your muse have interesting interactions with?        

A8: Urianger and Lyse, maybe? I like the exploration of repairing relationships after something that might have ended another, weaker bond. It’s also kinda fun trying to see how Zaya would react; they’re a lot more rash than I am in real life, and that’s honestly saying something. Alisaie and Alphinaud, however, are the most fun just because I know what I’m doing when I write them, and it’s funny to see how Zaya reacts (or has a lack of reaction) to their dynamic. Guydelot and Sanson fall into another category of ‘dear god I simultaneously love and hate these two’, while Thancred, Y’shtola, Urianger, Syhrwyda, Duscha, and Ryne fall into some sort of strong found family vibes that just get me everytime I think about it

Q9: What gives you inspiration to write your muse?        

A9:…Doing job quests or side story quests or even MSQ I haven’t caught up on yet. Watch as I slowly rewrite as many MSQ‌ and job quest scenes as I can in any of my Warrior of Light’s viewpoints. (currently chiseling away at some backstory/before they were Warriors stories after reading too deep into the race/subrace text and lore keep an eye out LOL-)

Q10: How long did this take you to complete?          

A10: A day or two; don’t remember when I began. It was probably when I was procrastinating on homework, though. I didn’t post it until a week later whoops.

[themoonandotherslikeit]

Roll for Initiative

**Art by @thescreechowl**

After a little convincing, Charlie starts up a new tradition in the Men of Letters Bunker. Thursday night Dungeons and Dragons. After playing for an hour, the boys come across a foe that is a little more challenging. Can friendship and sass get them through the carefully made story that Charlie has created, or will they spend ten sessions arguing about if Castiel’s character dumb, or actually pretty creative?

Square Filled: The Bunker

Pairing: DeanxCastiel (ish)

Created for: @spndeanbingo

Rating: T

Tags/Warnings: Nerd Alert! Language, some mild in game violence, fluff, some humor if you think I’m funny. 

Word Count: 3,357

Authors Note:  ALRIGHT Y’ALL! Here it is! This is inspired by a question I got from my good friend, who asked me if Dean ever played DND. I couldn’t stop thinking about it... so this is what I came up with. The most exciting part is that the lovely @thescreechowl did some art for this piece! EEK! Y’all look how stunning this is! Be patient with me, because I’ve never written a straight comedy before. Hope you enjoy :) 

Read on AO3

—————

The sun was low in the sky as the Winchester brothers climb up the hill. Castiel follows behind, keeping up on Deans heels. Injured in a previous battle, Dean holds tightly to his quarterstaff, leaning on it a little more than he should. Sam takes out his map of the area. They hope that once they were over the large hill that they would be able to see their surroundings more clearly. Instead, when they reached the top of the hill they stood face to face with a large, hulking Great Orc. It stared down at the party with large bottom teeth, dripping with thick saliva. “That’s so fucking gross.” Dean cackled, as he took a swig of his beer. “Let me finish.” Charlie hissed, shooting an expression to her friend that sat next to her at the kitchen table in the bunker. “Like I was saying...” The Orc pulled his ax above his head with a scream that was almost unholy. It rages through your bones, like nails on a chalkboard. “What do you do?” She asked eagerly, her palms flat on the table.

“I’m gonna hit it with my staff.” Dean said. “Make an attack roll.” Dean fluttered his eyelashes, adjusted the hood of his black cloak, and dramatically shook his twenty sided dice before letting it go on the table. The group held its breath, to see if Dean could take out the Orc’s kneecap so they could escape. “Aw fuck.” He said, letting his upper body flop on the table in defeat. “Nat one.” 

“You try to bring up your quarterstaff, not considering the fact that you still have an injured leg, and you literally collapse at the Great Orc’s feet. If he were in a laughing mood he would laugh at you, but he isn’t, because he’s an Orc.” Charlie shrugged. “Why is it that I can kill monsters so easily in real life, but in game this fucking piece of plastic can determine my skills?” He picked up the dice, eyeing it with annoyance. “You shouldn’t have put all of your stats in Charisma, Dean.” Sam said, as if it were obvious. Dean turned and glared at his brother. “I was hoping to pick up some hot elf chicks. You’ve gotta have charisma to pick up chicks, Sammy. Not that you’d know.” “I do not understand this game.” Cas huffed. “Okay, nerds. What are you going to do? Focus.” Charlie said, leaning into the table. She was eager to move on with the encounter. “What do I know about Orc’s?” Sam asked, cheerfully. “Do a history check.” Sam rolled the dice gently onto the table before sighing. “Five.” “You know plenty about regular Orc’s but this is a Great Orc, Sam. It’s fucking great. You don’t know squat.” Charlie’s eyes flickered to Castiel. She smiled widely. “What about you, Cas?” Castiel met Charlie’s eyes seriously. “I would like to smite it with my angelic grace.” The group turned their attention to Cas. “Uh, that’s nice, Cas, but your character is a cat so you don’t exactly have that ability.” Cas frowned, looking down, his cat ears slipping a bit at the angle of his head. “I would like to see the rules again.” He complained. “Why did you make your character a cat, Cas? It doesn’t even have any magical abilities.” Sam asked with genuine curiosity.

Cas sat up a little straighter, prepared to argue his case. “Felines have many useful abilities, Sam.” “They just make me sneeze.” Dean complained. “That is useful ability number one! If your enemy is sneezing they are incapacitated and there for, unable to see for a moment. It is the perfect time to strike.” Charlie raised an eyebrow. Cas cleared his throat. “I would like to induce an allergy attack.” “Uh... roll for attack.” Castiel gave the guys a deadpan expression as he shook his dice in his fist before letting it go. “You’ve got to be fucking kidding me!” Dean groaned. “That would be a natural twenty.” Cas said flippantly. “Christ.” “Cas rubs up against his leg and he falls into a sneezing fit. His body racked with sneezes.” She eyed Dean. “And since you’re so close to him when he pulls his head back for a huge sneeze, a elastic, wet, green droplet of snot drips down and lands right between your eyes.”

“God this thing is so fucking gross!” Dean complained.

“What are you doing now?” Charlie asked.

“We should run.” Sam nodded. “Easy for you to say! My leg is busted up.” Dean complained, wiping the fake snot off his face. “I can run very fast as a cat.” Castiel said with a grin. “Perhaps you picked the wrong race.” “I think we hurt his feelings.” Sam said, eyeing Cas. “Make a decision, boys!” Charlie urged them on, trying to keep the pace. “Fine, let’s run.” Dean grumbled.

“Make a dex roll, Dean.” Charlie’s eyes narrowed at him.

Dean whispered profanities under his breath and tossed his dice. It rolled and bounced and fell to the ground. Dean leaped out of his chair and got on his hands and knees to view the number. By some grace of God he rolled a nineteen. “Fuck yes! Finally!”

“You manage to hobble away.” Charlie put her hands together.

“Alright, I say we head to the city to see if we can get Dean some medical attention.” Sam turned to his brother and adds, “so try not to die before we get there.”

“Just use a spell to heal me, Sammy. Come on, you have the spell slots.”

“Yeah, no way in Hell, man.” Sam said, dismissively. “I’m not wasting my spell slots to heal you. Being in a group with you means we will definitely be in a fight again soon. We are going to need those spell slots.”

“We’re definitely going to need those spell slots.” Dean mumbled in annoyance.

“Let’s go.” Sam said turning to Charlie. “Okay, we will head to the city.”

Charlie nodded and flipped through a few papers behind her block. She eyed the three men in front of her with a quirked eyebrow. She pushed a red curl out of her eye and smirked. Dean had a feeling this wasn’t going to end well.

“Dungeons and dragons? You’ve got to be kidding me?” Dean turned to Charlie, with his arms crossed.

“I’m not.” Charlie said, offended. “It’s fun, Dean. You seriously never played as a kid?”

“I didn’t exactly have a normal childhood.” He laughed. “Who would I have played with? Sammy?”

She shrugged. “I’m not going to say I had a million friends growing up either. Nerds always find a way.”

“Fine, I’ll bite. What’s the deal with the dungeons game? Just a bunch of geeks sitting around, not having sex, yeah?”

Charlie snorted and rolled her eyes. “Come on, Dean, you’re not that simple. Open up your big gorilla brain, and I think you’ll like what you hear. Imagine this… you’re in a magical land. Lush, green, beautiful. You’re a hero, or a villain, depending on your schtick. You and a group of companions are on a quest, fighting monsters along the way. No one gets hurt, not really, and everything is based on luck and skill. It’s a chess board that you can manipulate. In a world that I create for you. There are swords, and magic. Elves, wizards, dragons…”

Dean raised an eyebrow. He could almost picture it. He’d done nerdy things with Charlie before, they frequently went to Renaissance festivals together, and if he was honest this didn’t seem that different. “So, what, I’m a wizard Charlie?”

Charlie shrugged and tossed a book to Dean. “Or something cooler.” She raised an eyebrow. “But I always appreciate a good Harry Potter reference.”

“You’ve made your way to the city after half a day of walking. Dean you’re really fucking tired, and your leg is aching, at best. The city is a port town, by the shore. All the typical buildings are involved. There’s a blacksmith, a tavern, a few places of worship.”

“Anywhere to get some healing?”

Charlie shrugged and Dean groaned in response. “I guess I’ll go to the tavern and see what I can drum up.”

“I’d also like to go to the tavern to procure a place to sleep tonight.” Sam nodded.

The three looked to Cas, who had been surprisingly quiet since the Orc attack. “I would like to find a home to take me in, since my companions don’t appreciate me.”

“Cas, come on.” Dean groaned. “Just come to the tavern with us.”

“No.”

“What? You want some catnip or something? Don’t be so difficult.”

“I’m not going, Dean.”

“I want to make him come.” He said to Charlie. “He’s a cat, surely I can convince him.”

