#and also running a different TTRPG

[voidscarredadjudicator]

not to self diagnose or anything since that's always the last thing you should ever do but honestly the more I learn about ADHD the more I look at myself and just go "ah. that sounds an awful lot like my own habits". Most notably my terrible fucking habit to wanna try starting new projects while I've already got WIPs people are waiting on

[heybiji]

ialso love playign superhero ttrpgs can i ask what the Masks ttrpg is? i love finding neww hero themed ttrpgs ^-^ yay!

Ohhh!! Hey! i love getting to talk ttrpg stuff thanks for the question!

MASKS: A New Generation is a superhero ttrpg about teenagers all trying to figure out who they are in a world filled with people constantly telling them who they are and how the world works. It's less about the powers and the fights and more about the emotional journey of the PCs with mechanics that support that. It's a really narratively driven game!

tldr: try it out! it's fun! it's simple! and it's low-prep (apparently, just not for me, but i'm always just gonna do Too Much). you want a system with mechanics that revolve around telling a story? around your character's emotions and how they view themselves? this is the one for you! it's great and i've really been enjoying it!!

First of all, it's a fail-forward system, so the way your character levels (advanced) is by missing rolls. I like this a lot.

There are ten core playbooks that are essentially the classes you can choose from. They each come with their own powers, some intentionally more impressive than others, but it's not about the powers; it's about the core conflict that comes with each of the archetypes. Here are a few playbook examples:

The Delinquent: You've got these cool powers. But everyone keeps telling you how to use 'em. You know what they need? Someone to give them trouble, to make sure they don't always get their way. And hey! You're the perfect her to do it.

The Legacy: You're the latest in a storied heroic lineage, a family that shares a name and a cause. Now, everybody is watching and waiting to see if you've got what it takes to uphold that tradition. No Pressure, right?

The Nova: You're a font of power. Channel it, and you can remake the world into exactly what you want. Unleash it, and you can do miracles. It's wonderful... and terrifying. Lose control for even a second, and other people get hurt.

Your stats are your Labels. They're how you see yourself, and how others see you. The Labels are DANGER, FREAK, SAVIOR, SUPERIOR, and MUNDANE. Different stats help with different Moves/rolls, so for example a high DANGER stat helps you Directly Engage a Threat, while a low MUNDANE stat makes it harder for you to Comfort or Support Someone. Your Labels are constantly being shifted around throughout the game as your character's self-image changes (and that self-image changes a lot, basically the NPCs are just label shifting machines).

The mechanics are fun! Instead of traditional damage, the PCs have Conditions that they take on, and what conditions a character has affects their rolls. The Conditions are Afraid, Angry, Guilty, Hopeless, and Insecure. So if you're Angry you take -2 on your roll to do the move Comfort or Support Someone, if you're Afraid, it's -2 on Directly Engage a Threat, etc. There are multiple ways to clear your conditions but the most straightforward way is to take a particular action, so if you're Angry you have to hurt someone or break something important, and if you're Afraid you have to run from something difficult. These actions lead to some awesome and surprising story beats!

There's some other stuff as well, but that's the gist!

Coming from DND, it took me some time to adjust to something so wildly different in terms of the system, but I've been enjoying it! I haven't gotten to play it as a PC, but running it has been an interesting challenge. I think it's a pretty simple system to work with, and I at least hear it's low-prep (again not for me tho lol). It's mechanically looser than the only other ttrpg I've played (dnd) and requires a lot more decision making from the whole table, so I think in a way it asks more of its players in that way. And the GM role is constantly on in a specific way, because it's up to the GM to listen and call out when a Move is being triggered and a roll should be made based on what the characters are doing in any particular scene.

anyway I can always have more to say but MASKS has been fun. I recommend giving it a shot! And then you should tell me what you thought about it!!

[bacchuschucklefuck]

i like that the power scaling in the worse manga AU goes a classmate → a biotech genius with four extra machine arms → a self-engineered "perfect life form" → a circus gymnast → a tour guide → a LARPer

[show-stoppin-enby]

Had the wildest D&D session today!!! Here’s some of the batshit stuff that happened, with as much context as I feel like adding:

- Pre-session, I brought some weird off-brand Oreoes from Home Bargains called U KNOW ME. Everyone else hated them, and I feel they really set the tone for the day.

- Our party is mostly a group of travelling orphans, we know each other from growing up in the same orphanage. Our human fighter is hired muscle, our tabaxi ranger is a spy(?) from a kingdom we visited, and our tiefling warlock is just sort of there, I think a long time friend? There are 8 of us in the party, I have no idea how our DM manages.

- The party fought slightly more powerful clones of ourselves, created/ summoned (?) by a necromancer. This combat started last session, so we started today mid-combat.

- The human fighter, and only straight player in the group, had to engage his clone in an extended makeout sesh so he wouldn’t decimate the party

- The tiefling warlock got wine drunk with her clone, during combat

- I (Pjon the halfling bard) (the P is silent) did possibly the best thing I’ve ever done, both in game and out. We were in a quite painful slappy fight with Dissonant Whispers, which I was losing, so I kissed my clone, distracting zir from the gun I drew, shooting zir in the head at point blank range (we visited a cowboy town and all got guns and hats). Our DM, as a bit of fun, decided to add the rogue’s sneak attack damage of 5d6 to the shot (which was 2d8+3 by itself). When they saw that I had nearly, but not quite, killed my clone with this move, they said “fuck it, you get another attack”. I will be riding this high for weeks.

- We tracked the necromancer down to a swamp, guarded by loads of undead. Our tiefling warlock casts purify water on the swamp, thus making the swamp holy and extremely corrosive to undead. Screams are heard.

- Our undead friend, Gregothy IV, stays safe by riding the giant boat I keep pulling from my bag of tricks. The boar can do the Macarena. This is how we befriended Gregothy initially.

- We rolled, placing ourselves on the Slut Scale. This was completely irrelevant to what we were doing.

- Despite doing my best to fill the Horny Bard stereotype, I have given up after being consistently out-hornied by the tiefling warlock. My +2 modifier to Slut, which is a class feat, still only left me with a total of 12.

- We killed the necromancer in less than a round. I suppose wizards aren’t known for their HP.

- it’s worth noting, the main reason we chased this guy down after he ran away and left us with the clones was because he kidnapped the adopted son of the fighter and the warlock (they co-parent). The son’s name is Strudel, he is a Horrible Little Flesh Boy, he was the warlock’s pet stirge that was turned into a real boy because of some god shit (I think the fighter multiclassed in warlock and sold his soul to the tiefling’s patron? And when he killed a guy the human-ness was transferred to Strudel? Idk, I couldn’t make it that week so idk the details)

- The necromancer had control of a town entirely populated with undead. Now that he’s dead, the town is ours. Gregothy IV is elected leader, and is now Gregothy I, as he is the monarch and we are now parliament

- We somehow turned D&D into a game of politics and rollercoaster tycoon, as our business model for this town is to turn it in to a tourist spot and/or theme park. God help our DM next week.

- The theme park will be called Deadpool Pleasure Beach, in honour of the holy swamp which we used to dispose of all the undead no-longer-animated corpses. Rides include The Boomerang, which has a 180° angle, and an as-yet-unnamed ride that has 17 inversions with only a lap bar as restraints

- Half the party went along with the plan because theme parks are awesome, the other half went along with it to make money from the business end. The fighter and the rogue both have stocks in a genasi circus we ran into a while back, which they have made a fair amount of money off.

[kcrossvine-art]

Hi fellow adventurers!! A few weeks ago i caught wind of "Delicious in Dungeon". I'm not really an anime person, but I am a TTRPG, CRPG, and cooking person- . And holy shit. It is so good i  convinced my partner to binge read the whole thing. I'm caught up on dungeon meshi, the anime, and just yesterday i also finished dungeon meshi, the manga.

Its rare to come across a serialized story that is so thematically cohesive and knows its characters so well. All of the bonus content like the artbooks and monster tidbits are just the icing on top.

So, inspired by Ryōko Kui's writing and illustration I'm going to attempt to create a recipe for every single Delicious in Dungeon recipe!-

Today that means Huge Scorpion and Walking Mushroom hotpot is on the menu!

(As always you can find the cooking instructions and full ingredient list under the break-)

MY NAMES CROSS NOW LETS COOK LIKE ANIMALS

SO, “what goes in to a Huge Scorpion and Walking Mushroom hotpot?” YOU MIGHT ASKThis is one of the pricier dishes until we get to the kelpies and dragons of the menu-

Rock lobster tail

Porcini mushrooms

Shiitake mushrooms

Snow fungus

Small potatos

Fensi (glass noodles)

Water

OPTIONAL: your choice of dipping sauces

There was a crossover/promotional event in Shibuya which featured various realworld dishes from the series. They had one for Huge Scorpion and Walking Mushroom, but they used prawns.  while those cook better in a hotpot, they also didn't look enough like the scorpion for me, they also used udon noodles for the slime and a seaweed/kale(?) mixture for the algae. If you're looking for substitutes due to price or availability i would start with those ingredients.

