#Taros Campaign

[savage-kult-of-gorthaur]

THE DREAD FACE OF IMPERIAL POWER ARMOUR -- FIGHT TILL DEATH.

PIC INFO: Spotlight on Firstborn Space Marine Brother Kalius of the Raptors Chapter, 3rd Company, 2nd Tactical Squad, deployed during the Taros Campaign, wearing a modified suit of Mark VII Aquila Power Armour.

Source: https://wh40k.lexicanum.com/wiki/Kalius.

[kiiraarts]

How it started vs How it’s going

feat. Taroe 💜

[farrisflaris]

Is the NieR community even still alive?

Well whatever, here we go: WHAT. WAS. THE. RED DRAGON'S. WISH? And why does no one ask that?

We know from DoD3 that all dragons get a wish when they die that they use to reincarnate into a new form. What did Angelus wish for? I just... Have this feeling it's either super important or a fuck off piece of information that'll get thrown at us by the moon man like a dirty shoe.

And thanks for indulging my obsession for like 30 secs

[farsight-the-char]

Praise T'au'va.

This exciting new story of intrigue and clandestine warfare stars an Elemental Council, luminaries from each of the Empire's castes. Brought together by the enigmatic ethereal Yor'i to pacify the resistance, they'll need to work together to forge their unique skills into an unbeatable team.

Raptors Space Marine chapter initial antagonist (which the article diverges to shill 🙄, of course), though there is a "secret" third act antagonists (probably Genestealers).

Raptors have history with Tau though in the original Fire Warrior game and the original Taros campaign, at least.

...

Noah Van Nguyen wrote some of the better AOS books, The GodEater's Son and Yndrasta: The Celestial Spear, so this will probably be good.

...

[lordofnowhere-art]

My favourite thing about being in a D&D campaign with other artists is that they send fashion pictures that I have no choice to draw my guy in. This is my half-orc cleric of a moon goddess Taro who we style as a ghost bride for whatever reason <3

[justabitscrewy]

WERE LIVING DANGEROUSLY YALL

Haha anyone want to add me to their dnd game 🥲

[fricklefracklefloof]

about me

taro

he/him (trans man)

20 yrs

wasian filipino-american (white passing)

sociology student

i draw mostly

fandom posts when i’m feeling silly

(i’m crazy about tma, soc, proseka, pokemon and being a furry and i tag it accordingly)

the eevee gif is what i look like irl

🩵

i can be slow to answer dms, i am a full-time student and i have a part-time job. i will try my best to answer/read asks but i receive a lot of them so please be patient with me and i apologize if some get lost.

i only reblog fundraiser posts that i have confirmed to be vetted/verified by a source that i trust. i am not equipped to be an official vetter. please use discretion and your best judgement when viewing my reblogs.

if you are a gazan, please know that you are loved and i am keeping you in my thoughts. i am sorry if i am slow to get to messages but i will try my best to respond appropriately. i care about every person who reaches out to me and i want you to know that.

🩵

can you make art for my gofundme campaign?

i would love to. please be aware that i have multiple people requesting art for me currently so i can’t guarantee it. art is a slow process for me and i want it to be the best it can be so that fundraisers can receive enough traction. i apologize if i can’t get to every request, but understand that i appreciate every single one.

can you make a post for my gofundme campaign?

see above. i can try, but it may take a while because i want your post to be the best it can be so that it gains more traction. information that makes the process MUCH easier is if i can find where you are verified and have a clear story to tell. i am sorry if i can’t get around to it. reblogging previously made posts is much easier for me so i’m happy to do that if you ask.

can you pin my fundraiser to your blog?

i will add it to this post.

do you take commissions?

as of right now, no, not officially.

can i tag you in a fundraiser post?

yes, absolutely.

🩵

help amal’s family evacuate gaza

amal’s story | donate | more info: @amalashuor

help muhammad get the treatment he needs

muhammad’s story | donate | more info: @noor-y-ashour

support eslam’s family in gaza

eslam’s story | donate | more info: @eslamfamily3

support afaf’s family in gaza

afaf’s story | donate | more info: @afafmasoud

[justabitscrewy]

If you could fit the entire universe into a can of chips would you? Absolutely. Welcome to Pringleton. - @bacoj8 one year ago today

HAPPY CANNIVERSARY!!!!!