Charlie shrugged. “Roll an animal handling.”

Dean nodded, feeling like his luck was getting better. He took his dice in his hands and rolled them in his fingers. His eyes never left Castiel’s. They were challenging the angel.

He let the dice go. It rolled onto the table, but Dean’s eyes never left Cas’. “I own you, cat.”

“No, you don’t.” Sam snorted. “You rolled a three.”

“Yeah, you can’t seriously think that you can bag a cat, Dean. It’s not that easy.” Charlie said with a laugh. “Cas, obviously it doesn’t work.”

“I purr.” Cas grinned at Dean and gave him a wink.

“Christ.” Dean rubbed his face. “Can we call a truce?”

“A truce?” Cas raised an eyebrow. “Pray tell, why should I do that?”

“Because we are supposed to be a team, man. Me, you, and Sammy.”

Cas tapped his chin and looked at Sam. “I have no problem with Sam.”

“Of course you don’t.”

The angel shrugged. “Maybe I just expect less from him.”

“Rude!” Sam groaned. “I’d like to attempt to pet Cas, to show him that I care.”

“Cas? Are you going to let him pet you?” Charlie asked, eyeing the angel.

Cas narrowed his eyes, like he was really thinking it through. “I will allow it.”

“I’m going to scratch under your chin.”

“I will allow you to carry me, if you wish.”

“Sure, man. I’ll carry you. Want to go to the tavern?”

“If I can get fish there, I will allow you to take me there.”

“The fuck?” Dean complained.

“Sam has a way with felines that you don’t, Dean.” Castiel said flippantly.

“Of fucking course he does.”

“Are you jealous?” Charlie asked, her eyes flickering to Dean.

“Jealous of Sammy? Please. I want to go to the tavern to pick up elf chicks.” He crossed his arms.

Charlie nodded. “After looking around for a bit you locate a tavern.”

“I want a beer.”

“Two silver pieces.” Charlie spouts, in a ridiculous old world accent.

Dean sorts in response and nods. “Yeah, okay. I want to scope for Elf chicks.”

“Roll an investigation.”

“That’s a fifteen.” Dean said proudly, when his dice landed on the table.

“There are a pair of female elves in the corner of the bar.”

“Hell yeah, I’m approaching.”

“Great, pause on that.” Charlie said, turning her attention back to Sam and Castiel. “Alright boys, what’s going on in your neck of the woods?”

“I would like to locate sustenance.” Castiel said simply.

“I want to research local lore, to see if there’s anything with this town.”

“Sam you’re supposed to be playing a character, not just yourself.” Dean complained.

“Yeah, coming from you. You’re in a bar trying to pick up chicks. Where’s the role play there?”

“You make a valid point.” Dean said quietly.

“Sam, can you take me to the tavern for the fish you promised?” Castiel questioned.

“Sure, buddy.” Sam turned to Charlie. “We go into the tavern. I’ll put Cas down so he can check the place out.”

“I’d like to go to the bar to try to purr, and meow until I get food.”

“I’ll allow it.” Charlie shrugged.

“I jump up on the bar and meow at the bartender.”

“Roll a persuasion.”

“That’s an eighteen.”

“Without asking what you need, he hands you a fish that he’d been cooking for another table.” Charlie said with a grin.

“I will eat it.”

“Dean back to you.”

“I want to flirt with the elves.”

Charlie laughed. “Yeah, okay. There are two female elves in the corner. What exactly are you doing to flirt?”

“I want to tell a story about the orc fight, where I was a real badass.”

Charlie narrowed her eyes. “So you want to lie to these poor girls to get them into bed?”

“Basically.”

“Roll performance, with disadvantage.”

“Disadvantage?” Dean complained.

“For being a pig.”

“Fair enough.” Dean rolled his dice twice, and took the lower of the two rolls, which just so happened to be a twenty-two with modifiers.

“You lucky bastard.” Charlie sighed. “The women love your story. They comment on how strong you are and how brave. They’re basically swooning.” She looked almost ill as she described it.

“Excellent.” Dean grinned and cleared his throat. “Ladies, may I escort you both to my room?”

“Oh, roll two persuasions. One for each girl.”

Dean rolled his eyes and rolled. He managed another twenty and a nineteen. “Ladies, let’s go upstairs. I’ll take real good care of you.” He wiggled his eyebrows.

“You are going to let him get away with this, Charlie?”

“It does seem a little unfeminist.” Sam agreed.

“I’m at the mercy of his rolls.” She said, defeated.

“I would like to go to Dean and the females.” Cas said, suddenly.

“Go ahead, Cas. Do your thing.”

“I am going to go up to Deans room and scratch on the door.”

Charlie rolls a dice behind her block. “One of the girls is afraid of the scratching and asks Dean to check it out.”

Dean groaned. “Fine. I’ll check on the door. I open it.”

“I walk right in.”

“Seriously?”

“I’m going to jump on the bed and hiss and swipe at the girls.”

Charlie rolled twice. “They’re screaming.”

“I want to really growl and scare them.” Cas said insistently.

“Ladies! Relax! I’ll get him out of here!” Dean said eagerly, with his hands up in defense.

“Dean is this your pet?” Charlie said in a valley girl voice, twisting her fingers in her curls.

“No, he is most certainly not my pet.”

“Oh my god! So you just let a stray feral cat in here?!” Charlie exclaimed.

“No… that isn’t what I said!”

“I am hissing and actively approaching the girls.” Castiel said with a mischievous grin.

“Roll intimidation!” Charlie said.

Castiel dramatically rolled the dice and let it hit the table. Nat twenty. Sam cheered, rising to his feet. “Fuck yes! Cas what is your luck, dude?”

“The two girls run screaming out of the room.” Charlie said with a grin.

Dean clenched his fists on the table and turned to the angel. “What the fuck, dude?”

“I want to curl up on Deans pillow and go to sleep.”

“The fuck you are.” Dean growled in annoyance. “I’m throwing both pillows on the floor. Now focus on my face. What. The. Flying. Fuck. Was. That. About?!”

Castiel shrugs and takes a drink from his beer, avoiding Dean’s eyes.

“No, no, no. We aren’t doing that shit. You’re really so mad that I insulted your character that you’re going to cock block me?”

“I am saving those women.” Cas said dramatically, with his hand on his chest.

“Saving them from what?”

“Disappointment?” Sam snarked, swallowing a laugh.

“I’m not talking to you.” Dean snapped with annoyance. He turned back to the angel. “Seriously.”

Castiel rolled his eyes and pinched the bridge of his nose. “Dean, we are on a quest! We have enemies to fight, and you’re worried about bedding women! Your priorities are not right.” Castiel mirrored Dean by crossing his own arms.

“You didn’t seem too concerned with the quest when you were snuggling up to Sam!” Dean stood up, and poked Castiel’s chest.

The angel rose to his feet almost immediately. “Not like you would ever hold me, Dean!”

“You’re a cat, Cas! I’m allergic!”

“You’re not allergic in game!”

The two were standing an inch from each other now. Breathing heavily. Their chests rose and fell. Charlie and Sam sat in intense suspense, watching the two. Charlie gripped her block in front of her, almost hiding, while Sam sat with his mouth hanging loose. Neither Cas or Dean noticed, though, they were in a world of their own. In Deans bedroom, in a Tavern, in a world that Charlie made up.

“Sorry that I want to be authentic!” Dean groaned, putting up his hood from his cape.

“Stop hiding from me, you coward!” Cas said, pushing the hood back down. He grabbed Deans face roughly in his hands, causing Deans green eyes to widen in surprise. Cas wasn’t rough with him. He was known to the the gentle one in the bunker.

“I’m not hiding, Cas.”

“Of course you are.” Castiel’s voice was low as his eyes landed on Dean’s lips, then flickered up to his eyes. “You always have been.”

Dean opened his mouth to argue with the accusation, but he couldn’t bring the words to his lips. He couldn’t say anything real with Cas that close. “God, get rid of these fucking things.” Dean grabbed the fabric cat ears off Castiel’s head and tossed them away. “You idiot.” Dean exhaled, putting a hand on each of Cas’ arms. “You fucking dumbass.”

“Yeah just keep insulting me.” Cas challenged. “It’s safer that way, right?”

“Why don’t you want me hooking up?”

“I don’t like you taking women home after hunts.”

“Why?”

“Because.” Cas hissed. “I want you to be with me after hunts.”

Dean frowned, looking confused. “But I am with you after hunts.”

“Not… not like that.”

It was like a light went off in Deans mind. Of course. It was all so clear, but Cas couldn’t possibly mean what it sounded like. Right? He didn’t want him to have sex with women because he… Christ.

“I don’t understand… So you…” Dean began, but before he could finish Castiel crashed into him. His lips pressed to Deans urgently, perhaps just to get him to shut the fuck up.

If that was his intention, boy did it work.

Dean melted against him, pulling Castiel close to him, chest to chest. Cas’ thumbs ran across Deans cheekbone, and he could feel Dean smile against his lips. He pulled away a bit and pressed his forehead to Deans. “Do you understand now?”

Dean was flushed, his cheeks pink. “I don’t know. Think you can explain it again?” A grin grew on his lips, exposing a perfect row of teeth. It was a challenge, one Cas was perfectly willing to meet.

“Fucking finally!” Sam cheered, his fist pumping in the air.

“I uh… think this is a great place to end the session.” Charlie said from behind her block, peeking at the two boys. She felt she was intruding, but she couldn’t hide her huge grin. “Sam, we should… uh… discuss some lore, somewhere else.”

“What?” Sam glanced at Charlie, and then at the two men that were still wrapped in an embrace. “Right, uh, lore… books. Sure. We will be back later.”

Cas and Dean stared at each other. “So if this is always going to happen during this game, I think we may have to let Charlie move in, because I’m going to have to play every day.” Dean said softly.