AND, “what does a Huge Scorpion and Walking Mushroom hotpot taste like?” YOU MIGHT ASKI hope Senshi would forgive me for technically cooking the lobster outside the pot, once he tastes it.

Okay im always partial to veggies but wowowowowowowoowowowow the snow fungus and the mushrooms tasted soooooooooooo good in the lobster stock

A nice delicate layering of different flavors

Try to get a bite with the lobster meat and shiitake together, dip in butter then chili- trust me

Its up to you what texture you prefer if you want to put the noodles in at the end or put them in halfway through the meal. Either way dont go for eating those first as theyre very filling

I think this would pair well with a citrus drink, something light and clarifying

This would also pair well with being extremely high and hungry (if you feel safe cooking while inebriated lol) very calorically dense

For the trial run I did one lobster tail in the pot with everything else, and one lobster tail off to the side to be picked apart. The former is more in spirit with a hotpot, but it got rubbery as the meal went on and lost its nice taste. The latter may be a bit more work but all you have to do still is boil it and set it aside. I found it held up much better. It was also easier to get inside the shell.

. If you have hardshell maine lobster available, i think it would be superior to rock lobster (keep in mind crustaceans will get rubbery if cooked too long in the pot) . Green onions and/or lotus root would make excellent additions

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From getting the ingredients out to sitting down and eating, id say it took maybe 30 minutes max? It'd vary on how fast you can prep vegetables and get the various implements heated.

Hotpots are not something i do very often as i'm usually just feeding myself. I think thats why a hotpot makes perfect sense to start the series off. If you want to set the tone of "take care of yourself, eat food with others, and use what you have" (generally speaking) there is nothing more simplistic, flexible, and defeats-the-purpose-if-you-eat-it-alone than a hotpot. Gather around and let your friends bring ingredients to the pot if you want to fill your heart up extra full <3

I'm doing something different here because unlike previous recipes where i used a bunch of different sources and made my own recipe out of hodge-podging it, or just used another persons recipe entirely if they did it really well, i made this more whole-cloth based off of what i had available, what I could discover through research, and my existing knowledge. Instead of the recipe being 50/50 original, this one is more 20/80. So. I'll pass the final verdict off to you guys :D 

What would you rate this recipe out of 10? (with 1 being food that makes one physically sick and 10 being food that gives one a lust for life again.) Did you love it, did you hate it? What're your thoughts on what I could do different, and what would you have done instead?

🐁 ORIGINAL RESIPPY TEXT BELOW 🐁

Ingredients:

2 Rock lobster tails

3 Porcini mushrooms

2 Shiitake mushrooms

Snow fungus (a good handful, should rehydrate in the hotpot)

2 Small waxy potatos

Fensi (glass noodles)

Water/lobster stock

Method:

Lightly rinse all of your vegetables beforehand and let them dry.

Vertically slice the porcini mushrooms. Cut off and dice the stems of the shiitake mushrooms. You can slice the tops if youd like.

Peel and cube the potatoes, roughly an inch each.

For the lobster tails; Boil a pot of salted water. Keep the shell on. Weigh the largest tail and add 1 minute of cooking time for every ounce of weight.

When done, strain the lobster from the water. Pour the water into your hotpot as the base. Serve the lobster on the side so people can pick the meat out to dip into the hotpot.

Bring the hotpot to a simmer. Add the potato cubes, snow fungus, mushrooms, and noodles.

OPTIONAL: this wasnt in the show, but its fun having sauces on the side :) i had oyster sauce, dry seasoned chili dip, melted butter, and soy sauce available

[maximumzombiecreator]

I've seen a lot of posts recently where people say they can't find players to play non-5e TTRPGs with. As someone who moves countries every few years, I've had to rebuild my roster of local TTRPG players from scratch a number of times. Here's how I do it.

Caveats first: while I've done this in small cities, I have always done it in cities. If you're in, like, a rural environment, you might just not have enough interested people around. You can always do it online in that case. I'm not really going to cover finding players online, except to say you should probably look for communities for the specific system you want to play. Most of them are enthusiastically looking for new participants. Especially game masters.

Okay, first things first, you gotta find people. I generally find I get better results if the search is location first. That is, rather than using city-wide or regional Looking For Group type internet groups, I look for physical locations that host gaming groups. Local game stores, public libraries, gaming cafes/bars, etc.

Being location first helps avoid some common bad behaviours. Online LFG groups often have a few shitty people hanging around who can't find long term groups because they're shitty. They'll jump at the opportunity to join new groups where people don't know them, because everyone else knows better than to game with them. But location-based groups are better at filtering this. Someone who harasses people at an LGS can be banned from the store, but decentralized online groups struggle to handle these situations in my personal experience.

Being location first also solves the next problem, which is giving you a location to play. Eventually, when I have a long term group, I'll host games in my home. But there needs to be a level of trust before that feels safe, and we're looking for randoms, so for now we need a public gaming venue. If, for whatever reason, there aren't dedicated gaming spaces where you can do this, I've had the most success gaming in cafes or restaurants during off peak hours. I've run a bunch of games in restaurants from, like, 2pm-5pm on a Saturday, and as long as you're buying drinks and some snacks or something, and being polite and non-disruptive, it's typically not too hard to get permission.

Now, if that local group has enough interest in a non-5e system that I'm interested in running, I'll happily do that, and it's pretty free from there. Most people who are willing to play one other system will gladly try others if they find they like playing with you. But even in big cities, I feel it's pretty often the case that postings for local games of other systems don't wind up actually finding successful groups.

So, here is the bit where, unfortunately, finding people to play non-5e games with involves playing some 5e. Community groups are always looking for more GMs to run games, so I will set out to run a number of short 5e adventures, each with different groups. These are typically oneshots that I have the option of extending for another 1 or 2 sessions.

I always run adventures that I've written myself for these, because I want my particular GMing style to really come through. Looking for players is a two way street. I'm looking for people I like GMing for, but I'm also looking to make sure they know what they're getting. Especially if I'm going to ask them to play a system they've never tried, they should know that there's going to be something they enjoy. So, these short adventures are full of the types of silly but sincere NPCs I tend to run, the open-ended scenarios I prefer, the tropes I favour, etc. If someone isn't going to enjoy playing with me, I want them to know it from this adventure.

I structure the adventures to give me a lot of flexibility in terms of how long they run. They're nearly always mysteries, but with some active component to the mystery, so that if things drag or dawdle I can have the villain show up and force a final confrontation. They're also structured to have a natural "next thing." You find and defeat the villain, but there's an implied next villain you'll be going after. That way, if the group is working well and I want to continue, it's easy to present the option to the group. But if I'm not interested in continuing with the group, the next thing can just serve as an "and the adventures continue" implied epilogue, and the game still feels complete.

I don't like players just bringing their own character sheet to the table. Someone who brings a disruptive character can ruin a session without me getting much useful information out of it, other than that I don't want to play with that person. And if it ruins the experience for the other players, I'm often out the opportunity to game with those people, through neither of our faults. I've experimented with both asking players to submit their characters in advance or making them choose between a collection of premade characters. The former is a good check for whether people will put in a basic amount of effort and follow instructions, but it can dissuade people who are just looking to dip their toes into playing for the first time. The latter can turn off players who are into crunchy games and are excited about character building. As a result, I'll usually choose the approach based on what non-5e system I'm currently most excited about running. Do I want to get together a group for a rules-light game? Premade characters it is. Looking to run some PF2e? Please submit your character sheet in advance. Some locations also do more drop-in based games, in which case it's premades all day.

As I'm running the game, I'm observing the players. There's a simple vibe check, obviously. Do I like playing with this person? But I'm also looking at how they play. What are they here for, what's exciting them? Are they struggling with finding optimal turns in combat, or do they like mastering a system? Are they curious about the world, or do they glaze over when the spotlight isn't on them? Do they light up in dialogue scenes? Do they want to try crazy things outside of their on-sheet abilities? Remember, later, I'm going to try to persuade this person to try to play a game they've never played before. I need to know what specifically is going to excite them.

I have (always with permission) recorded sessions before to go over in making these choices, but honestly even just a few small reminder notes will help me unravel things later. If a session goes well, I'll ask at the end for people to give me their contact information if they'd be interested in playing again. Non-committal, at their comfort, and it doesn't single out people that I don't want to play with. I can always just not call them. Usually I find I'm interested in playing again with a little more than half of the players I meet this way. In my experience, it's fairly rare for a player to say they're not interested in playing again, TTRPGs rule and there's a DM shortage.

What I usually do is keep running these until I have enough people in mind to run something else, even if it isn't the system I'm most excited about. Probably it would be better to spend more time in this starter phase building up more connections, but after running like 4-5 5e adventures, I'm usually more than ready to run anything else, and if I have to shelve my Lancer ideas because I've mostly found crunch-averse players, I'm usually fine with that.