The Planar Pringles campaign is officially a year old, and its been an incredible journey. Its been an utter joy and privilege to get to build a story and game with such beautifully talented human beings. These characters are all so rich, so multifaceted, and getting to interact with them in such a beautiful narrative space is just a gift.

DM: @bacoj8 || Theseus @eaudecrow || Izen me! || Phaela @couchtaro || Red @lorebreaker || Yancy @coffeecakecafe

80% of the flowers featured here were fully referenced from Taro’s frankly breathtaking and heart wrenching floriograph series

[macabrecabra]

Headshot portraits for the player characters of my campaign I'm slowly building and the one main NP c: They are playing a homebrew people who shift to sea creatures, so also have to give a token of their fish form too!

From top to bottom:

Umut-Lek: Sea Cucumber belongs to @madasa16

Demi-Mal: Bull Shark belongs to @Frost20026606

Akula-Esca: Remora belongs to Johnda!

Oro Itsaso: Weedy Sea Dragon belongs to @konkubus

Ai-Taro: ??? (form kept secret!) belongs to MEEEE!

Art for tokens and now onto doing art for the NPCs and big bad (as they are introduced in part one!)

[mysticode54]

I stumbled across a Japanese article where Fumito Ueda, Yoko Taro, and Keiichiro Toyama had a publicized discussion about their careers and the video game industry as whole. This discussion was organized primarily to celebrate ICO's 20th anniversary in late 2021. So the folks over at Den Faminico Gamer requested concept art from all across ICO's development cycle to present throughout the 3 pages of conversation. And I don't know who was responsible for the task of transferring that, but they gave them A Lot of concept art. Many of these sheets have not been shared by genDESIGN's twitter, or really seen on any other site to my knowledge. There's some exclusive stuff in here. And even if they were seen somewhere before, I still want to translate them to the best of my ability and share the info. So I'm going to guide you through the sheets I found the most interesting. I'll also try to provide context for any cut content and musings on the lore elements being spelled out on the page. [Spoilers for ICO under the cut]

CUT AREAS

Jail

[I've decided to leave the original page untouched in all my translation images, and keep all added text to the black bars at the sides. I'm also including plain Japanese text in dark grey, just so everyone is clear on how I am interpreting the handwritten notes.] This area is titled "Jail" or "Prison" and it was to be put on the second story of the East Arena. This means that, in early designs, the leftmost door was meant to be opened on arrival. It seems you would navigate the diagonal water slope, make it up to this area, and briefly move outside for the sake of slipping into one of these locked cells. After doing so, you move a shelf aside, find the sword, enter a fight, and then use the sword on the rope holding the far right arena door. Having a jail cell next to the arena is very intriguing from a narrative standpoint. Were the cells for those who broke the rules set in place by the arena's organizers? Or was the arena always intended to be sparring matches between criminals and outcasts? Why is the only way onto the balcony found through one of these cells?

Boatshed

[In the black bars, text relating directly to the contents of the sketch will have drawn elements next to them, so you can better see what translation is paired with what part of the drawing. If it ever gets confusing, shoot me an ask and I'll clarify/edit the post.] The day after drawing up the concept for the Jail area, the team sketched the Boatshed, which was also cut. This area is reflective of an earlier, less bombastic ending to ICO, which Ueda briefly mentioned during Sony's "Great Scene Sharing" campaign in 2011.

Also, to be honest we weren’t planning to have the castle collapse entirely like that. We were originally thinking to have the ending of ICO be much more modest, but somehow it didn’t give you a feeling of resolution that way. And so we decided “Ok, let’s make everything crumble into the sea then.” (laughs)

The most intriguing aspect of this cut concept is a kind of Idol Fence Gate that reacts to Yorda in the same way as the Idol Doors, only in this case it is powered by a mask. The mask's face shape is somewhere between a man and a bull, with the moderately sized horns completing the animal resemblance. There seems to be a gem or circular marking embedded into the forehead as well. The text makes mention that the gate 'listens' to the mask (assuming I'm translating that correctly), so perhaps it had a specific auditory or musical cue planned for when it reacts to Yorda? But perhaps not. A concept page like this would be the perfect place to write that idea in clear detail, after all.