“Does that mean you’ll hold me, Dean?” Cas asked with a smirk. “Even if I’m a cat?”

“Buddy, I’ll hold you no matter what you are.”

Dean kissed him then. He kissed him like they’d do it a thousand times again, like he was made to kiss Castiel. Perhaps it was under the disguise of the game that cracked Dean open like an egg, or perhaps it was Cas’ jealousy for fictional characters, but it was the start of something. It was the start of everything.

[zippdementia]

Part 67 Alignment May Vary: Welcome to Hell

The players awaken and everything is messed up.

You all wake up to the sound of a repetitive blaring horn. Each of you is in a tube whose purpose is not immediately clear. Behind you is soft padding and in front of you is a see through cover made of some kind of hard glass. The world beyond this cover is darkness punctuated by frequent bursts of light that seem to come in time with the blaring horns. The light illuminates a large room.

It takes a moment for them to remember where they are. Once they do, they realize a very long time has passed and the spaceship is in trouble, about to crash land on a mysterious red planet and currently being bombarded by asteroids in an asteroid belt a computer tells them is “The River Styx.” Bob and Fiona are broken and rusted, and there’s no time to figure out what went wrong here. The players flee to the ship’s escape pods, only to have the hull of the ship breached and Aldric almost sucked out when he fails his saving throw. He makes it, but Blackrazor is ripped from his back and spins into space, lost.

All of you are tossed back and forth against the walls of the escape pod as it tumbles and twists and turns, spinning incessantly until you think your body will be crushed from the force of it. You can hear a roar and outside of the pod’s single window you can see heat and flame building up around the outside of your small circular craft. Then there is a mighty, sickening jolt and you are thrown one more time against the wall as everything finally goes still. The door to the pod slides open and a mechanical voice brokenly states “Thank you and have a safe journey” before an explosion of static cuts it short.

You emerge from the broken pod and clamber out onto red rock. The pod has come to rest on a high shelf overlooking a vast red landscape, a maze of dry canyons and valleys that stretches to the horizon. And on that horizon is a massive city scape, so large you cannot see where it ends. It literally encompasses the entire line of the horizon from left to right and though it is very far away, you can already see it is constructed of massive towering structures, like no city you’ve ever come across in your life or heard tell of before. A wind blasts across the landscape, stirring up red dust clouds and pulling at the fabric of your clothes.

At this point in the campaign, we are off book and running my own material. I’ve always wanted to do a planar adventure in Dungeons and Dragons. The possibilities such a campaign offers are exciting, though I have not found many official (or even unofficial) adventures set in the planes. And the ones I have always feel a little... I don’t know... standard. Like they just took the same kind of adventure you’d see in a normal campaign and themed it with different creatures.

For my planar campaign (which I am working on releasing on DMs Guild), I wanted something far more outside the box. Just as the characters are having the boundaries of their worlds stretched, I think the players need to have the boundaries of what they think of as a DND game stretched, too.

So the first thing I’ve changed is that these planes are literally planets, not planes. That lets me throw in a touch of sci fi for a nice spelljammer element. And the first of those planets to be explored is Planet Hell.

Encounter: The Hell’s Angels

The first big encounter here is against four biker devils, a Bone Devil (named Bones), a Bearded Devil (named Beards), a Barbed Devil (named... Cisco, which was supposed to be funny, but now I wish I’d just kept it Barbs, so let’s call him Barbs), and an Imp (Larry). These guys are straight out of Easy Rider, leather jackets and all, and they ride hovering jet bikes. The set up here is that they will attack the players and this will result in a jet bike chase through a maze like canyon full of dangers and driving challenges. While all this is going on, a meteor storm that hits Hell every day is about to start and the players will literally have to outrace the storm to make it to the safety of the world city of the Nine Circles (which is protected by a magic/science shield. Helping them in this endeavor is Alyss, a young blonde punk rocker looking chick who rides in on her own jetbike and warns the players that the biker gang is coming to investigate their crash site.

This encounter ends up being so much fun in so many ways.

First of all, the players don’t want to meet the biker’s head on. So Imoaza decides to use disguise self to look like a devil herself and pretend like she’s captured Carrick, who will then launch a surprise attack. She rolls a high success on her disguise and ends up looking like a classic red satan devil you’d get at a costume store, goatee and all. She also speaks Fiendish, as it happens, so she is able to really complete the disguise. It works and she doesn’t discard the disguise for the whole encounter. This ends up being absolutely ridiculous. Read on.

Beards tries to insult Carrick by peeing on him with a devil’s penis that looks like a living lobster and pisses acid and this is when Carrick launches his surprise attack, the other players joining him shortly.

Early on in the fight, Barbs and Bones escape, Bones dragging Imoaza’s red devil face along the ground until she is too dazed to fight him. He then blasts into the canyon, closely pursued by Alyss on her own personalized jet bike with Aldric riding shotgun and wielding a grenade launcher Alyss tosses him. Imoaza steals Larry’s tiny bike and rides after them, but for the life of her, she cannot roll well enough to figure out how to use the bike well. And while all this is going on, a meteor storm has begun to crash down around them. So what you end up getting is this ridiculous red satan devil (who is really Imoaza) cruising backwards on a hoverbike, screaming in terror as she races into the canyon just barely outrunning a meteor storm.

We honestly think this is the end of Imoaza. I’ve set up challenges the players must face to navigate the canyon and hers ends up being a leap over a wide chasm. With the way she’s been rolling... but then, against all odds, she rolls a critical success on this jump, and it looks a little like this...

The silence surrounding the chasm is broken suddenly by a shrill cry, like a plea for help, and rocketing into view comes a tiny hoverbike, clinged to by a tall red devil with a jet black goatee hanging beneath a mouth open in a wide scream. The Devil is ridiculously large a top the miniscule bike and Every part of his body that can grip something is gripping the bike: knees, buttucks, hands clenched on the seat of the motorcycle, his tall shape crouched low and terrified... and backwards... over the bike as it speeds its way without stopping towards the chasm. This is the end for the devil for sure. Except just before the bike takes its fatal dive, it hits a rock and is tilted upwards and suddenly the screaming devil man is flying, not falling, as the bike soars like an angel across the huge chasm, spinning around in the process, knocking the devil free from his perch, whereupon in his mad scrabbling he gets himself turned the right way around, grabs the handlebars and successfully lands on solid safe ground.

Then there’s Larry. Oh my god, Larry. I initially threw him in just so there would be an easily accessible bike for the players to use during the jet bike chase. But the minute I start voicing him and he keeps hilariously failing to injure Carrick while the Paladin (have I ever mentioned Carrick is a Paladin before?) fights Beards, using his fiery whip to smack away Beard’s attacks, Larry becomes a crowd favorite. Carrick especially loves him, finding the imp’s futile attempts to harm him more cute than anything else, to the degree that once Carrick defeats Beards, Larry takes a liking to him, calling him “Chuck” and determining they are going to be a new gang. He grabs Beard’s bike, tells Chuck to get on, and he rides him away from the Meteor Swarm, saying how cool it is that they’ve met and how they are going to be friends forever.

Well, by the time this happens, Aldric’s launching of grenades in the canyon has caused landslides and certain passages have been blocked off by piles of rock. Larry gets to one of these just in time to see Aldric and Alyss soaring over it in a marvelous display of driving skill and defying gravity, intent on continuing their chase of Bones and Barbs.

Larry looks at the rock wall and takes a deep breath. “Do you believe, Chuck?” He says in his small, hopeful, tremulous voice. Carrick slaps him on the shoulder. “I believe in you, buddy.” Larry then guns the bike, heading for the rock wall, about to perform the same stunt as Alyss. His eyes closed, his legs flailing out behind him (he’s too small for even his own bike), he drives a top speed for the wall.

And rolls a critical failure.

Carrick sees what is about to happen and does what any true friend would. He bails off the back of the bike, misty stepping off to witness Larry drive into the cliff wall, the bike upending itself to smash him into pulp against the rocks before exploding in a ball of fire.

And that’s the end of Larry, short lived favorite familiar.

The rest of the chase has too many crazy moments to list: Aldric finally catches up with Bones, jumping off his bike and impaling the devil, then stealing his leather jacket. Aldric and Alyss outrun a horrible cave monster a little bit like a gaping dragon from Dark Souls. Imoaza has to outrun the meteor storm on the way to the shielded city, and almost doesn’t make it. And Carrick finds Blackrazor in the desert.

This last moment is a defining one. Carrick initially is hesitant to retrieve the blade, knowing it is evil. But he also knows it may not be his call to make: this is Aldric’s burden to bear. The player is so torn, he literally has to toss a coin to figure out the answer. It tells him what to do... he picks up the sword, and Blackrazor is less than grateful, berating him for having let Aldric drop him in the first place. He does finally thank him and tells him that Carrick will play a nice role in his final plans, then makes a joke about eating the souls of children. This last one is too much for Carrick. Not sure whether Blackrazor is being crass or honest leads Carrick to realize he cannot trust the sword’s actual intentions. And in a moment of decision, he drops the sword back in the desert and rides away (he traded his exploded jet bike for a summoned horse... which here in Hell turns out to be a Nightmare). Blackrazor screams profanities at him as he goes, promising that one day he’ll cut off his head and drink his insides.

Eventually the party synch back up on the edge of the city, which this close up they see is actually just a ruined sprawl of ghettos. This is in fact an illusion, created by Alyss to protect them, but they won’t find that out for a while. For now, they wander the dead city with Alyss, who tells them to abandon the bikes except her own, which she hits a button on to cause it to shrink down to pocket size, and which she drops in her back pack. She explains a little about their situation while they walk.