So, next comes the invites. Now, most players I meet this way will eventually be open to playing most games, but listen: you can put people well out of their comfort zone for their third TTRPG, but you gotta be real careful with their second. Most of the time, the game I'm inviting people to will be their first real exposure to a non-5e TTRPG. If they don't like it, they will run back to the safety of 5e and you will never get them out of it again. So I am very careful in picking the right system for the players I am inviting.

Whatever the new system I want to run is, I will set up a pilot session for it. I am very clear to players that I will teach them the system at the session, they do not need to know it in advance. Eventually, when I have a reliable group of TTRPG people to play with, I'll expect them to be able to pick up systems without a ton of help, but for players that are only used to the complexity of 5e, the idea of learning a new system is daunting. I rehearse the teaching of the game session. It's the only thing for TTRPGs I ever rehearse, but I want to know down pat how I'm going to quickly teach a new system and make it feel approachable and non-threatening. I'm also very clear that this will be a single session, with the possibility of turning into a campaign if we like it. All of this is structured to feel very safe. No initial learning required, no long term commitment, with a GM you already know you like.

But even as safe as that is, you still have to pitch the system. Why should the player be excited about playing this new game? Don't go all TTRPG nerd on them and explain all the details of the system, or use a bunch of jargon. Give them one or two things to be excited about with short, detailed anecdotes to back them up.

"We're going to be playing Blades in the Dark. It's a game where you play a gang of criminals in a haunted, steampunk dystopia. Every session you'll do heists, but instead of meticulously planning them, you start right in the action, and when you need to have planned for something, you can do a flashback scene to explain your preparation. One group I ran this for got busted by guards during an early heist, but used a flashback to create a scene where they had gotten a buddy of theirs a job as one of the guards, and he helped them out of the situation. And for some reason they fell in love with this bumbling goof I improvised to be the buddy, and then on a bunch of future jobs they kept using flashbacks to get him jobs wherever they were robbing. So this one idiot was just a de-facto crew member who worked a dozen different inside jobs despite being about as sharp as an eraser. And eventually they fucked up and got him killed, but they brought him back as a ghost, because you can do that in Blades in the Dark."

I find using a specific example of play really helps get peoples' imaginations going, which is what is going to help them say yes. And that example is tailored to what I know that player vibes with, what it is I think that makes them a good fit for this game.

The last detail about the invites is that I'm telling them, not asking them. It is not, "Hey, are you interested in playing this new game?" It's "I'm going to be running this new game. If you're interested in playing, please let me know what times work for you." If you're asking, you're going to get some "well but can it be 5e?" If you're telling, then they can choose to learn a new game in order to keep playing TTRPGs with a GM they know they like, or they can choose not to play at all.

Once you get enough yesses for a game, you run it, and then from there you're on your own. I think those are basically just friends you have at that point, and I'm not gonna tell you how to have friends.

Hopefully at least one person finds all that useful!

[txttletale]

hello...what is this "eidolon playtest". i thought it was perhaps some kind of MTG since you like that and "playtest" but then i keep seeing like.....random character art. is this a tabletop thing. is it mtg and i just dont understand mtg. i know i can probably google this but jt seems like something you wnjoy and id like to hear you talk about it :^)

eidolon playtest is an actual play series in which the creators of the ttrpg 'eidolon: become your best self' and their friends -- as the name implies -- playtest aforementioned TTRPG. it has a pretty interesting format in which the same GM runs two separate campaigns for two different parties which slowly become more and more intertwined until they start crossing over directly. so far they have two pairs of campaigns finished, eidolon POP and ROCK (seasons 1 & 2) and eidolon SKA and DISCO (seasons 3 & 4), and season 5 (eidolon VGM and EDM) currently ongoing. they also have a couple of short mini-campaigns of 3-4 sessions each, which i'm not going to list all of because there's a lot.

eidolon playtest is really good for so many reasons i can't possibly provide a comprehensive account but here's some:

the tables are really, really good at taking something and running with it. the number of goofy, seemingly one-off jokes that get called back to and built up and end up becoming extremely serious and plot-critical has to be in the double digits by now

there is very much a lack of... for want of a better word 'preciousness' to the play -- like, one of the things i really don't like about dimension 20 is that because there is an entire production staff making all these little minis and sets, right, there is an investment and a need to put the money in front of the camera, it's basically impossible for e.g. combat encounters to be skipped or for anything to go too 'off the rails'. meanwhile in eidolon everyone will get excited when someone pulls a fucking insane plan out of nowhere that radically reshapes an encoutner, or when someone rolls/draws badly and something awful happens -- i fucking love that kind of play, where everyone is excited to see cool shit happen whether it's bad or good, and the eidolon playtest team do it really well

the characters are really good and bounce off each other really well. something i commented recently is that i love diska for the fact thaqt nonoe of the players are afraid to have their character just be a huge cunt sometimes. every campaign has some amount of interpersonal drama and it always seems like the players are really excited to have it, too. there are conflicts, some get resolved, some don't, some spiral into irreconcilable differences, some pave the way for extremely close bonds.

eidolon, the system (especially the 2e version that's used for diska onwards) is a great system which encourages fun and cool things to happen. every character has a jojo-style extremely specific power, which means that fights aren't boring slogs of people rolling dice (i hate combat in actual plays that use wargames, lol, even games with well-balanced combat systems that are fun to play often make horrible audio) but instead wacky and consistently dramatic encounters where the players make clever and creative use of their powers to take on a freak-of-the-week

the cast is just really damn good! i mentioned how the characters on all the shows have ineresting and complex dynamics, but even apart from that there's just so many characters on this show that i'm genuinely attached too, so many memorable and interesting pcs and npcs.

the show is funny as fuck!! constant laugh out loud bits throughout every campaign, often alongside the extremely heartfelt or dramatic ones. i've been refernecing a bit from eidolon disco so much recently it's been driving oen of my gfs crazy (you can buy rat poison for free at the store)

i, yknow, go back and forth on whether to mention this when recommending it bc i'm sure that the eidolon playtest folks don't, like, want to be pigeonholed as A Trans Podcast or whatever, but, like, when it feels like every AP podcast that advertises itself or is advertised as 'super queer' is like, two cis gay people and maybe one transmasc if you're lucky at an otherwise super cishet table -- it is such a breath of fresh air to listen to an actual play with a legit preponderance of transfem and nonbinary players playing all kinds of trans and queer characters.

tldr: its like homestuck but good

[anim-ttrpgs]

Disabilities and Monsters in Eureka: Investigative Urban Fantasy

Through a discussion with @vixensdungeon (great blog to follow for TTRPG stuff by the way) it came to our attention that some of our more jokey and memey posts and reblogs may have given some people a slightly skewed idea of what Eureka, and particularly the “urban fantasy” parts of Eureka are really about, and its tone. We like to joke around about it, and the “cute monster girl” angle really sells on tumblr.com, but actually playing these types of characters in Eureka is not exactly a power fantasy. They eat people, and often eat them alive. If you find that cute, funny, and/or sexy, well, Eureka is still probably just the game you’re looking for, but that isn’t the main thing. Eureka uses the fact that many of these characters necessarily subsist off the flesh and/or blood of other people as a loose metaphor for mental and physical disability.

Imagine you need something that everyone else has but you don’t. If you don’t have it regularly, you will literally start to waste away. The only way to obtain this thing is to take it from another human being, who also needs it, and others will deny that you need it, and abhor that you need it. It’s not uncommon for people, even “progressive” people, to say something along the lines of “they need to all be killed for the good of society,” even if they don’t realize that’s what they’re saying. You didn’t choose to be this way. This is the reality of monsters in Eureka, and many people in real life.

And then even when you have that thing you need, for now, there are many facets of society that you just can’t participate in because your condition makes them impossible for you, like if a vampire wanted to take a run on a sunny beach. Monsters in Eureka will be challenged by their supernatural weaknesses at every turn, while hiding their abhorrent needs from society and even the rest of the party, and asking why they have to be this way. Finding clever ways to get around and circumvent their weaknesses is a core part of the gameplay of monster PCs in Eureka. Imagine you and your friends want or need to go somewhere, but that somewhere is on the other side of a river. The river has a well maintained bridge. For everyone else but you, a vampire who can’t cross running water, getting across the river is the simplest task in the world, so much so that no one would even consider it a task, but for you, it’s a challenge, and for gameplay, it’s a puzzle.

It isn’t totally hopeless, as many of the jokes and fan comics show (those aren’t just memes, they’re only showing one side of the coin and not the other). Monsters who accept, or even embrace and celebrate their monsterhood, can and do exist canonically, alongside monsters who can’t bear to do what they do. In some cases, these may be the same monster on different days.

I’m going to conclude this post by posting two excerpts from the rules text itself.

Disabilities are Disabling

So why don’t disabilities grant any advantage? It isn’t too uncommon for RPGs to have some sort of “flaw” system, where during character creation you can give your character “flaws” or some kind of penalty, and usually get that balanced out by being able to add extra bonuses elsewhere. Sometimes, these “flaws” may take the form of disabilities.