Heroine Room Connection

This is not exactly a cut area, but it is certainly a heavily altered one. This spot would later become the floor of Spiral Staircase, where Yorda is held prisoner in the first act of the game. We can see this intention by its proximity to 'The Heroine's Room' and the series of Idol Doors set up as the introduction to Yorda's unique power. (There's even a sketch detailing how this arrangement of four idols are supposed to part when opened, and it matches up with the movement of the idols in Spiral exactly.) The most notable feature of this area seems to be a set of stairs leading up into a small room with a trench in it. In the trench is a box and a small crevice in the wall. The crevice is labelled 'Heroine', which, to me, implies that Ico might have been able to see or hear Yorda through this crack in the wall. But since this room is a dead end, I imagine you use the box in some way to activate the other set of stairs, which seem to have both a upward and downward status depending on whether you've solved the puzzle or not. This is very similar in concept to a puzzle presented elsewhere in the final game. At either ends of the room are two doorways. One direction is labelled 'Ko Building', which we will discuss later in this post. But the entrance to this room is through the Ritual Room... which we also have concept art for!

Ritual Room

Similarly to the last sheet, this sketch depicts elements that would end up placed elsewhere, but the overall design of this room was cut. The Ritual Room was seemingly designed before the team had come up with the final design of the Altar Room. The Ritual Room bears many of its elements, but has a much larger scope and seems to serve as a junction between several parts of the building.

Common elements include:

The floor raising and lowering to open a path to the Stage 13 Elevator. The notes even clarify that this will only occur in the game's "2nd act". In this version of the mechanism, a handrail rises up when the floor lowers.

Capsules in which to place sacrifices. Though they aren't clearly depicted, they seem to be embedded into the ground, rather than standing up.

Restricted access to the high up Idol Doors. In the final game, they lead to The Queen's throne room. Here it leads to Proto, the earliest room designed in the game. It's unclear how you earn access to the doors, but the 'OFF' label indicates that the stairs must rise, or else it remains a vertical wall.

But one big difference that stands out is the palanquin-like structure at the center, which reminds me of the structure that surrounds The Queen's throne. Given the title of the room, we can infer this was meant to be the spot where the Queen's ritual would be held.

Notes in the margins indicate two innocuous, but fascinating things: - The note regarding what might open the Idol Doors for the village men likely marks the conception of The Queen's Sword. - Yorda's voice was meant to be heard from this room, and she would've been singing. She doesn't get to sing to herself in the finished product, though I think that characteristic fits her well.

Flowchart of the Second Half

Once it became clear to Ueda that the ending had to be more resolute and bombastic, they devised the Main Gate Event and laid out a plan for all the places you would traverse on your journey to the throne room. You might notice that locations like Cliff Cage, Cogwheel, and Pipe have different prototype names and some visual differences. The first location on the journey back, later known as Cage, is titled 'Ruins'. It seems to feature a series of overhang structures jutting out from the cliff-side. Presumably, these would catch Ico after his fall. The titular cages of the present incarnation seem to be absent, but we can see them close by, in the area that will become known as Cogwheel. Instead named 'Subterranean Lake' in this document, Cogwheel seems to lack any of its characteristic mechanisms. In this sketch, one of the cages seems to have fallen from the ceiling into the water below. In the final game, we move from Cogwheel to the outer edge of the island, where Ico clings tightly to the ridges of the cliff-side. But in this concept art, all of that distance is spent on a new area, completely cut from the final release, called 'Trolley Jump'. It seems the trolley would make a second appearance in the game's puzzle design and Ico would have to build up momentum to make it over a huge gap in the tracks. The Pipe area is named 'Ravine' instead. And the metallic platform is set far lower than it is in the final game, where you can just walk across it to make it to the elevator. Here, you must descend onto it and then climb up into a cavern, once you make it to the other side. You might've also seen that the the Old Bridge is titled 'ICO Bridge' in this document. This is especially interesting to me, as the name ICO seems to serve a different purpose here than you would expect.

What is “ICO (イコ)”, really?