Hell, it turns out, used to be involved in an eternal war with the Demons of the Abyss, in a conflict dubbed the Blood War that mostly took place in the River Styx, the asteroid field right outside of Hell. Some centuries ago, Asmodeus traveled to the Abyss himself at the head of a huge army to finally bring the fight back to the Demons. His plan was successful and he used a magic so powerful that the Abyss was sealed away into between reality, unable to manifest and interact with the real world. But Asmodeus himself did not survive the magic and Hell was left for the first time in its history without a leader.

With the war against the demons over, the devils turned on themselves, waging a war that began as a physical conflict but slowly became more political. Out of this war emerged the Nine Cities, a sprawling conglomerate of nine separate cities, all ruled by different Arch Devils. Hell also became a tense democracy, with the leader of Hell voted into office to serve a fifty year term. The current president is Mammon, devil of greed and pride, who rules from his vast casino-ridden city of Messmiter, the Golden City.

While different presidents have pushed different agendas and together have turned Hell into a technological leader in the universe, one thing they all agree on: Hell’s borders should remain closed, its warships destroyed and grounded. No one comes into Hell except in death. No one leaves Hell. Ever.

Alyss tells them that there are crystals here on Hell which call souls to them when those souls pass around the universe. It’s uncertain why a soul may be called by a crystal to end up reborn on Hell, but it is known that Devils used to be able to make this happen as a contract. Now with Devils forced to stay in Hell forever, the influx of new souls has slowed, leading to a lot of anger and unrest. Devils desire souls, they need them to grow in power. Without them, they feel starved and restless.

Also restless are the few unfortunates who end up being called to Hell. Not only are their souls almost always drained for a devil’s personal gain, but Hell used to operate on one basic principal: Hope. There was hope that with enough penance, one could leave for a better place. This actually used to be true. But no longer, not with the borders closed. So Alyss has joined a group known as the Hell’s Rebels, led by who she says is an incredible leader of men, a visionary. Their goal is to escape Hell.

This gives many reasons as to why the player’s presence is so disruptive and yet so important. One, they’ve broken the closed border rule, albeit unintentionally. Two, somewhere on Hell their working spaceship has landed, which could be the rebel’s ticket out of here. And three, they have fresh, living, souls. That makes them a target. And because Barbs escaped them in the canyon, she is sure word has reached Hell that they are here.

And with this set up, we enter my next planned scenario in Hell, hideout.

Rooftop Showdown

I want this part of the adventure to feel a little like Blade Runner, or Dark City. I am aiming for mystery and a touch of uncertainty and I want to create a daring escape.

So the set up becomes that Alyss brings them to a decrepit hotel room and leaves them, telling them she’ll be back in a few hours but under NO CIRCUMSTANCES are they to leave or open the door. They aren’t even to speak if someone calls to them. Alyss has her own way of getting back in. Don’t speak to anyone, she warns them again, before leaving. The players settle down for a much needed long rest, but when they finish it, Alyss hasn’t returned.

Three days pass. The players stay alive by Carrick casting “Create Food and Drink” and summoning a bunch of random Fiendish foods. They eat them all (except for a summoned plate of fried Bearded Devil Penis, which they leave in a corner of the room, where it begins to acquire a greasy acrid odor). Imoaza passes the time by reading various tomes she’s collected over the course of their adventures, especially the journals of her people taken from the Yuan Ti temple. Aldric digs through Alyss’ left behind backpack, eventually finding the shrunken motorcycle and blithely pocketing it for later study. He also finds an energy capsule which they use to recharge Carrick’s rifle. And he detoxes, not from drugs but from Blackrazor’s influence, slowly wresting his mind free from the blade’s evil influence, which he can still feel reaching for him and calling to him. Carrick finds a cellphone (of course, they don’t know this is what it is) and is able to pull out of his distant other-life memories that this is a communication device. He leaves it alone.

On the fourth day, a knock comes at the door. The players ignore it, and then Alyss’ voice calls to them, saying she lost the key and is being chased and needs to get inside. The group is nervous and anxious, not sure whether this is really her or not. As they hesitate, she becomes more desperate, saying that she will die if they don’t help her. They stay silent. Some time later, her voice returns, only this time she says she’s been caught and will be executed if they do not open the door immediately. She tells them that she will work something out with the Devils to keep them all safe, but they need to open the door now. Again, the players do nothing, and Alyss sobs and cries before there is a horrible crunching sound and her voice goes silent. Completely unnerved, Carrick uses a detection spell to try to sense anything outside the door. He senses a presence so large and evil that it almost makes him sick and he whispers to the others that he hopes they did the right thing by doing nothing.

It is not long after that the cellphone rings, jarring them all. Carrick picks it up and a male voice tells them he’s coming to get them, they have to trust him, that Alyss’ illusion is wearing off (it was never meant to last this long), that something has happened to her, and that they need to go. They decide to trust this voice and it (naming itself as “Jacobs”) instructs them to climb out of the window of the hotel and up to the roof.

Here is where things get crazy. Opening the window shatters Alyss’ illusion and for the first time, the players get a true look at the city they are in. It is not decrepit at all, but rather a bustling metropolis filled with flying vehicles, loud noises, and bright lights. It is night time right now but the city is brighter than day with all of its neon and LEDs. The players climb out of the window and Imoaza casts fly so that they can avoid a difficult climb. Just in the nick of time, too: behind them, the door to the apartment shatters and a Pit Fiend forces its bulk inside the room. But the players are already gone.

I think the sign that this section was a success was the players later asking whether that was really Alyss on the other side of the door. It wasn’t. In fact, it was the devils trying to break through her illusion and find them, but the fact that the question was left in their minds is exactly what I was trying to achieve, that uncomfortable feeling of “maybe we did the wrong thing.”

They end up having to wait on a rooftop while Jacobs makes his way to them. While they wait, they are accosted by a group of 12 Spined Devils and an Erinyes. Imoaza and Carrick face off against the devil’s in ranged combat from the roof, while Aldric flies up to meet the Erinyes, who taunts his bravery as base male bravado while ripping into him with her whip, spear, and arrows. The battle is intense, with spines falling all over the roof while Carrick and Imoaza use their eldritch blasts to fire back at the Spined Devils. Maybe the most intense moment comes when the Erinyes restrains Aldric with her whip and then throws him down into the river of traffic below them.

Damn that Larry, thought Harry as he steered his shiny new hovercraft down Risen Street, taking time to shake his fist at an old van as it puttered along in the lane he wanted to be in. If Larry would just start acting like an adult and less like a child then Harry’s life would be a lot simpler. Larry was supposed to have been back in town after the weekend to watch Harry’s kids (inexplicably, the little Implings loved their uncle Larry) but instead he was nowhere to be found. Harry wasn’t concerned, he knew Larry was most likely off with his gangster buddies and thinking of himself as much cooler than he in fact was. How many times did Harry have to tell his brother to get a real job before it was too late and no company would have him? How many times had Harry had to bail out Larry from some misadventure or another? Despite his anger, Harry couldn’t stop his lips from curling into a small smile as he thought of those misadventures. That was Larry’s one gift: no matter how much frustration Harry felt at him, his damnable brother was just so happy-go-lucky he couldn’t stay mad for long. As the frustration left him, Harry felt a sudden tinge of worry. Where was his brother? It wasn’t like him to just disappear without a trace. To be halfway around the world asking for help, yes, and inconveniencing his dutiful and responsible older brother, sure, but just disappearing was odd.

Harry didn’t have much time to consider the thought. There was a sudden jolt as a man fell from the sky and smashed against his windshield with the force of a dropped boulder. The shiny new hovercraft that Harry had spent nine years saving up for (it could fit all three of his kids and his wife besides) spun madly out of control, being ping ponged around by the other speeding traffic. Harry meanwhile, was flailing against the sudden release of the air bags, unable to see anything past their white bulk. He desperately tried to steer the car into safety, but only succeeded in pointing its nose directly at that old van that he had shook a fist at earlier. The two cars collided and Harry’s shiny new car was chucked aside into a building, Imp and vehicle alike exploding against its side in a fireball not unlike the one that had claimed his brother Larry only a few days earlier.

Eventually this battle comes to a halt. It is on a timer, with me rolling a die each round with an increasingly easy to hit goal number. When I roll that number, Jacobs arrives. There is one last mad dash as the players try to figure out what side of the roof Jacobs has pulled up to, failing all of their perception rolls, and leaping off of three different sides (all of them wrong). This results in Carrick being knocked unconscious and almost killed by traffic, Imoaza having to dodge madly through cars to save him, and Aldric (who got a haste spell from Carrick during the fight) whipping around in traffic like a car himself, madly looking for them.

They eventually all are pulled inside Jacobs’ vehicle and he flies them off to meet the leader of the Hell’s Rebels. Their hideout is a moving target, a giant airship that looks like a cross between a mighty galleon and a blimp, with a huge air bag suspended over the main deck and keeping the whole ship aloft, and giant jet engine pipes coming off the back of the ship to propel it forward.

They are taken on board the massive vessel and brought to see the commander. He stands in a long throne room, decked in an impressive robe and commander’s outfit. He turns as they arrive and eyes them all with a scrutinizing eye.

“Jacobs!” he shouts at last in a quick voice a little bit like a speeding racecar. “If I have tried to teach you one thing while being on board my ship, it is... well, it is my name. And you’ve actually done a great job of learning that. But if there was a second thing, it would be manners! And by all the devils in the nine hells, we do not leave people to bleed on our carpet. It’s not civilized! Did you even offer them something to drink? Get them a bath and a bed and whatever else they desire. Maybe a bowl of my famous cereal. That would perk them right up! Greetings, this is my ship the Jolly Roger Mark II and I’m Captain Krisp, Captain Roger Krisp, at your service. No, I won’t shake. I don’t know where you’ve been.”