One particular high-profile indie TTRPG takes this beyond just character creation, and makes it so that if a PC receives a “scar” in combat that reduces their physical stats, their mental stats automatically go up by an equivalent amount, and proudly imply that to make any mechanic which results in permanent consequences or makes disabilities disabling is ableist. We think you can probably tell what we think of that from this sentence alone, and we don’t need to elaborate too much. 

We do think, in the abstract, “flaw” systems in character creation are not a bad idea. They allow for more varied options during character creation, while preserving game balance between the PCs.

But in real life, people aren’t balanced. The events that left me injured and disabled didn’t make me smarter or better in any way - if anything, they probably made me dumber, considering the severity of the concussion! Some things happened to me, and now I’m worse. There’s no upside, I just have to keep going, trying harder with a less efficient body, and relying more on others in situations where I am no longer capable of perfect self-sufficiency.

A disabled person is, by definition, less able to perform important daily tasks than the average person. To deny this is to deny that they need help, and to deny that they need help is to enable a refusal to help. This is the perspective from which Eureka’s Grievous Wounds mechanic was written.

When a character is reduced to 1 HP (which by design can result from a single hit from many weapons) they may become incapacitated or they may take a Grievous Wound, which is a permanent injury with no stat benefits. Grievous Wounds don’t have to result from combat, they can also be given to a character during character creation, but not as a trade-off for an extra bonus.

“But then doesn’t my character just have worse stats than the rest of the party?” Yes, haven’t you been reading this? There is no benefit, except for the opportunity to play a disabled character in an TTRPG. This character will probably have to be more reliant on the rest of the party to get by in various situations. Is that a bad thing?

Monsters Essay

All investigators in Eureka: Investigative Urban Fantasy are regular people. They can also be a monster, like a blood-sucking vampire or a broom-riding witch. Importantly, this works because despite their unique nature, monsters are still regular people. You can read more about this in Chapter 8, but the setting of Eureka does not have a conspiracy or “masquerade” hiding supernatural people from normal society. Though they are still largely unknown to modern science, they exist within normal society - and a lot of them eat people.

The default assumption in RPGs has been that monsters are just evil by nature, doing evil for evil’s sake. RPGs that seek to subvert this expectation often instead make monsters misunderstood and wrongfully persecuted, but harmless. Eureka takes a wholly different approach.

There are five playable types of monsters in the rulebook right now, and it’ll be seven if we hit all the stretch goals, but for simplicity’s sake this discussion of themes will just focus on the vampire. Despite them applying in different ways, the same overall themes apply to nearly every monster, so if you get the themes for the vampire, you’ll get the gist of what Eureka is doing with its playable monsters in general.

Mundane investigators have to keep themselves going by eating food and sleeping (see p.XX “Composure” for more information). Well, vampires can’t operate the same way. They don’t sleep, and normal food might be tasty for them as long as it isn’t too heavily seasoned, but it doesn’t do anything for them nutritionally. Their main way to keep themselves functioning is fresh living human blood, straight from the source. To do what mundane PCs do normally by just eating and sleeping, vampires have to take from another, whether either of them are happy with this arrangement or not. They do not, of course, literally have to, and a player is not forced to make their vampire PC drink blood, just like you reading this in real life don’t literally have to eat food. You do eat food if you want to live in any degree of comfort or happiness, and vampires do drink blood or they eventually become unable to effectively do anything.

This is numerically, mechanically incentivized and not simply a rule that says something like “this character is a vampire and therefore they must drink blood once every session,” to demonstrate that the circumstances a person faces drive their behavior. In America, there is a tendency to think of criminality and harm done to others as resulting from intrinsic evil, but people do not just wake up one day and decide “I think I’ll go down the criminal life path.” Their circumstances have barred them from the opportunities that would have given them other options. 

People need food; food costs money; money requires work; work requires getting hired; but getting hired requires a nearby job opening, an education, an impressive resume, nice clothes, charisma, consistent transportation, and so on. For people without other options, crime becomes the only method left to meet their basic needs. Would you rather take what you need from other people, or go without what you need? There are people who don’t have the luxury of a third option. Failure to meet the needs of even a small number of people in a society has high potential to harm the entire society, not just those individuals whose needs are unmet.

As their basic need for blood becomes more and more difficult to ignore, a vampire is going to encounter much the same dilemma. There is really no “legal” or “harmless” way for them to get their needs met, even if they do have resources. Society just isn’t set up for that. And no, your kink is not the solution to this, trying to suggest every vampire just find willing participants who are turned on by vampires or being bitten is suggesting sex work. It’s one step removed from telling a girl she should just get an OnlyFans the minute she turns 18, or that women should just marry a rich man and be a housewife that gets their needs taken care of in exchange for sex and housekeeping. Being forced into such a dynamic isn’t ethical or harmless for the vampire or for their “clients.”

“Oh well, then the vampire should just eat bad people!” You mean those same bad people we just described above? Who gets to decide which people are “bad people?” Who gets to decide that the punishment is assault or death?

Playable monsters in Eureka are dangerous, harmful people. They were set up to be.

Society not being set up in a way that allows monsters to make ethical choices brings us to the next theme: monstrousness as disability, and monsters as “takers.”

Vampires have to take from others a valuable resource that everyone needs to live, and the extraction of which is excruciatingly painful and debilitating. No one knows what happens to blood after a vampire drinks it, it’s just gone. Vampires are open wounds through which blood pours out of the universe.

This is a special need, something they have to take but cannot give back. Their special needs make them literally a drain on society and the people around them. In the modern world, there is a tendency to feel that people must justify their right to life, that they must pay for the privilege of existing in society. This leads people to consider “takers” (people who take much more than they give back, such as disabled people) as something that needs to be pruned away for the betterment of everyone else. Even many so-called “progressives,” while they claim not to agree with pruning “useless eaters,” still hold the unexamined belief that people must justify their existence. To reconcile these two incompatible ideas, they instead simply deny that disabled people take more resources than most people, and are capable of giving back less. This sentiment is perfectly illustrated by the aforementioned game’s insistence that disabilities are never a net reduction of a character’s stats.

Vampires and other playable monsters are inarguably “takers,” but in positioning them as protagonists right alongside mundane protagonists, Eureka puts you in their shoes, and forces you to acknowledge their inner lives and reckon with their circumstances. You have to acknowledge two things: first, that they are dangerous, that they are harmful, that they take more than they give - and second, that they are people. Because they are people, Eureka asserts that they have inherent value, a right to exist, and a right to do what they need to do to exist. (We also acknowledge that their potential victims have a right to do what they need to do to exist and defend themselves, but that is a separate discussion.)

One final point to touch on is mental illness. Mental illness is a disability, one pretty comparable to physical disability in a lot of ways, so all of the above points can apply to this metaphor as well, but there are a few unique comparisons to make here.

It’s not the most efficient, but there are a couple of loopholes deliberately left in the rules that allow vampires to sometimes sporadically restore Composure (and thus their ability to function) without drinking blood. Eureka! moments and Comfort checks from fellow investigators can restore Composure.

When writing the rules, we came to a dilemma where we weren’t sure if it was thematically appropriate for monsters to be able to regain Composure in these ways (since it could lessen their reliance on causing harm), but ultimately we decided that yes, they can.

People with mental illnesses may have the potential to be harmful and dangerous, but all the information we have access to has shown that mentally ill people with robust support structures and control over their own lives are much less likely to enact harm, whether through physical violence, relational violence, or violence against the self. This is why we kept that rule in for playable monsters. Being able to accomplish their goals, and having friends who are there for them, makes that person less likely to cause unnecessary harm.

Vampires are especially great for demonstrating this because they’re immortal and they always come back when “killed.” They can’t be exterminated, they aren’t going away, there will always be problem people in society, no matter how utopian or “progressive.” Vampires are a never-ending curse, who will always be a problem whether they like it or not. The question is how you will grapple with their inevitable presence in society and how you will treat them, not how you will get rid of them.

Eureka is as much a study of the characters themselves as it is the mystery being solved by the characters. It is a game about harsh realities, but it is ultimately compassionate. It argues through its own gameplay that yes, people do have circumstances which drive their behavior, people do have special needs that are beyond their ability to reciprocate, many of those people do cause harm or inconvenience to others, and all of them are still valuable. 

Elegantly designed and thoroughly playtested, Eureka represents the culmination of three years of near-daily work from our team, as well as a lot of our own money. If you’re just now reading this and learning about Eureka for the first time, you missed the crowdfunding window unfortunately, but you can still check out the public beta on itch.io to learn more about what Eureka: Investigative Urban Fantasy actually is, as that is where we have all the fancy art assets, the animated trailer, links to video reviews by podcasts and youtubers, etc.!

You can also follow updates on our Kickstarter page where we post regular updates on the status of our progress finishing the game and getting it ready for final release.