Kenji Kaido has stated in the Japanese Guidebook for the game that the name 'ICO' was just the title, and initially, was never attributed to the boy protagonist (Page 82). He was nameless and only referred to as 'Boy', much like the protagonist of The Last Guardian is currently. The game's filenames, the concept art, and even Kaido's own presentation of the E3 2000 demo to PlayStation Underground, back this sentiment. The term 'ICO' is never attached to the boy before June or July of 2000, when US gaming publications reporting on E3 2000's demo started conflating the title with the protagonist's name. Seeing as this is dated in March of 2000, it's safe to say the use of 'ICO' here has nothing to do with the boy. So what is it about? Ueda did also say that the name was a shortening of the term ICON... but I have additional evidence suggesting that in this specific instance, it was not serving as an abbreviation for 'ICON Bridge'. Take a look at this rough overview sketch from the margins of a different concept art page.

Aside from the points that indicate land and sea, the labels that plainly stick out are "イ棟" and "コ棟".

"I Building" and "Ko Building". We saw that last label earlier in the Heroine Room Connection section.

Knowing this, we can safely infer that it's called イコ Bridge because it connects the イ and コ buildings... But then why are they split in that way and labelled イ and コ? I still don't have an answer for this, though I do feel like the divide is related to the separation of class. The イ building is dedicated to The Queen. It contains both her daughter and the sacrifices she needs to complete her ritual. It's where her throne is. It's where she resides and does her work. Meanwhile, everything on the other side of this bridge seems to have been built for a larger populous.

Benches, recreational areas, spectated arena matches, a waterfall, a courtyard, a ballroom with a massive chandelier! You don't build a front gate and a bridge to the mainland if you never wanted people to enter... This place undeniably once had people who lived and worked here. They were all designated under the コ building. I have to imagine this is why a distinction is being made, but beyond that, the reasoning for the titles remains a mystery. If someone has further insight into Japanese linguistics or culture, and have additional guesses as to why, please let me know.

Cut Boss Fight

In the West Arena (labelled 'R' for 'Right' in early development), there was going to be another raised cage event. Only this time it would take the form of a boss fight with a massive shadow that overtakes the floor and splays black tendrils through the air. Interestingly, there is already an overhead bridge in this image, but rather than magically appearing in stone segments, it's instead an ordinarily constructed wooden bridge. Here, the notes detail a different kind of puzzle element: Wire. Which, unlike ropes, cannot be cut by the sword. The same note indicates that wire is holding the left and right doors in place. While the concept art doesn't detail it plainly, I believe the only way past this room would be to pull on the "Idol Handle" that the boss is covering. Wire is also presumably being used for the zip-line running across the arena, which is an interesting component to say the least. The vision I'm gathering is that you'd ride the zip-line, hit X at the right time to drop down onto the overhead bridge, run over to the balcony where the 'Cage Switch' is labelled, and activate it to impede the boss. How it is then defeated is less clear. It's also unclear where Yorda would have been throughout this encounter, or if there would be additional enemies trying to drag her into a nest. Its possible the boss itself would be programmed to capture her with a tendril, and itself act as a nest by dragging her into the depths of itself. But we have no evidence one way or the other. [Ok, that's all the stuff I have to present for now. Keep in mind that there's more to see and translate in the article I linked at the very start. This post was only scratching the surface, despite the amount of material we covered. With that in mind, thank you for making it this far.]

Support

Now is as good a time as any to mention I've started up a Ko-Fi, so people can choose to support the work I do to uncover and present obscure info like this. There is, of course, no obligation to give me anything. The tips just help me get a bit of financial security in return for my efforts.

[genderbinaryisforlosers]

[basic ID in alt, detailed ID below]

i love them more than words can say. already i wish i could listen to the children's adventure for the first time all over again.

[ID: 1. A height chart lineup showing the main characters of The Wizard, the Witch, and the Wild One side-by-side in the main campaign and the Children's Adventure. In order it is Eursulon, Suvi, Ame & Cool Dog, and Grandmother Wren & Taro.