And we stop there, with all of us laughing at the return of a favorite character. It’s a huge moment, actually, one I’ve been wanting to get to for a long time. Captain Krisp was one of those NPCs who became so quickly memorable that I’ve long wanted to bring him back into the campaign in a role that felt worthy of him. Being the captain of Hell’s Rebels is perfect. It also keeps alive the feeling of world-spanning that I’ve so valued in this long long long campaign. The fact that an entirely new group of adventurers is dealing with characters and plots left over from other groups of adventurers just makes the whole story feel epic. And of course, the players are the glue tying it all together.

By the way, for anyone ever wondering what Captain Krisp sounds like or how he thinks, I have taken massive inspiration from Varrick from Legend of Kora. Which is a wonderful show for many reasons, but maybe most memorably for Varrick.

Next time, we’ll get deeper into Hell and more crazy scenarios for the players to work through.

[vividlywriting]

Dbh and DND you say....( ͡° ͜ʖ ͡°). Alright, let's try this on for size: the main cast of Detroit: Become Human plays DND? Who plays what class? I imagine Millenial on a Mission Hank DMs but I'd be open to any of them writing a campaign and forcing the others to play

So my partner and I are pretty into DnD, and as he partook in my play through of DBH and listens to all my fanning out I asked his opinion on this prompt.  So I will put his additions or contradictions in here as well.  This is gonna be a bit long

Let’s start this off right!

DnDBH

Hank Anderson, millennial.

Has played DnD at least once in his life.  

It probably wasn’t his forte at the time, likely something his roommate pulled him into, and the campaign was probably a bust as it was.  

Has most likely played video games like Divinity Original Sin 2 and Baldur’s Gate and liked them.  

He’s also played WoW and Guild Wars 2 at different times and for different reasons in his life

neither of which lasted super long, but he did enjoy them at the time

He honest to god hasn’t thought about DnD or anything even similar to it for a couple of decades until Connor found an old set of dice in the spare room (now Connor’s room) at Hank’s place

Now Hank is running a campaign and he has no gods damned idea how he got roped into this

He thinks it’s hilarious when he throws moral quandaries at his players, which all happen to be androids

He once had his players break into a government building to locate a prisoner for information, they were forced to choose between freeing the prisoner and escaping or leaving them behind.  

All of their information on the prisoner was shaky at best and they had no way of knowing if the character would turn on them later because they all failed their sense motive checks

He was dumbfounded when they managed to befriend the character, completely ruining the arc that had the character as the big bad

Hank is well over the “I roll to seduce” aspect of the game, and is thankful none of his players tried to do that more than once

The only time an NPC flirts with a player character is when Hank is trying to throw a player off/fuck with them and derives a lot of pleasure from seeing his players stumble and try to get out of it

Except for the time when it backfired on him

He finished two glasses of whiskey after that

Hank will not admit that he enjoys DMing, he often complains it’s a pain in his ass and he can’t wait until the whole thing is over

Hank agreed to test Markus’s homebrew oneshot…once

Hank Anderson, millennial, by Zeke

No bad guy at first but increasingly intricate moral quandaries

Before moral quandaries he forgets he can’t just throw puzzles at the players cause fuckin androids

General DMing

Almost everyone has DMed at one time or another based on their interest

Connor as a DM

Connor’s DMing style is very straight forward

He usually goes with premade campaigns, luckily there are a lot out there

He’s not the best at improv when his players go off the beaten path

But he’s very good at playing NPCs

Probably thanks to his programming as a detective, because he can play the NPCs’ emotions to a T

As a DM he is a little bit of a hardass though

Connor as a Player

Connor style of character play is much different than how he is in real life

He seems to enjoy the fact that he doesn’t have to “complete his mission” 

In fact he seems to enjoy causing as much chaos as he can, while still somehow doing what he needs to, and often by accident (or design, no one really knows)

He started with a classic rogue character build

Now he takes characters not often in the rogue class and building them in ways that end to his chaotic play style

Connor is the main reason Hank has had to set off random events or traps, e.g. rocks fall sort of situation, just for annoying him

Connor takes incredible care to keep his characters alive, somehow in spite of the trouble they get into

His character’s tend to have a much higher charisma stat that Connor portrays in real life, he takes it as a challenge for himself more so than his characters

Connor as a Player by Zeke

Likes to play Dex based characters

Likes the concept of spells and often leans towards characters that can do both sneaky stuff and magic

Tried playing evil alignment character once, went balls to the walls and then got banned from playing characters like that because even North was like “wtf”

Markus as a DM

Markus usually starts with a premade campaign

By the time the party gets through the first “dungeon” he’s tossed the script out off the window and is rolling dice and making it up as he goes along

His NPCs often sound a little the same

And when he digs into the homebrew style of DMing he likes to bring in scenarios that either play for or against his players personally

Markus as a Player

Markus avoids leadership character roles like the fucking plague

He actually leans towards the utility characters, buffing and healing the rest of the party

That does not stop the other players from looking to him to be the deciding factor in major decisions of the game

Sometimes he literally just rolls a dice to determine his character’s answer out of frustration

When anyone but Hank DMs he enjoys flirting with most NPCs to try and mess with the DM

He has flirted with enemies before

He has bedded enemies before

It is ridiculous how his lowkey background character playstyle manages to have that much charisma

He is usually the reason Connor doesn’t die in game, and he never lets him live it down

Markus as a Player by Zeke

Every once in a while Markus likes just playing a barbarian and raging

After the first campaign of him ending up as a leader character he just wants to play something simpler

Simon as a DM

Simon is a very thorough DM

He’s very keen on everyone enjoying themselves

But he’s also a very fair DM and if you roll a Nat 1 you’re gonna have to deal with the consequences

He actually really enjoys building homebrews, but he also has a handful of backup plans depending how the players move forward and how much time they have to play

His NPCs have a decent amount of variety, and they often come back into play later whether or not the players realize it at the time

Simon as a Player

Simon is probably the most diplomatic character player you’ve ever seen

His characters are usually quiet, and startlingly efficient

He plays arcane casters usually, and uses it about as equally against enemies as he does against the party to quell the in party bickering that tends to happen

He likes being useful, but more importantly he enjoys the fact that there are many times the party would have been screwed over if he hadn’t stepped up

It took about three sessions before the other players stopped underestimating him and his characters, they tend to be quite lethal 

Simon’s characters usually try to solve things without violence, or without deaths

Someone, either player or DM usually makes that impossible 

While Simon usually just sighs and says “ok then”, he often laughs at the resulting destruction

He has incredible luck with his dice rolls

Simon as a Player by Zeke

Tries making things with high charisma scores but usually ends up defaulting to Markus’s leadership who just tries to put back to simon

Really good in the cleric/healing character classes

North as a Player

Prefers playing, not DMing, the one time she tried to take over for someone to run a oneshot everyone died. 

It did not go well

Most of North’s characters fall somewhere between chaotic neutral to chaotic evil

The others have fallen in the Lawful side of the chart, lawful evil to be exact, and it is terrifying

Her characters change alignment the most as she plays based on how she feels towards other characters and NPCs

Despite that she has yet to fall into the Good column of the chart

Her characters are also either highly destructive or just plain really good at violence/fighting

She doesn’t have a preferred class type, she just likes doing as much damage as possible

North does like playing races that are often less liked in the campaign world

She also likes to retaliate to in game racism and has before collected a small gathering of NPCs she’s helped in someway because of this

As a character player she can be quite cold

She has yet to play a game where the DM included any sort of brothel, unless it is there for the sole purpose of being infiltrated and the workers being saved

Yes that was a game Markus ran

North as a Player by Zeke

Fighter, Ranger, Swashbuckler/Pirate Characters

Josh as a Player

He is just happy being a player

LOOT

This boy will find the loot and you may or may not know about it

He has killed the least number of people than anyone in his party

He prefers to not kill anyone if he can

Leave them out cold, or tied up, he’s even fine with dismemberment so long as they still have their life

When he does have to kill its in either one of two ways

Either he poisons them and they or most characters have no idea he did it

OR he makes it quick and clean

He plays the assassin class very very well, or he would if he actually did his job as an assassin

Josh as a Player by Zeke

Uses the loot for a good cause

Chaotic good or neutral good

Always good and opposite of north, by accident

Monk or brawler and always specifies he is doing non lethal damage

Stealthy monk - josh becomes one punch man

Kara as a Player

Kara is a healer

She’s learned the best builds to give you the best buffs all day long

Her characters are often pretty fragile though so the other players usually have to strategize around her to make sure she lives so she can make sure they deal the most and take the least damage

Her characters have all ended up rescuing someone or something at some point 

This has lead to her almost always having a companion animal or favors she can call in from NPCs later in the game 

It’s been pretty handy

Kara Player by Zeke

Witch, Druid, Shaman classes

Alice as a player NPC by Both of Us

Was allowed to join to play as an NPC, reprising similar roles, because the first one went over so well

She learned to make stuffed animals just to slam them on the board

They are always too big

It was a dragon

It only happened because she found Hank’s old copy of The Hobbit

When she plays as her NPC she jumped up on her chair and holds up a stuffed animal of a dragon and screamed “I am fire! I am death!” slammed the toy onto the board and yelled “ROLL FOR INITIATIVE!”