Beta Copies through the Patreon

If you want more, you can download regularly updated playable beta versions of Eureka: Investigative Urban Fantasy earlier, plus extra content such as adventure modules by subscribing to our Patreon at the $5 tier or higher. Subscribing to our patreon also grants you access to our patreon discord server where you can talk to us directly and offer valuable feedback on our progress and projects.

The A.N.I.M. TTRPG Book Club

If you would like to meet the A.N.I.M. team and even have a chance to play Eureka with us, you can join the A.N.I.M. TTRPG Book Club discord server. It’s also just a great place to talk and discuss TTRPGs, so there is no schedule obligation, but the main purpose of it is to nominate, vote on, then read, discuss, and play different indie TTRPGs. We put playgroups together based on scheduling compatibility, so it’s all extremely flexible. This is a free discord server, separate from our patreon exclusive one. https://discord.gg/7jdP8FBPes

Other Stuff

We also have a ko-fi and merchandise if you just wanna give us more money for any reason.

We hope to see you there, and that you will help our dreams come true and launch our careers as indie TTRPG developers with a bang by getting us to our base goal and blowing those stretch goals out of the water, and fight back against WotC's monopoly on the entire hobby. Wish us luck.

[theresattrpgforthat]

Mint Plays Games: Changelings, Trauma & Gaming

Over the course of October and November, I returned to one of my favourite ttrpgs of all time with @thydungeongal and my girlfriend: Changeling the Lost. About once or twice a year, I get the itch to run the 1st edition of this lovely, lore-heavy game, and every year I come away from it thinking about its potential. This is meant to be a quick break-down of my latest Changeling session, as well as a reflection on the parts of Changeling that really touch my heart.

The Game.

This game happened over three sessions, involving a character creation session, and two sessions of play. We had one character who was a Darkling Gravewright - folks who dealt with the dead in their time in Faerie (and can also see ghosts), and another who was a Fairest Flamesiren, whose entire deal is about burning bright, but also burning out quickly.

I decided to give these girls a murder mystery, with a mortal body found just outside a gate to a Goblin Market, and a missing changeling to track down. We’d talked about themes of grief and addiction prior to my planning stage, so I figured dealing with both a death and a place that offers your wildest dreams (for a price) might be a good place to start.

I don’t like planning out specific plot beats in my games, so instead I tried designing the Market like an adventure location, with various vendors to tempt the players with their wares, while dotting the landscape with NPCs in various states of distress. I figured the Changelings would pick something that resonated with them, and we could go from there. This process also generated a few different villainous characters who could be responsible for the murder, which I’m glad I did, because as usual, what the players decide to do always falls outside the bounds of what the GM plans for.

The story ended up being about saving a kidnapped changeling from a hungry Fae, and bluffing through a group of Privateers (read: mercenaries) and bringing the victim to safety. However, they didn't escape completely unscathed - coming face to face with a True Fae caused a cascade of terrible memories coming back to visit one of our characters right after she thought she'd made it to safety.

Our session was an introduction to the world and lore of Changeling, and I feel like I did a pretty good job on that front. On the other hand, I felt like it was just the tip of the iceberg when it comes to the things I think Changeling can be about.

The Potential

When it comes to the World of Darkness in general, I think Changeling: the Lost has a relatively sleek amount of lore regarding the various Courts, Seemings, and faerie characters. Each Changeling’s durance can be typified, but ultimately what they went through can be up to the player who designs them, and the Hedge is limitless in its weird and strange creatures, which gives the GM license to create all kinds of goblins and monsters to fit what they want their game to be about - and the players aren’t really expected to know what’s going on in there anyways. Most Freehold history exists in rumour, because talking too openly about it feels like you’re inviting the Fae to your front doorstep, and in the same way, the true nature of the Fae is left up to rumour and superstition, allowing your group to decide what they really are, or leave their nature forever a mystery.

That being said, the toys that you can play with are still more numerous than anything that you can fit into any one campaign, even if you’re playing that campaign for 4+ years. You can very easily play Changeling as a magical urban fantasy game (and I’ve done this fairly regularly with my group), but C:tL also has a lot of poignant themes that can delve into themes about trauma, addiction, and mental health.

Disclaimer: CtL is not always graceful in the way it represents mental health. There are antagonists presented in the books that come across as “madmen”, some pretty gross Merits you can take that can feel bad to play at most tables, and characters that have lost what makes them human, becoming threats to the players. However, I think that the Clarity system does have some interesting ideas in it that, if treated with care, can still provide some interesting depth to the game.

Clarity

Clarity is meant to be a measure of how well your character can tell truth from Fiction - a high enough Clarity score, and you can sniff out a Fae even if they’re trying to hide themselves; a low enough Clarity Score, and you have a hard time differentiating colour and smell, and might even start seeing an overlay of your Durance infiltrating your weekly grocery trip.

Your Changeling moves up in Clarity if they’re able to keep a stable life with elements that help you ground yourself and give you a sense of identity - and mechanically, once you spend Experience points. Your Changeling moves down in Clarity when they suffer “sins” - moments that disrupt that hard-won stability. This sins could be something we’d consider morally fraught, such as stealing, assaulting someone, or murder - but they could also be significant life changes, like losing your job, buying a house, losing a friend or getting married. You also always suffer a Clarity sin when you come in contact with a reminder of your durance - particularly a True Fae.

The higher your Clarity score is, the harder it is to keep yourself there. Smaller and smaller things can trigger a Breaking point, like going a day without human contact, starting a new college course, or using a Faerie token. Furthermore, the lower your Clarity score, the more difficult it is for you to tell truth from fiction - think of the scenes in Mockingjay where Peeta has to ask Katniss “real or not real” and try to trust her answers.

It doesn’t help that so many pieces of the Changeling experience after getting out of the Hedge seems designed to Fuck You Up - like the doppelgänger that’s been living your life ever since you left, or the fact that mortals can’t seem to notice the ways that Faerie has changed you: you can feel the horns on your head, but all they touch is a well-coiffed hairstyle. In many ways it feels like your whole experience with Faerie is invisible - and you’re fairly certain that even if you told a mortal the truth, they’d never believe you. If they did believe you, they would never treat you the same again.

I like this system because it doesn't really measure how "good" or "bad" your character is - instead it's a representation of how your lived experiences can often trigger symptoms even if others get lucky enough to survive those events with their mental health intact. I'm not a bit fan of derangements - but I think dropping in Clarity is an excellent time to ask characters about pieces of their time in Faerie that haunt them, and perhaps saddle them with Frailties instead - what personal rules do you have to follow in order to navigate the world when you have a hard time telling friend from foe?

Other Themes & Metaphors

The Fae themselves are also exquisite boogeymen, mercurial abusers without the familiar human emotions that we might feel more equipped to understand. They act on their whims and follow their appetites - and while real-life abusers often have very human reasons for being that way, we need not feel such compunctions from the Fae.

We might have to feel some compunctions about their right-hand Loyalists however, changelings who have agreed to work for their Fae Masters in exchange for some semblance of freedom. These are enablers: giving the Fae a step into the mortal realm and throwing mortals and other Lost under the bus, just so the True Fae won't turn their abuses back onto them.

Much of the ethos of the seasonal courts in the first edition has to do with different strategies for preventing a day where you find yourself back under your abuser’s control. Do you pretend that everything is fine, because they won’t recognize their victims if they’re happy? Make yourself physically stronger so you can tell yourself that you’ll win next time? Amass magic rituals in the hopes that learning just the right order of steps will keep you safe? Or do you make yourself as un-interesting as possible in the hopes that they give up on you for other prey? (Yes, I think the Winter Court could totally be all about grey-rocking).

On top of that, the Changelings that your characters embody (and interact with) are far from perfect. They have vices, fears and trauma responses that pull and push them into a dance of backstabbing, power-grabbing politics, full of seeking the upper hand and possibly even selling out their fellows in a gambit meant to keep the Fae focused on someone other than them. (A political game or LARP with these themes in mind feels so juicy to me.)

Next is the metaphors of power and/or addiction. The higher your Wyrd is, the more Glamour you can hold, and the more powerful your magic is. At the same time, the more Glamour you can hold, the more you need to hold it: what starts as a fun magical resource can grow into an addiction, if you lean into it hard enough. Sure, your Contracts become easier to activate and you can Incite Bedlam if you get powerful enough, but are you willing to chance withdrawal if you can’t get your daily fix of goblin fruit? How much are you willing to play with human emotions in order to get that sweet sweet taste of anger or grief?

Then there’s the seeming-specific traumas. Beasts struggle with wondering whether they can be human after giving in to animal instinct; Darklings fell into Faerie because they crossed an invisible or moral line and have had to make morally questionable decisions in order to survive. Elementals are used to being treated as part of the scenery, moulded to fit the whims of their captors; Fairest are constantly pressured to be the prettiest or the best with the threat of terrible terrible things should they fail. Ogres have undergone terrible physical hardships, including physical mistreatment and deprivation, while Wizened have been told time and time again that they are only worth something if they are useful. Stepping out of Faerie doesn’t magically “fix” any of these complexes, and as a result each Seeming has to wrestle with stereotypes even amongst their own: if you need someone murdered, go to a Darkling, If you need something made, go to a Wizened. If you need a hot piece of ass, a Fairest is sure to oblige - right?