Eursulon is a huge bear-like creature standing bipedal on digitigrade legs. As an adult (left) he stands to a height of 220cm. His fur around his ears and forehead resembles the plumage of a horned owl. He has an ursine nose and large tusks, and big, hazel eyes. He has white freckles on his face. He is wearing a long green cloak and beige and brown traveller's garb, and a golden pauldron is partially hidden by his cloak on his shoulder. It has a small dent in it but is well polished. In his right hand (viewer's left) he holds a round wooden shield, and in his left hand he holds an unsheathed sword, Wavebreaker, with pale blue silk lining wrapped around the hilt. He has a neutral expression.

As a child, he was still large at about 145cm tall, but had a rounder face, smaller fangs, and shorter feet. He is unclothed except for his golden pauldron, undented, and instead of a sword he is clutching a broom handle with both paws. He is smiling.

Suvi is a Black human girl who stands at around 183cm as an adult. She has a turquoise afro which is pulled back neatly into a bun and decorated with fine gold chains as well as a round golden censer hanging from the back. She is dressed in a smart Imperial blue uniform with gold and silver trim, and wields in her right hand a crystal staff decorated with the Imperial sigil and wings made of floating shards. In her left hand she holds a book bound in dark blue leather. Instead of wearing glasses, her brown eyes are magically treated, which causes a teal sheen to be visible over her pupils. She is smiling confidently.

As a child, she was about 120cm tall and her hair was still dark brown and not tied back. She has yellow asteria flowers in her hair as well as a pencil and a cool leaf, and wore huge round glasses. She wears a red button-up dress with pockets, stripey white tights, and smart indigo shoes. She clutches a brown canvas-bound book to her chest and looks wide-eyed.

Ame is an East Asian girl who stands at around 150cm as an adult. She has long, dark straight hair and dark brown eyes. She has her right hand on her hip while her left hand adjusts her giant red witch's hat. The hat has a white underside and there is a gold censer attached to the pointed tip. She is wearing a white wrap top patterned with pink petals, and the long flowy sleeves have been buttoned back. She has two bracelets around her left wrist, one is woven lilac and green, and the other is small pink flowers chained together. She has red skirt that resembles a toadstool, with white spots on the cap and pink ruffles under the rim. She also has a white half-apron with several pockets tied to her waist by dark pink cord, which also holds a light brown pouch. She has one skinned knee showing above her flowery pink-and-white socks, and red stompy boots. She is smiling out of the corner of her mouth. Wrapping around her legs is Cool Dog, her fox familiar, eyeing the viewer suspiciously.

As a child, she was extremely small at 100cm. She has a bowl cut and dimples. She wears an oversized yellow shirt with white stripes, the sleeves pushed up past her elbows, and orange dungarees. She has muddy red welly boots, and is wearing the lilac and green bracelet. She is grinning broadly with her eyes shut and holding her fists up near her chest.

Grandmother Wren is an old witch standing at about 155cm with light brown skin and frizzy grey-and-white-streaked hair and brown eyes. She is wearing a dark purple witch's hat with a golden buckle and a curling tip, a knitted lilac shawl around her shoulders, and a cable-knit yellow sweater. She is wearing a stripy half-apron over a floor-length patchwork skirt, and is leaning on a gnarled wooden cane with both hands. She is smiling ruefully. Taro, her rooster familiar, is standing on the brim of her hat.

2. A cropped version of the same drawing, this time including Eursulon's glamoured forms. His glamoured form is a Black human, resembling Suvi as if he were her brother, although his eyes remain hazel and his hair is ginger instead of dark brown. He has dark brown freckles on his face and a gap in his front teeth, although the gap can only be seen in his childhood glamour as he is smiling. As an adult, the glamour is dressed identically to the unglamoured form although he's shorter by about 25cm, and his hair is braided back neatly into a bun. He also has some facial hair on his sideburns. As a child, his hair is shorter and styled into mini locs, and he is wearing a white shirt and green shorts, though still barefoot. He is about 15cm shorter than his unglamoured form.

3. A cropped version of the remaining lineup, showing Suvi, Ame & Cool Dog, and Grandmother Wren & Taro. /end ID]

[theironwarsmith]

Xenology, part one

My friend was kind of enough to let me have this rare gem, since he lives out in Hong Kong and he has a load of stuff still here in the UK (I also snagged a load of 3rd and 4th edition codexes as well as Imperial Armour books 2-4 (The Taros Campaign and The Anphelion Project).