Hank’s response was to look at his confused players and say “Well, go on, do it.” because they didn’t think it was serious

Almost no one has it in them to actually kill her characters, even tho they only exist to be fought

So Hank has to come up with “an out” for the NPC baddie to get away

Because of this Alice gets really into high fantasy books and movies

Hank doesn’t mind babysitting her as much now

Luther as a Player by Both of Us

He only plays occasionally

Mostly oneshots not full campaigns

Plays the smallest characters he can

He knows what it’s like to be big, he wants to be smol

He made one min/maxed orc that was too broken to be used more than the one time

He’s a really soft spoken player, he doesn’t say much but he enjoys playing

The Jerry Gaming Collective

Is a thing

Find them on twitch

[consilium-games]

A Rambling and Brain-Fried Post on Hermeneutics

It's a godless and blighted hour (11AM) as I write this, and scheduling heartache has left me swirly-eyed and sleep-deprived. Lately I've absorbed a pretty specific combination of media that's led me to think dazedly about hermeneutics, basically "systems of interpretation of a work of media" such as stories. And in light of my past couple games, and a game whose premise I haven't finished chewing on, I think getting some thoughts down (and maybe even some discussion?!) might help someone. I don't know, maybe me?

Inciting Events

By now anyone reading this has heard of Undertale. Spoilers happen here. The creator of Undertale recently released a . . . possibly-related videogame called Deltarune. I say possibly related with good reason, and I don't intend to directly spoil the game as it just came out, but it gave me interesting questions about narrative interpretation--hermeneutics--more generally. I also will probably talk a bit about Doki Doki Literature Club! which you might not have encountered or played. Some high-level spoilers will occur. This post will contain zero 'fan theories', as that has nothing to do with my game-design beat--rather, academic theories on "how do people approach interpreting stories" has a lot to do with my pretentious narrativist game-design ethos!

Also of note, I've watched a playthrough of a videogame called Witch's House, and without spoiling that, it struck me that one of the puzzles will behave drastically differently, depending on whether the player reads one of the ubiquitous hints. Meaning, not only do the hints constitute a mechanic, but discerning how to trust hints becomes a game objective. And further, since "reading a hint" is an in-game action, but recalling a hint is not, the game may behave unpredictably to the player who reads a hint, doesn't save, dies, and reloads--and doesn't read the hint again.

Lastly, I've revisited some analyses of Don't Hug Me I'm Scared, and it put me in mind of discussions about This House Has People In It and The Cry of Mann, and in particular: discussions about those discussions, arguments about how presenting interpretations can color people's formed interpretations. And last warning, I'm still pretty brain-fried, I'll blame that if I end up rambling incoherently.

Setting Out

There's a lot of literature about literature, and literature about literature about literature. Perhaps some day people will spill ink about ink than anything else. Fortunately, we haven't yet entered a boundless singularity of self-referentiality. So I can afford to stake out a couple terms I expect I'll mutter:

hermeneutic: a specific approach, strategy, or philosophy to understanding a work. This can be totally informal ("Christian songs are easy to write, just take a pop song and replace 'baby' with 'Jesus'") or very rigorous ("Derrida's analysis of identity puts it to blame for religious and nationalist fanaticism"), but just treat it as technical shorthand for "approach to understanding a thing".

auteur theory: mostly used in film analysis, in our backyard it means "the author of a work arbitrates its meaning". So, eg Stephen King can definitively and canonically say "Leland Gaunt is an extradimensional alien, not Satan, the Adversary and the Prince of Darkness, from orthodox Christianity". And if King says this, that makes it true and the audience should understand Needful Things in light of this fact King told us with his mouth but not with his story.

Death of the Author: by contrast, 'Death of the Author' means that once a work has an audience (the creator published it, or put it on Steam, or hit Send on Twitter, or just played a song on their porch), the audience has liberty to interpret it however they please, and the creator's word about What It Means has no more weight than the audience. Which would mean that if King tells us Leland Gaunt is an alien, and Needful Things is closer to Lovecraft than King James, that's cool--it's a neat theory, Steve, but I think it's about . . . (Note: I don't know if King has made this claim, but Needful Things does have a few weird neat textual indications that Gaunt is some kind of Cthulhu and not the Lightbringer.)

code-switching: technically from linguistics, borrowed into social sciences, in this post it means a creator of a work putting something into the work that implicitly or explicitly prompts the audience to consciously alter or monitor their interpretation. As a very simple example, suppose someone says with a straight face and deadpan delivery, "I'm a law-abiding citizen who supports truth, justice, and The American Way." Now, suppose they make air-quotes around 'law-abiding'--it rather changes the meaning, by prompting the audience to reinterpret the literal wording.

Okay, I . . . think that'll do. So hi, I'm consilium, and as a goth game designer it should come as no surprise that I like my authors with some degree of living-impairment. Interpreting a text has an element of creativity to it that the creator simply can't contribute on the audience's behalf. More than that though, there just seems something off about the idea that, say, a reader of Needful Things might read about Sheriff Alan Pangborn, and interpret the specific way he defeats Leland Gaunt as allegorical of how cultivating creativity, community, and empathy can help prevent the dehumanization of consumerism and capitalism--only for King to say "no, Alan was just a parallel-universe avatar of the Gunslinger and thus could defeat Gaunt, who was just an extradimensional eldritch predator". If King were to say such a thing after audiences have gotten to know and love Alan on the terms presented in the text, and King were to come back with "maybe that's what I said but that's not what I meant"--my response would have to be a cordial "interesting theory, but it doesn't seem supported by the text".

So, I generally like Death of the Author! But . . . but. I've taken to gnawing on this idea in this game-design blog because--of course--It's More Complicated Than That. Roleplaying games as a medium work about as differently from other media as, say, sculpture and songwriting. And despite essentially just putting bells and whistles and protocol on top of possibly the oldest human artistic medium--storytelling--RPGs have a lot of weirdness they introduce for analysis and critique.

For example, my reservations on Death of the Author! Specifically: taking "in-character, in-game events and narration" as the work of interest, and "the other players at the table" as the audience, what happens when you describe your character Doing Something Cool--based on a mistake? We need a teeny bit of "creator as arbitrator of meaning", so we can at least say, literally, "oh, no, that's not what I meant"! Otherwise, the other players' "freedom of interpretation" leads to your character doing something nonsensical and now they have to have their characters respond--they have a worse work to create within.

This gets at something pretty foundational in treating RPG stories as art: almost any other medium has a creator create a work as a finished thing, and only then does an audience ever interpret it. Whether plural creators collaborate or not, whether the work exists as apocryphal oral tradition and mutates through telling, whether some audience members take it up as their own with flourishes (such as with a joke), there still exists this two-stage process of "author creates" and then "audience interprets". Except in stories within roleplaying games as generally practiced.

In RPGs, the creators almost always constitute the entire audience (I'll ignore things like "RPG podcasts" and novelizations of someone's DnD campaign here, as they make up a vanishingly tiny minority). The audience of the work not only creates it though--they experience the work almost entirely before you could ever call the work 'completed'. Even if we falsely grant that every game concludes on purpose rather than just kinda petering out because people get bored, leave college, have other things to do, or whatever else killed your last game, players experience the story in installments that don't exist until the end of the session. So "interpretation" gets . . . weird.

Basic Hermeneutics

On a surface level, the story of an RPG usually doesn't demand a lot of depth and analysis: some protagonists, inciting incident, various conflicts, faffing about as the PCs fail to get the hint, some amusing or tense or infuriating whiffs and failures along the way, and charitably, some kind of resolution to the main conflict and dramatic and character arcs. Usually metaphors tend to be explained straight up ("my character's ability to 'blur' things reflects her own weak personal boundaries and over-empathization"), and motifs often even moreso ("guys, seriously, what happens every single time your characters see spiders?"). A lot of this comes from necessity of that very immediate, improvised, as-we-go nature of the medium! You have to make sure your audience gets what you intend them to get--because in mere seconds they'll create some more story that depends on the bit of story you just created. And back and forth.

But, quite without realizing it or meaning to, we can't really help but inject other chunks of meaning into stories we help create. Maybe even chunks of meaning that contradict others' contributions at the table. Spoiler alert: I do not have a theory or framework to address this. The Queen Smiles kind of digs into this, but this goes beyond my current depth. So, what can we conjecture or say, what scaffolding could we build, to build a more robust "literary theory of game stories"? I have some basics as I see them:

Auteur theory (creator arbitrates meaning)

This can only apply to one player's contributions, not across plural players.

Necessary, for both basic clarification and because perfectly conveying the ~*~intended meaning~*~ frankly just doesn't work as a thing you can do off the top of your head when your turn comes to say what your character does.

GMs (where applicable) shouldn't use this to defend poor description or ill-considered presentation of "cool things for PCs to care about and cool things to do about it"--just because the GM intended the cop to be sympathetic doesn't make him so, and if he's not sympathetic . . . the protagonists will not treat him so.

Dead authors (freedom of interpretation)

Players can try this out on their own characters, and should, but should ask other players about their characters if something seems odd, confusing, intriguing, or otherwise. "You keep making a point of meticulously describing your character's weird nervous tic. The exact same way every time. How come? What's it mean?"

Players of course can answer engagement like this any way they please, including stabbing themselves with the quill: "you figure it out, if your character were to ask mine, mine would supply her answer which I may or may not know".

GMs (where applicable) should really lean on this: improvise, throw ideas and themes at the wall, and frantically build on top of the audience's ideas, since those ideas clearly resonate with the audience.

Code-switching (deliberately modifying interpretation)

We all do this all the time: the dragon is not telling you to roll for your attack, after all. The GM is, by switching between narrating the world, and communicating with a player.

More subtly we do this when switching between "what our character believes" and "what we players reasonably expect". Your costumed superhero might think of herself as righteous vengeance incarnate, but you hope everyone at the table knows you think she's conceited and delusional at best, and a full-bore psychopath at worst. This hopefully doesn't mean you play your psychopath superhero any less sincerely, but it does require a bit of ironic detachment, you know something about her that she can't know about herself (beyond that she's a fictional character, of course).