Lastly, there's the Fetch: a copy of yourself that was made to replace you when the Fae took you away. This other-you is often so much better or so much worse than the person they used to be - they can act as a foil to your character, haunting you or making your life difficult, reminding you of who you used to be, or never letting others forget how badly you may have screwed up. In Changeling society, killing your Fetch is at the very least a regrettably convenient way of tying up loose ends, and at the most, a rite of passage. But it's also a surefire way to risk losing Clarity. Kind of a catch-22 situation, isn't it?

My Experience So Far

Past Changeling sessions I’ve run have included NPCs getting kidnapped by misguided friends, stumbling across characters who were at an all-time Clarity low, trying to save other Changelings from their Faerie kidnappers, cannibals, Fetches, and antagonists who are set out to betray one or more factions of the Freehold that is supposed to protect them. It’s always bits and pieces of what feels like a bigger picture.

On the one hand, I think that's to be expected. There's so much in this game, and I doubt that any campaign can really dig in to all of its systems and complexities. On the other hand, I’m not sure if I’ve been able to really dig into the themes of Changeling: the Lost in the way that I’d really love to be able to do.

The subject matter can be so close to real struggles, that I’m nervous about making those struggles too bare-faced at my local table. Gas-lighting, torture, hallucinations, drug abuse and cannibalism are so very easy to drop into a Changeling game, but are also so very easy to hit uncomfortable moments for someone who's unprepared.

At the same time, I think that playing a game like Changeling with a high-trust table that uses robust safety features has so many interesting stories that can give power to players, even if the setting is technically a horror one. I’ve been having conversations with @psychhound about a lot of the themes that folks try to explore in ttrpgs, especially in response to this post he commented on back in April. To summarize that conversation: TTRPGs are a great way for folks to tackle personal struggles and traumas from a safe place, in ways that can give them a cathartic experience or that can give them a fresh sense of identity. Changeling has been a significant part of those discussions.

I came to Changeling: the Lost as a fairly new GM the first time I picked it up, and the more I learn about Safety Tools and a culture of care, the closer I feel to getting to that game that lives in my head that lured me into TTRPGS in the first place. Every time I come back to It, I think I'm closer to pulling together a Changeling game that sinks its teeth into the themes I’m interested in and hit some of the grime beneath all that glitter. So every time I come back to it, I’m going to create funky little goblins and design weird Fae bars and take the characters’ memories and ask them why they hurt - figuring out how I can twist the knife just enough to peel back the glamour, without opening any wounds that we’re trying to keep closed.

[thydungeongal]

i think players now really can't comprehend how dire it was in the tabletop scene back in the 80s/90s/early 00s. the neckbeard creeps had an absolute stranglehold on the scene, and there wasn't the internet to just "find another group". one or two GMs on a whole college campus, one game store in town to get dice and books and find other players (that was run by a known sex pest but stayed open because it was the only one in 200 miles).

women, queers, POC, we all had to want to game so badly that it was worth putting up with the gauntlet of harassment. most folks who might have otherwise been interested just avoided the whole mess, or played WoD with the theater kids instead (which was its own, different flavor of horrible racist mess). it sucked so bad! it's so much better now!

Agreed. And like. I had the "benefit" of being a clueless "cis" guy who just felt vaguely uncomfortable with the wider D&D culture. And it still sucked, and I'm glad things are better now!

But that's also why I feel very strongly about not laundering D&D's reputation as a game that was always a refuge for weirdoes and outsiders, because it stinks of revisionism and also ends up undermining the actual work that went into making the hobby more welcoming. In many ways, corporate D&D is just following the trajectory of spaces created by queer folks within the wider TTRPG hobby. Before the modern idea of D&D as a queer game even existed, a whole bunch of designers had been already doing all kinds of gay shit with RPGs since the nineties and really gaining momentum in the 2000s and 2010s.

D&D didn't suddenly make the hobby friendly to queer people: queer people made the hobby friendly to queer people and then D&D followed suit. This is not something where we need to hail D&D as a pioneer.

[calder]

a fallout fan and mod developer facing housing insecurity has requested my help.

Hello, my name is Ying and I am seeking aid for me and my father. As we have been sent spiraling into finical hell. due to medical bills and his dementia...but also me being disabled. hope I have done this all correctly. if anyone has questions I should be able to respond quickly! Any money will help (willing to share expense paper work) but also advice! https://gofund.me/cbabf1b9 paypall: yingyanglord@gmail.com My dad is 77 I am 25. overall our monthly utilities outstrip our income (from dads SS). I am currently seeking disability to support myself but its a long road with many long appointments and long processing times. We live in a rural section of the united states which also increases costs, via instacart, water deliveries and medicine deliveries. Added onto that is the mountain of overdue bills that my dad didnt pay when he could due to declining mental health. we have around 10k in bills from medical and accidents caused by his declining mental health. Anachorite (cool name) also advised to add more info, I am long time fallout fan ,in my spare time I even occasnal run fallout ttrpgs (vaults and deathclaws). I am also a fellow queer person - Genderfluid agender and bi. I have a lovely cat who bites me some times. I have a massive hole in my leg , seizure disorder, audhd and dsylexi which you may be able to tell from the message. my dad and cat both depend on me for care but also my friend group they are like a family to me and vice versa. I hope that covered everything.

let's do what we can to help this disadvantaged fan. signal boosts appreciated, and even small donations will make a difference in their quality of life right now. many blessings.

[as-if-and-only-if]

I'm interested in forming a sort of...math & physics reading group network. well, with some very important modifications to the concept of "reading group".

for example, right now, I'd like to learn algebraic geometry, qft, and/or refresh myself on representation theory with someone—maybe just one or two people—meaning that traditionally, we'd pick a text for one of these topics, discuss the material (asynchronously or synchronously?), exchange exercises, etc.

but currently (being Between Institutions), my best bet is posting on tumblr. and that's a pretty good bet, tbh! there are a lot of us here!

though, wouldn't it be great if there were a way to coordinate groups like this across institutions? you make a post proposing a group, specifying your goals and constraints...

even that would be a boon. but I think the concept of a "reading group" itself could be changed in interesting ways. this is what I'm really interested in.

there are variations among reading groups themselves already. sometimes you have directed reading groups, where someone already knows the material and "leads" it; some people are looking for more or less people involved; and there are probably things to explore for making sure that reading groups stick through it instead of falling apart when some motivation flags. default meeting times help with this, for example.

there are many experiments to be done! I think lessons for group-making can be taken from a maybe-surprising source: theater. there are a lot of things that make groups which put on shows more robust and rewarding than reading groups. a sense of building to something; many factors that create informal group cohesion (e.g. such a structure should make sure it creates more-informal "cafe" time in addition to more-formal "practice" time, just as rehearsal in physical spaces facilitates that casual sort of interaction on its periphery); ways to get into the right headspace during discussions (just as warm-ups do in theater; the engagement with this material is an event); clear goals (e.g. "understand ___"); successive shared accomplishments...to that end I wonder if it makes sense to form math troupes, which do successive reading groups together, drawn from its members.

it might be useful to envision some sort of public-facing artifact created as the culmination of this learning, whether a presentation, or an article, or some novel application or research...the crucial question is: how do we choose a goal that we find meaning in?

one idea, for example, is to have a collection parallel reading groups learning different things, and end by presenting to each other! that way we know what we learn will be meaningful to others, too, from the beginning. in general, I think it's important to feel that our own development of insight and understanding can be meaningful to others and to the group. it's nice to participate; it's nice to be able to offer something that is valued. what form can this take? how can you set up the interactions such that everyone has a part to play, and so this meaningfulness is tangled up in participation in the group?

I've also got a couple of ideas for "activities" that let us engage, re-engage, and play with the concepts we're learning with each other, beyond the text itself. how can we give ourselves the opportunity to toss around the concepts we're learning? I believe that the fun ultimately comes from the understanding itself, and therefore that any group exercise which lets us effectively play with the ideas will be fun.

it's a lot to ask people to come up with structure like that themselves, but using a pre-existing structure is not so difficult! sort of like how it's hard to make a TTRPG itself, so simply saying "go off and roleplay" isn't that helpful, but it's easy to use the structure of an existing one to run a game.

you might say, well, the existing form of a reading group is fine. okay! existing reading group structures can be low-stakes, relaxed, and accessible...but they can also fall apart easily (especially when not tied to an institution, in my experience), and you have to get lucky to find a truly rewarding one. I find reimagining our mechanisms of learning pretty exciting, and I think the space of ways to learn math with each other is underexplored at this level (emphasis on the with each other). there's a lot of potential!

anyway! reply or tag with "!" if this is something you could maybe be interested if done well? or if you're at least curious! I'm just taking a temperature. :)

[synchodai]

"Mystra groomed Gale" takes rustle my jimmies like no other. I get how some people who don't know much about her beyond BG3 may have this interpretation, but if you're like me, a woman who's been playing since the days of AD&D, you'd understand why accusing Mystra of being the bad person in this scenario may hit a nerve.