Anyways, here are some of the awesome art pieces in this great book:

1) Imperial Propaganda against a Xenos species

2) Said species dissected

3) A female Tau Ethereal/Celestial, according to the notes on the page to the right.

4) Dissected Eldar, possibly an exodite

5) a dissected Umbra xenos

6) Space Marines fighting Umbra

7) Ork dissection

8) Kroot dissection

9) Q'orl dissection

There will be a second part to this post

[thelastomnitect]

I HAVE A FANCOMIC CONUNDRUM

Hey, Voyagers!

I'm Omni, your favorite Robot-American, TTRPG Creator & Artist buddy... aaaand Im in a bind.

So, for those of you in the know, Ive been really enjoying making fancomic works lately, and its been very rewarding (Check out my Helldivers 2 Fancomic "Gentry Dolaan Aint No Fascist" if youre interested in what I've been cooking!). So much so, that I am also working on a Space Marine Fancomic/Webcomic (working title: "BROTHERS: a Tale of Treachery and Doom"), and I'm really excited about it. Ive been doing tons of art and planning for it behind the scenes, and it's a story I think will be really fun to tell and read! I've been a huge fan of the Warhammer setting since I was young, and Narrative campaigns like The Taros Campaign, Siege of Vraks & The Badab War sit on my bookshelves next to my copies of some Horus Heresy books & my Gaunt's Ghosts Omnibus. Its definitely a loveletter to this hobby and setting I've loved for so long...

...BUT...

Games Workshop (the owners of the "WARHAMMER 40,000" IP and the creators of the Tabletop Miniature game) is a terrible company. For a very abbreviated list of their bullshit... - Games Workshop can be overly litigious towards fan creators (a few years back, they went on an absolute spree of issuing cease-and-desist/takedown notices on tons of fanworks in preparation of the launch of their WARHMMER+ streaming service, primarily to prevent competition to their in house animations. It's either directly destroyed or had a crazy chilling effect on many amazing fan projects, such as Bruva Alfabusa's amazing "If The Emperor Had a Text-To-Speech Device" which has been discontinued, or gorgeous animations like THE EXODITE or ASTARTES, both of which were bought up, taken off of youtube and forced onto their premium Warhammer + service behind a paywall. The creator of ASTARTES has already suffered a great deal at the hands of hackers stealing their youtube channel, and since their purchase by GW and move to Warhammer plus has been dead silent, and the EXODITE suffered immensely during its production. And with a new Warhammer TV series in development, and the success of SPACE MARINE 2, it wouldn't be unreasonable to expect that kind of aggressive legal gatekeeping behavior again soon...) - They abusively price & market their products (they have the single highest priced miniatures in the entire wargaming hobby, frequently rely on FOMO events and bundling [even for rules and important items the community HAS to buy], relentlessly overprice in several regions across the world, and intentionally price gouge their books and rules, all while taking down any free access to any of those rules at the first given opportunity. There is no reason a single, unassembled and unpainted, mono-pose 32mm miniature should be priced at $45 dollars. That's insane.) - They have done so much damage to the Wargaming Hobby Community in their time (They are basically the EA of the Wargaming hobby. They drive medium sized wargames out of the market under walls of money, advertisement and litigation, create walled content gardens that discourage players from leaving them, have set terrible standards in the larger hobby like a lack of free-to-download rules & denial of third-party miniatures at their tournaments, and have gone so far as to literally not even call their hobby wargaming but the "WARHAMMER Hobby", so players dont accidentally stumble across the rest of the industry. Its BAND-AID bandage levels of market crushing brand power, and they abuse it constantly to the detriment of the entire hobby. Again, its basically the same level of industry damage as Activision or EA have done to the videogaming world). ... so yeah, again, I LOVE the setting & the world, and I've had a long standing relationship with the wargame property itself, but GW has a deathgrip on the franchise. Truth is, I dont want to steer more people towards them, or lose all the work I put into this webcomic project because GW's legal team is feeling a little overly litigious in advance of some new Netflix show or videogame or edition release.