Even more subtly, sometimes weird game interactions (of the rules, other PCs, other players) imply things we wish they wouldn't, but can't quite control, and often everyone knows this. "Why can't you muster up your courage one more time?!" "Because I ran out of Fate points," your character doesn't say. Instead, your fellow authors share a look over the table, and gingerly tiptoe around an obvious, character-appropriate thing, and seize on some other thing to say or do, hopefully just as obvious and character-appropriate. But, everyone switched codes, from "characters doing things for reasons" to "the rules inform our story, and we follow them because they help".

Prepaid analysis (game-specific themes or arcs)

A lot of games have some baked-in themes right off the shelf, and provide good starting points and directions of inqury for interpreting a story born out of playing them. Monsterhearts deals with teenage cruelty and queer sexuality. Succession deals with faith, one's place in the world, and how these relate to morality. Bliss Stage tumultuous coming-of-age and taking care of one another, or failing to. If you use eg Lovesick to tell a story that you can't approach or interpret in light of "dangerous, unstable, desperate romantics"--you probably picked the wrong game. You should pick a better game.

Besides these themes, many games also have more abstract ideas--arcs or processes--that they really enshrine. Exalted gives Solars (mythical heroes patterned after ancient folklore) a mechanic called "Limit Break" which mechanically funnels a Solar toward destroying themselves with their own virtue. Likewise, even if you somehow excise Monsterhearts' focus on teenage cruelty and sexuality, you really shouldn't play if you want to avoid social stigma as a theme, because most of the mechanics hinge on it.

We players often deliberately bring in some themes and ideas we'd like to play with, too. "I want to play a character whose determination will be her own undoing--and probably everyone else's." Or even just "I really like themes where physical strength is tragically and stupefyingly unhelpful". Those make for great starting points and prompt good questions to interpret stories!

I know someone with more literary theory and less sleep deprivation could add a few basic givens, but I think this at least goes to show we have ground to stand on and territory to explore. And probably more importantly, it points out some useful kinds of questions we can ask about the story of a game and how to interpret it. So, why did I ever bring up Undertale back there?

Audience Awareness

The following works have something in common: House of Leaves, Funny Games, This House Has People In It, The Cry of Mann, The Shape on the Ground, Undertale, and Deltarune. Besides "being very good", they all explicitly pose the audience as an entity within the story--but, they do it in a very unusual way.

See, the story of a Mario game is about Mario even if the player controls Mario--and though it's a subtle distinction, this also applies to eg Doom, where you play as an explicitly nameless faceless protagonist, intended to be your avatar. Even in the most plot-free abstract game, if we can salvage out a story (if perhaps an extremely degenerate and rudimentary one like 'how this game of chess played out'), the 'story' happily accommodates the audience within it.

That's not how the list I gave does things. Not at all.

Instead, the works I listed single out the audience as something else: in House of Leaves, unreliable narrators call out the unreliable interpreter reading the narrative. In Funny Games, the audience doesn't participate--but the audience watches, and the film knows this, and singles the audience out as complicit in the horrible events that unfold. This House Has People In It casts us as the prying NSA subcontractor watching hours of security footage and reading dozens of e-mails, and makes it clear that even our Panopticon of surveillance doesn't give us a complete account of reality. The Cry of Mann casts us as gibbering voices from an eldritch plane of cosmic horror. The Shape on the Ground poses as a disinterested and clinical psychological test, but it clearly has some ideas about what would lead us to take such a 'test'.

And then there's Undertale and Deltarune. Last warning, I'll say whatever I find convenient about Undertale and probably '''spoil''' something about Deltarune in the process. I do not care.

Hostility to the Audience

If Undertale itself had a personality, one could fairly describe it as "wary of the player": it plays jokes and tricks, but it knows the player is a player, of Undertale, which Undertale also knows is a videogame. It gives you ample chance to have a fun, funny, and sometimes disturbing game, with a lot of tempting and tantalizing unspoken-s hiding juuuust offscreen. But Undertale's point as a work involves giving you the chance to not do that while still, technically, engaging with the game.

Namely, the Genocide Run. By killing literally absolutely every single thing in the game that the game can possibly let you kill, the game very purposely unfolds entirely differently--and on multiple playthroughs, the game will outright take notice of multiple playthroughs, and challenge you for--in effect--torturing the narrative it can deliver by forcing it to deliver every narrative. Let's think about that for a moment:

Most videogames have some kind of excuse of a narrative, and lately, many have really good, nuanced stories to tell--and many of those even go to the (mindbendingly grueling) effort of delivering a plurality of good narratives that honor your agency as a player--maybe even a creator, as best a videogame can with its limitations.

But, what can you say about a story that has multiple endings? Or multiple routes to them? And what can you say about a story that, in some of its branches, simply goes to entirely different places as narratives? It strains the usual literary critical toolkit, to say the least.

Now, a game like Doki Doki Literature Club! approaches this exact same idea of addressing its story as manipulable by the player, of the player as an agent in the story, but in a pretty straightforward way as far as "a narrative that works this way": the narrative already describes "and then the player came along and messed everything up". All of the player's different routes serve this one overarching narrative: the game has an obsessive fixation on you and wants you to play it forever (which, given its nature as (roughly) a visual novel . . . perhaps asks quite a lot).

Undertale takes a step back from even this level of abstraction, though: the implicit and often hidden events of its world and narrative unfold / have unfolded / will unfold, and a given player's "story" consists of "what the player does to this multi-branched narrative-object". The game judges you to your face for contorting its weird timeline-multiple-universe meta-story . . . but lets you do it, to prove the point it wants to prove.

And without much controversy, we can conclude that point roughly summarizes to "playing games just for accomplishment and mastery doesn't give as rewarding an experience as immersing in the story and characters". The subtler point under that, though, comes out through multiple playthroughs: "immersing yourself in a story and cast of characters too much will harm your life and your enjoyment of other things". Undertale, were it a person, would probably look nervously at you after several 'completionist' playthroughs to "see all the content", and it explicitly describes this exact behavior to the player's face as something objectionable--even calling out people who watch someone else play on streams and video hosts.

"Just let it be a story"

Which brings us to Deltarune. I've no doubt dozens of cross-indexed internet-vetted analyses and fan-theories will arise in the next few months (and I look forward to them), but on a once-over the game seems to have one specific thing to say to the player's face: "you are intruding on a story that isn't about you". The game opens with an elaborate character-creator (well, for a retroclone computer RPG), then tells you "discarded, you can't choose who you are, and you can't choose who the character is either". It has fun with giving the player dialog options--then timing out and ignoring the input. It even tells the player in in-game narration that "your choices don't matter". The story itself doesn't even care very much about the player's character, instead hinging on the development and growth of an NPC, following her arc, without much concern for the player's thoughts on the matter. And at the very end, after playing mind-games with the player's familiarity and recognition of Undertale characters--the close does something both inexplicable and disturbing. This is not your story: it's not about you, your choices don't affect it, and it doesn't care what you think.

As an aside, it seems like quite a good game--but I think that comes in part because of this very drastic intent and the skill with which it executes that intent (ie, bluntly at first, subtly enough to almost forget, and then slapping hard enough to prompt a flashback).

And holding this alongside Undertale's stark (even literal) judgment of the player for 'forcing' the narrative to contort to accommodate the player's interaction with that narrative, it seems clear to me that where Doki Doki Literature Club! has fun with the idea of "player as complicit in something gross, and as motivating something cool", Undertale and Deltarune seem much more interested in making the player take an uncomfortable look at how they engage with narratives.

Defensive Hermeneutics

On one hand, Funny Games, The Cry of Mann, and Undertale and Deltarune stare back at the audience, judge them, treat them as an intruding, invading, even corrupting force from outside the work, criticize the audience for enjoying the work, and even call the audience out for engaging in detailed critique, like some kind of cognitive logic-bomb, or a cake laced with just enough ipecac to punish you for eating more than a slice.

But on the other, House of Leaves, This House Has People In It, The Shape on the Ground, and Doki Doki Literature Club all want the audience to participate, to scrutinize, to interact with the narrative and question it, as well as themselves. What does that first camp have in common besides wariness and hostility to the audience, and what does this second camp have in common besides treating the audience as creative of the work's meaning? I'll call it "a defensive hermeneutic".

Notionally, the audience has hermeneutics: ways of understanding a work. But, a creator can't help but have some understanding of the likely mental state and view of a(n imagined) audience, approaching the text in some way. A creator can thus bake in or favorably treat some approaches over others, and can even use this to guide criticism about their work.

That first group, which I'll call "defensive", has one striking common feature: the 'surface level' plots either don't matter, or have very simple outlines. Funny Games' plot is exactly as follows: two psychopaths terrorize, torture, and eventually murder an innocent family. The Cry of Mann shows us what looks a lot like a small child trying to mimic a melodramatic soap-opera, before Things Get Weird (and any extant 'surface level' plot goes under the waves). And Undertale and Deltarune give us the stock "hero appears in strange land, arbitrary puzzle-quests ensue, climactic final confrontation restores peace to the land". This serves as the set-dressing and vehicle for the actual plots--or sometimes simply cognitive messages--to get into the audience's minds:

"What, exactly, do you get out of slasher torture-porn movies? Why do you create the market for things like this?" "Are you sure about where your sense of empathy and identification points you? What makes you think you have a grip on reality enough to judge who's right and relatable, and who isn't?" "Don't just passively consume games like they were kernels of popcorn. But don't gorge yourself on the same dish, either--there's more out there, but you have to look for it."

In short: these works don't want you to nitpick the works themselves. Their entire message consists of second-or-higher-order interpretation. To put it another way, they want to make sure you don't pay attention to the handwriting, because the gaps between the words spell out a poem and the words themselves only create those gaps.