TL;DR: Did Mystra take advantage of Gale's devotion to her as his goddess? Definitely, she's a Faerûnian deity — they subsist on worship and adulation. Does that make her his abuser? Eh... man, maybe it's high time that a lot of us learn different terminology for unhealthy relationship dynamics other than abuser-victim. I've seen a couple of posts that are really gung-ho about forcing every companion character to be some sort of abuse victim, because that's what they've decided the game is about. I mean, they're free to interpret the game that way, but damn, we're really out here flattening god, the very concept of magic itself, into the role of an abusive ex, huh? A fantastical, nuanced relationship between mortal and immortal set against the backdrop of a rich palimpsest multiverse digested like a YouTube drama video.

Let me try to explain my perspective by going through the history of Mystra, how she's utilized in Forgotten Realms lore, and treated within D&D games in general.

MYSTRA THE MAN-EATER

Since her creation, she has always been depicted as the sexy goddess whose main purpose was to be a wizard player's muse as well as their patron. Back then, D&D (and TTRPGs in general) was a heavily male-dominated hobby, so Mystra (and Mystryl, her avatars, and all her other incarnations) was catered and shaped by that demographic.

Because it's the player characters and Wizards of the Coast who have narrative agency and many of them want to fuck a goddess, they make stories where Mystra comes on to them because their character is just so good at magic. They designed Mystra to be a mysterious, beautiful love interest because they wanted to use her as the crown jewel of their power fantasy of being a super cool and powerful magic man. You can pretty much see this in the Elminster books and the Avatar series with Midnight (one of Mystra's avatars). Gale himself seems to be an exploration of this typical kind of wizard character.

As far as power fantasies go, making the goddess of magic have an intimate relationship with a mortal character is fine. It's the ultimate validation for a burger-flipper when the god and all source of burger-flipping is head over heels in love with them. It also doesn't have to have a sexual component to have "magic" and the magic system itself enamored with a character — depending on the game and DM, Mystra's favor can be entirely symbolic and metaphorical. A fine power fantasy in the power fantasy generation game.

So because everyone literally wants a piece of her, you end up with Mystra having more Chosen running around than any other god. Understandable given what she has to do to maintain her massive portfolio. It fits her as the personification of magic — someone who entices ambitious young spellcasters but burns them out through obsession and overreaching. Consume any Forgotten Realms-related media, and you've probably come across at least one campaign, novelization, or character backstory that use Mystra for the role of sexy sorceress goddess that's the alluring (yet often demanding) patron of some magic man. Whomst amongst our wizards haven't been visited by Mystra in the night ordering him to do plot point, he rolls to seduce her, and she has no choice but to admit that she's actually attracted to him because the dice said so? It was a community inside joke passed around tables: Mystra the Man-eater.

But then some BG3 fans started taking the joke seriously...

MYSTRA THE GROOMER AND WHORE

This piece of dialogue has done so much irrevocable damage.

Some (Galemancers specifically) have interpreted this to mean that Mystra is known to go after young men. She does not. She has more documented Chosen than other gods due to her massive portfolio and power level, but there are just as many female Chosen as there are male Chosen. Minsc, like most of us in this fandom, is speculating and doing so in a way that uplifts Gale at the cost of taking a bit of a jab at Mystra.

"Mystra's a whore. She boned Kelemvor and Elminster and so many of her Chosen, taking advantage of them as a goddess," they say as if she didn't have her romantic relationships all as different people and in different bodies. Her avatar Dasumia was the one who had an intimate relationship with Elminster, and it was the human Midnight (who later ascended to become Mystra) who was Kelemvor's lover (who himself was a mortal adventurer at the time).

This is why Mystra is, how other people put it, "a whore." Because WotC canonized a handful of those stories where different sexy female mage love interests whom otherwise have nothing in common are slapped with the Mystra label for one reason or another. Sometimes they're mere avatars or magical projections, sometimes they're actual people possessed by Mystra, and sometimes they're destined to be the new Mystra but don't know it yet. But those sort of nuances are lost to people who learn their lore secondhand from deliberately provocative tweets and reddit posts, flattening extremely fantastical relationships to clumsily fit a more relatable framing that'll net them more online engagement.

I don't want to argue what is and isn't grooming. But I have encountered arguments taking Gale's mentions that he was "a young man" to mean Mystra groomed him as a child. But I doubt he would have said "young man" if he meant child...

Mystra took off the gossamer veils from her body to fully reveal herself to him — or whatever romanticized way Gale tells you that they were intimate. The man speaks in half-abstraction and metaphors because it's revealed later on in the romance that all their love-making happened outside the Material Plane. They were very intimate, but never physically had sex (or had any physical contact at all because gods are only allowed to interact with mortals through their avatars or projections). If Mystra "groomed" Gale, so did every other god who revealed themselves and made themselves vulnerable to their followers. Shar grooms her justiciars when she brings them into her dark embrace. Umberlee grooms her clerics when she swallows them up and gives them her wet kiss.

MYSTRA IS A FAIR GOD ACTUALLY

Look, gods in D&D-verses are, more often than not, dicks. They have to be or else there would be no need for adventurers to fix wrong-doings if the gods weren't so detached to the suffering of mortals and regularly making earth-shattering calamities.

Mystra, as a patron, is actually one of the more fair and hands-on dieties. She's one of the few gods who rewards benevolent ambition and punishes destructive hubris, knowing the line between the two. In the Elminster series, she (or one of her avatars) assists Elminster in taking down one of her rebel Chosen who has abused her blessing to become a tyrant. Azuth, one of her Chosen, has achieved godhood through her. In fact, she is divinely obliged — forced against her will, some might say — to help mortals she would personally rather smite. There have been so many instances where Mystra has to be the bigger person. As far as gods abusing their followers go, Mystra is low on that list.

There are barely any stories of magic abusing spellcasters, but there are cautionary tales aplenty of spellcasters abusing magic.

ON GALE SPECIFICALLY: HOW IS MYSTRA THE BAD GUY HERE?

Gale is the first to tell you that he "violated her boundaries." Mystra told him not to mess with the Tome of Netheril and he did it anyway, so he's fully aware that the orb in his chest and his fall from grace is his own fault. Mystra didn't cast him aside just because she felt like he was getting too big for his britches. His actions actively endangered her and the Weave.

(Mystra is wrong about certain details on the Karsite Weave if we're going by Forgotten Realms lore, but she's not wrong about its existence being a danger. BG3 takes a lot of liberties with the world Faerûn, so I can't definitively say whether Mystra being wrong was her lying, Larian rewriting canon, or this incarnation of Mystra not knowing the true nature of the Fall of Netheril. I could go on about what effects the Karsite Weave actually would have on magic, but this post is already long enough. )

Gale only starts to resent Mystra when she asks him to detonate himself. Elminster makes it sound like an order, but from the way she doesn't punish him in the epilogue if he chooses to keep the orb, it feels more like a suggestion. If Mystra wanted Gale well and truly dead, she has so many options.

Throughout Faerûn's history, Mystra herself has constantly been betrayed and taken advantage of — her power coveted by ambitious men who claim to worship and love her. Honestly, as far as goddesses with traumatic histories of being killed by ambitious men go, she's pretty chill about Gale. The fact that she allows him to become the god of ambition in the end if you choose that path? Well... let's just say she's not the one who looks like the evil ex who was only with their partner to take advantage of them in this scenario.

CONCLUSION

Mystra isn't the only goddess to have romantic relationships with her followers. I've already yapped on about how Forgotten Realms writers and D&D players love to make goddesses fuck their heroes, and all that pearl-clutching over "power imbalance" and "consent" is moot when the mortal party is actively rolling to seduce the divine entity.

But notice how the male gods rarely have intimate relations with their mortal charges? It's almost as if Mystra was objectified for years by horny nerds to be the sexy sorceress who validates the more important male hero. Fast forward years later, she's now being slut-shamed for all the lore of her sleeping with the more important male hero by a new crop of fans who would love to think they're more progressive than the horny nerds of the 80s, but fall into the same trap. Mystra has so much potential for complexity, but they choose to flatten her because they ultimately don't care about making stories involving complex female characters.

Instead, one of the most powerful beings in Faerûn has no bigger role in this universe than to be your girlfriend or your current boyfriend's evil ex. Wow, the realms of your creativity and respect for women truly know no bounds.

[toy-dragon]

Part of my New Years Resolutions involves trying to play more of the ttrpgs in my collection, and tonight I just finished running the first session of @anim-ttrpgs 's Eureka: Investigative Urban Fantasy.

Now, looking at this book (October public beta for most I bet) it looks intimidating. 600+ pages with a lot of rules.

I read through it in chunks during my work hours, small bits at a time with a few big reads on my computer. I read through certain sections again, trying to figure out how all the rules slot together in the abstract.