HOWEVER, I have other options. Games Workshop doesn't corner the market on Space Marines with big pauldrons and dramatic flair. I COULD just set "Brothers" in a more creator friendly IP... like ONE PAGE RULES's GRIMDARK FUTURE setting, and without too much effort. While there would be some differences, it would still be the same tale of stoic battle brothers contending with isolation, dogma, and struggling with the concessions needed to survive in a hostile place. Hell, their super-human gene-sculpted super soldiers are literally called BROTHERS, so it's... kinda serendipitous, to be real with you. The folks at OPR are much smaller company and have infinitely better business practices. They market their products in a much more responsible and ethical manner, sell both 3d-printable miniature files and pre-printed miniatures themselves, their games are all miniature agnostic and well designed, and frankly, they actually give a damn about their fan creators. They even run Fan Creator Competitions (I just joined a Writing Jam they hosted a few months back! It was a blast), and give free miniatures and huge discounts to the winners. Generally speaking, they are the kind of tiny company I actually could see myself patronizing and supporting, amybe even working with at some point, and they are far closer to the way I'd prefer to see the wargaming industry develop in the future (I am NOT sponsored by OPR, by the way. Just wanted to make that clear. I wouldn't turn it down, not gonna lie, but as of time of this post, I've no support from either GW or OPR) And I know Im not the only one who's been making these calculations when working on their fan works. Bruva Alfabusa has moved on to working with friendly IPs, like their awesome World of Darkness series "Hunter: the Parenting" series, while the Exodite's creator has completely pivoted into working on their own grimdark IP, "PROJECT MORNINGSTAR", which is well worth a look, btw. The issue I face is that while I vastly prefer supporting OPR's GRIMDARK FUTURE and them as a company, I originally started this project as a 40K fanwork. And I know that, for all its many flaws, Games Workshop's Warhammer 40,000 brand name carries a lot of recognition and fandom power, and it's setting has a lot of personal meaning to me. OPR is growing and it's got a really passionate fandom, but its only a fraction the size of GW's juggernaut, and while I'm not creatively tied to either setting atm, I'd be a liar to not at least acknowledge and respect the sheer fandom gravity of the Warhammer 40,000 IP. And fancomics can live and die on the size and relative energy of their fanbases.

So that's my Conundrum.

Do I continue along the path I was already on and make this fancomic a WARHAMMER 40,000 story, facing the fact I'd basically be advertising for a company I hate and risking that if I ever managed to garner a big enough fanbase the GW legal might just pop in and shut me down, all in exchange for brand recognition? Or do I take a chance on my personal principles, set it in OPR's GRIMDARK FUTURE, tell the same story I was already excited to tell and support a company and a game that I actually think is worth talking about, but risk the smaller community and less passionate fanbase not being enough to get the fancomic off the launchpad in the first place?

I'm genuinely soul searching here, Voyagers. And I want your opinion.

The truth is, I know which way I want to go, but what do you think? If youre a creator / fan / artist / player / hobbyist of WARHAMMER 40,000, WARHAMMER, ONE PAGE RULES GAMES, GRIMDARK FUTURE, WARGAMING, FANCOMICS, FANWORKS, SCIENCE FICTION, or even just read your way through all of this and wanted to give me your opinion (thank you, by the way, that's incredibly kind of you) what do you think? PLEASE, tell me your thoughts and feedback in the comments. And, for anybody who got this far, thank you for reading this. Seriously, I appreciate you. See you out there, Voyagers~

-The Last Omnitect

[unluckyfee]

WIP

Currently working on a side by side reference of these two pining idiots. I’m currently playing Berwyn in a D&D campaign, and these two CLEARLY have a crush on each other but neither have acted on it yet.

Berwyn is the abrasive, intelligent wizard and Taro is a himbo fighter who’s just happy to be there.

[farsight-the-char]

From the original Gue'Vesa rules from the Taros Campaign.

Feels nice to look at.

...

Given GW is bringing back some earlier edition ideas, I do wonder if Gue'vesa will be given their time in the Greater Good again.

[raintailed]

blorbos :]]]]

Redesign for Lightspun! I didn't include it in the ref, but the purple on their body is transparent.

Scrumptious (they/them), a scavcat I play as for my Gourmand campaign. They are based on taro mochi :]

Scrumptious' children, Mushroom (blue, he/him) and Blueberry (purple, they/them). Scrumptious is their egg-parent and the pups were sired by Graph/the Caretaker.