Participatory Hermeneutics

By this same token, I'll call the second camp "participatory": they treat the audience as a kind of creator in their own right--Borges did this a lot and with relish in his later years, and Doki Doki Literature Club! makes it a game mechanic. A creator using this "participatory" hermeneutic essentially doesn't consider their work 'finished' until the audience interprets it. This should sound familiar. The audience contributes meaning to the work, by interpreting it, and a "participatory" work counts on it. And, to contrast with the "defensive" camp: they use complex (sometimes even overcomplicated) plots, which matter and inform interpretation, and tie into the second-order meaning that the work attempts to convey. The "surface level" plots don't solely carry a tangled "interpret this" into the audience's brain. Instead, the surface plot has enough complexity to have a plot-hole, enough character depth to have problematic characters, and enough weight on its own merit to have unappealing implications. In other words: even without convoluted postmodern hoity-toity highfalutin' hermeneutic jibberjabber, a member the audience can find a story they can just enjoy on its merits.

Before anyone angrily starts defending the characters in Undertale or complaining about the directionlessness of This House Has People In It, I hope I've made it really clear, I lumped these works into these two categories based on an overall tendency and commonality, in approaching this one really abstract concept, and as with any work, any binary you can think of will have gradations if you look among "all works, ever". And, even more importantly:

I really love all these works, and I love what they do and how they do it. They all also have flaws, because flawed humans made them, and flawed humans enjoy them. That all said: the "participatory hermeneutic" has everything to offer for my purposes, while the "defensive hermeneutic" . . . might get a post of its own someday.

So What Now?

In aeons past, I wrote about feedback and criticism, and this seems like a good time to dust off that idea with a new application. In particular, that old post talks simply about players (and GMs where applicable) helping each other to contribute their best, and get the most enjoyment out of a game. Here, we'll look at some basic questions players can pose each other as creators of a work, rather than participants of a game or members of an audience.

So let's take that 'player survey' and repurpose it for Dark Humanities and getting a toehold on literary criticism:

Can you describe your approach to your character?

What do you want to convey about your character?

What was one thing you want to make sure we all understand?

How do you interpret my character so far?

What theme or motif do you think our characters express together?

What misconception or misunderstanding would you like to clear up or prevent?

What themes do you want to explore?

And just like the 'player character questionnaire', everyone should update and refine their survey every few sessions. As a given game goes on, for example, you might get to know one of the PCs so well that you never need to worry about "misconceptions or misunderstandings", regarding that character's motivations and personality and thematic implication. But, that character's connection with eg themes of parental abandonment might change, and when that topic comes up, you can devote a question or three just to asking things like "might your character be treating this person as a surrogate mother-figure?" Maybe the player never thought of it that way! Maybe the player thinks that would be a great idea! But neither of you will think about it without pausing a moment to consider things like this.

And once everyone has shared a bit about their characters' themes and clarified everyone else's, you can discuss deliberately pursuing an idea, through your characters. Obviously your characters have no motivation for this, but your characters don't even exist, so they don't have any say in the matter.

For example, cyberpunk naturally deals with corporate oppression, alienation, dehumanization, and technological obsolescence. But, when one PC regularly takes recreational drugs, and baits another into joining them, a third concocts elaborate revenge fantasies, and a fourth picks up broken people like stray cats and tries to parent them into being functional . . .

Maybe they all share a more specific theme of "dysfunctional coping mechanisms". The drug-user is nice and obvious--and their partner joining them in partaking perhaps has a need to belong. The vengeful obsessive might be compensating for feelings of powerlessness and vulnerability by hurting or preparing to hurt others. And the self-styled Good Samaritan and would-be Guardian Angel might be doing the opposite--just as unhealthily.

Importantly, everyone keeps playing their character, the character they made, the character they want to play. But, with some good chewy discussion about story, everyone can also look for spots where, indeed, their character might just so happen to--do something to further this sub-theme of "dysfunctional coping mechanisms", on top of the background of alienation, obsolescence, and dehumanization.

Academic, critical, literary discussion of roleplaying games as games seems like a sadly underexplored subject. But critical discussion of the stories themselves, the ones happening at each table, might as well be completely unknown--so here's hoping someone can build on this!

[willel]

Research on the Mind Flayer

Mind flayer eyes were extremely sensitive to bright light and considered it painful, a characteristic that some githyankischolars attributed to the fact that their alien anatomy focused light in a strange way.[9]Their vision was also more sensitive to the recognition of geometric patterns than that of other humanoids.

I have theories that Will’s eyes/vision is important. Though I’m sure the upcoming comic about Will’s time in the Upside Down will finally give some straight answers, right now I believe Will can see things other people can’t.

In the Upside Down, maybe he can see the real world in a ghostly kind of sense. The preview comic showed that Will saw/met El as she ran away from Benny’s Burgers

In season 2, there are many many camera shots focusing on Will’s eyes/what he’s seeing before and after his possession. Although I think his experience in the Upside Down triggered an ability he might’ve already had, it’s possible the other result is the Mind Flayer’s touch could allow Will to see even more things he otherwise wouldn’t. 

Maybe something crazy is happening in Hawkins and they need Will’s eyes to see things that even El can’t find. 

Illithids fed on the brains of sentient creatures (mainly humanoids). They were the only kind of nourishment that could sustain the mind flayer physiology, which required hormones, enzymes and psychic energy that only brain tissue could provide. Feeding was a euphoric experience for a mind flayer, as it absorbed its victim's memories, personality, and fears.[2] It was also viewed by them as the ultimate form of dominance over another creature.

I guess the Mind Flayer had a grand old time depriving Will of his memories. Just think about that, for every moment Will was terrified and confused about what was happening to him, the Mind Flayer was enjoying it and taking his time. Things didn’t really pick up until the scientist lit up his tunnels. That’s like someone was enjoying their dinner, but suddenly the restaurant decides to close and they angrily try to eat their food faster. 

Maybe it wasn’t Will at all who laid that trap for the scientist, but the Mind Flayer completely assuming Will’s identity and personality. 

Another terrible thought is the Mind Flayer knows Will inside out. His personality. His thought process. His deeply held secrets. Even his fears. I’ve speculated for a while that Will could be the one person who can defeat the Mind Flayer (I will discuss that later), but the same can be said the other way around. Even if Will isn’t possessed, the Mind Flayer and all his intelligence could still find ways to manipulate Will by guessing how Will would react to certain situations.

“I know that Will is afraid of this, therefore, if I set this trap this way, Will will fall right into it and he will be mine again.”

A mind flayer needed to consume at least one intelligent brain per month in order to remain healthy. Malnourished mind flayers died after four months of brain deprivation.[14]Mind flayers healthy from brain-rich diets excreted a kind of slimy mucous substance that coated their mauve skins.[2][6]The psionic energy also left traces of the original prey's individuality on a mind flayer's culture and sense of aesthetics.

I guess all the slime and gunk is an indication that the Mind Flayer and its creatures were quite healthy and well fed...

Also, the other bolded sentence adds to the previous. The Mind Flayer could have taken as much from Will as Will took from it. Sure, the Mind Flayer didn’t literally eat Will’s brain, but they were connected and one in the same, almost completely. 

Individual mind flayers were rarely found alone; rather, they were usually accompanied by two or more slaves mentally bound to them. Typical enslaved races found among mind flayers included grimlocks, ogres, quaggoths, and troglodytes.[2][4] These enslaved species had in common the fact that they were not typically considered edible by the illithids.[9]

I find this entire paragraph interesting. One, in their very first D&D game, Dustin is worried that the Demogorgon is going to show up. Mike fakes them out with troglodytes, but it appears it wasn’t just out of nowhere. This paragraph says troglodytes often accompany Mind Flayers. The Mind Flayer and the Demogorgon in the show aren’t the same species, but do seem connected to one another. 

The other thing that interests me is the entire idea of them having slaves. It’s up for debate, but I’ve always felt like the Demogorgon and by extension, the Mind Flayer, treated Will differently. For what reason, I can’t be sure, but I think they saw some value in him other than another snack. 

Ask yourself this. If the Demodogs made it to their room in Hawkins Lab before they got away, sure, the dogs would be brutal and kill all of them... but would they have attacked Will? Was Will ever in any danger from the Mind Flayer’s shenanigans? 

Each mind flayer in the community likely had at least two slaves to do its bidding.

Mmm hm.....

OTHER NOTES

So, all of this was just some random stuff form the dnd wiki I decided to comment on. BUT, I have some other thoughts. 

The Mind Flayer in dnd is not the boss, it’s the ‘Elder Brain’. I can’t find as much information as I want, but the Elder Brain is basically the hive mind. It is the collective consciousness of past generations of Mind Flayers and guides current and future Mind Flayers if I have that correct. 

The Mind Flayer in the series appears to be a combination of a normal Mind Flayer and the Elder Brain while the Demogorgon and Demodogs are like, lesser deformed versions Mind Flayers (which seems to exist in various forms with various creatures)

The other big point I’d like to mention referenced in the series is that to defeat a mind flayer, you need zombies/undead. Mind Flayers use a lot of mind related powers to defeat their foes or take over, so obviously if you’re undead, that isn’t going to affect you. 

From what I can see, being undead is a huge tactic against a Mind Flayer during a campaign. In real life though, it’s pretty impossible to temporarily become a zombie... 

Despite this, Will is called the zombie boy by people. It wasn’t a throw away insult either. Even at the very end of season 2, he still gets called zombie boy. I don’t think we’re meant to forget. 

I mentioned earlier that Will might be the one person who can defeat the Mind Flayer, but it could also go the other way around.

Picture this:

It’s the final battle. things are looking grim and they only have one shot and one way to kill the Mind Flayer once and for all. Will is the only one who can do anything about it.

They have to simulate death somehow. (sensory deprivation????) And Will meets the Mind Flayer face to face to... do who knows what. I don’t know what would happen or how Will would defeat him, but I WANT WILL TO HAVE THE FINAL PUNCH. And hey, if El is the one that has to help with that, then let it be so.

Ok, rambling over. Thanks fer reading