Then, a hilarious opportunity happened in their patreon server, people wanting to play Eureka, so I volunteered. I figured, hey why not. This could be a good time. I got an older converted module they run in their public book club and spent the time setting up and asking a handful of questions about certain bits.

Admittedly, I was a bit nervous to run it. It has been a while since I ran a game for people I didn't know well, and I felt a bit under prepared despite my preparations and note-taking.

Eased my worries a bit that a few of my players had run it before, and was getting really excited about all their characters as they were sending me their ideas and thoughts about them.

After tonight, I am shaking everyone by the shoulders to go play it, oh my god. Not only was it really easy to run, I had such a good time despite my stuttering start to the game. While I was a bit disorganized in the initial start, trying to get my legs under to set up the first scene, it was wonderful watching everyone start having their characters interact with the funeral and each other and it felt very natural. Setting up Roll20 so that everyone was using GM rolls, so only I saw all their results, but would talk about rolls required and would hurriedly whisper them their info or answers to their question if it was a bit more complicated than a yes/no. And if you're like "Hey, what about their rules about Splitting the party? That seems incredibly weird?" At first, yes, I thought that too initially, but knew what they were emulating, but it didn't quite click reading it. We played in Discord, so I set a time limit of about maximum 10 minutes each separate group just to try to give enough breathing room and still keep it snappy. I had players deafen themselves as needed and then would ping people if their turn was up. I see posts from players saying how wonderfully helpful this is to keep track of things and stay in the session, and how it leads to relationships developing wonderfully. As the Narrator, it was actually super helpful for me! Because it would help both with breaking up the scenes neatly, but also helped to get into the heads of the NPCs around the investigators in different scenes, especially when time had passed. One scene had some of the investigators running off on their own while the rest stayed behind at a funeral to talk to an NPC to try and figure out more things, and then later on two of the investigators accepted her invitation to the after funeral dinner and it was so helpful to be like "Okay, so she's at dinner with family and a friend of the deceased. How is her mood now and how willing is she to talk about certain things vs how willing she was while at the graveyard." So so so helpful in my opinion. Beautifully well done. The investigators ended up at a Denny's and it was such a fun scene because someone brought up the possibility of haunted houses and started a wild argument. Afterwards, we ended just after the investigators made plans on splitting up for next time. Wonderfully made game. Please go play or even just read it. I had such a grand old time and can't wait to see what happens to this plucky and oddball group of investigators

[imsobadatnicknames2]

To my great surprise, one of my friends expressed interest in DnD, bringing the total people interested including myself to a whopping THREE! Now, I've only played DnD a few times at a game shop and literally no other TTRPGs, but I'd be open in checking out other stuff (and can hopefully persuade my friends)! Would you happen to have any recs for maybe a bit more of an intro/beginners game that one could run with three players total? (If you happen to know any that maximizes a player feeling badass, that'd be neat & appreciated, as I think that's the main draw for them lol). Anyways, thanks for your time :3

Hiiii thanks for your question! So have in mind that I haven't played any of these firsthand because I'm mostly into games that mechanically emphasize disempowerment (the games i run tend to go less for the Found Family of Heroic Misfits Go on an Epic Quest approach and more for the Gang of Amoral Treasure Hunters Get Themselves Killed While Looking For Treasure in a Dark Scary Hole one), so I'm going off mainly from the play experience implied by reading the rules themselves and by what I've heard other people say about them.

First of all Is Quest RPG

I've seen it recommended a couple times by @thydungeongal and after reading a bit of it I have to agree with her assessment that this is the game that most D&D players seem to ACTUALLY want to play when they start invoking Rule 0 and the Rule of Cool and playing fast and loose with mechanics. It's a game where the explicit design intention seems to be natively supporting the style of gameplay that most popular D&D Actual Play shows feature, without any of the negatives of trying to fit 5e's square peg into that particular round hole. It's also available for free, which is pretty nice.

I would also recommend Brighthammer: Rules Light High Fantasy (which is a hack of Sledgehammer: Rules Light Dark Fantasy)

It's a simple system with a d100 resolution mechanic which fits into two eight-page mini-zines, one for the players and one for the GM.

It leans into the heroic fantasy angle specifically by letting players continually accumulate advantage to rolls during combat encounters by performing heroic actions, such as defending an ally or an innocent bystander. This one is also free and it's a pretty quick read so you don't lose anything by checking it out.

Next up is The Basic Hack

This one is a slightly streamlined version of The Black Hack, which itself is a massively streamlined version of early editions of D&D. Just like The Black Hack, it uses D&D's classic six-attribute array and a lot of other mechanical elements that make it pretty easily compatible with a lot of D&D materials while still being a very distinct system of its own, but where it differs from TBH is that it simplifies a lot of its mechanics and overall has a less gritty and more heroic tone.

Lastly there is Break!!, which is the only game in this list that is going to cost you any non-zero amount of money

Break!! has some old-school sensibilities here and there (seems to take some inspiration specifically from games like Cairn and ITO) but aesthetically and tonally it takes most of its cues from fantasy anime and JRPGs. It has a pretty cool-looking setting, and some interesting twists on classic fantasy TTRPG races and classes. You get everything from "basically a D&D fighter with a different name" to "paladin meets magical girl" to "literally an isekai protagonist". Anyway one way in which it leans into making the players feel pwoerful and badass is that its initiative system rewards being proactive in fights: whatever side starts the fight gets to act first, with no checks or rolls required. Also, it handles health depletion on a per-encounter basis. Health regenerates fully imbetween fights, essentially ensures that players always start fights at full strength and gets rid of long-term resource depletion. Which, you know, i like long-term resource depletion for my games, but if what you want to do is feel like badass heroes this is definitely the way to go, and it still has some interesting long-term consequences for running out of health in a fight.

[shorthaltsjester]

the thing is that the “laudna or delilah” debate i think actually misses the complexity of laudna as a character — which i think actually gets magnificently illustrated when marisha talks about and chooses her actions as laudna. like in the game, she tends to act comfortably as laudna even in those delilah filled moments once the initial indication has been made by matt that laudna feels that presence particularly in a given way. but the vehicle of a ttrpg as the medium in which laudna exists and interacts means that there is intractable ambiguity in the “did laudna do this or did delilah?” because the answer is always at the same time that both of them chose it as it is that laudna did, because matt always brings in delilah as a reaction to the choices made, either by laudna in the narrative or by marisha as the creator orienting laudna’s choices. like tonight, marisha certainly didn’t say I’m Looking At This Sword Appealing to Delilah, but she did have laudna who was traumatized by that sword engage with it while also engaged with an action she has pointedly and continuously accounted as a coping mechanism from years of solitude with nothing but the voice in her head. laudna didn’t choose to have delilah in her mind, but she did choose to ask for more power, she did choose to act without orym’s input, she did choose to use her form of dread, whether or not she chose the form which it took. especially with the the indicators that this is a storyline alluding to addiction (something i’ve long suspected but has now been affirmed by marisha in the cooldown), it is extremely compelling that laudna is both insistent of her own responsibility when it comes to intentions but is absolutely avoidant to the point of absolute denial when it comes to consequences. this was especially apparent when imogen asked if laudna’s choices and actions were all her own and laudna insisted they were, but then ended the episode with a form of dread the image of delilah briarwood fading from around her as she repeated “i didn’t mean it.”

it is particularly interesting when she is alongside imogen because i think the thing that is the most compelling to me about them right now si something that laura (iirc) alluded to in the cooldown about how imogen has chosen a significant turn away from predathos at the same time laudna has leaned in hard to delilah. in a lot of ways imogen has been very like laudna when it comes to the importance of intentions vs. consequences, at least insofar as her experience with her powers led to a different kind of isolation than laudna’s but still led imogen to experience situations in which she was confronted by the cruelty of thoughts much more expediently than she was with the cruelty of actions. and while laudna has experienced the cruelty of actions, she ties those intensely to bad intentions as well — cruel actions come from cruel thoughts. i mean, that’s what fun scary refers to — in that first interaction with those kids, we get a clear though undoubtedly unintentional insight into the perspectives that laudna and imogen both have on the cruelty that the world contains. laudna sees no harm in the fear she instills in those children because she loves kids, her intention was fun, her actions can’t be truly harmful if she never intended it. and interestingly, imogen disagrees that laudna is fun scary at all, she actually points out that laudna is scary scary, but in a good way.

and so we have this dynamic between two characters who have been the balms to one another’s solitude — which, as has been expressed in other posts, in both cases emerged from their commitments to their outlooks: laudna continued to appear as a witch on the outskirts of town, likely engaging in haunting behaviour if her actions throughout the campaign have been any indicator, and continued to run until, interestingly, someone who could read her mind was the first person to truly realize she meant no harm. imogen isolated because she was inundated with thoughts and turned misanthropic because of how often those thoughts were negative and cruel, until someone (who partakes in actions that can very easily be considered at least appearing to be negative or scary) had thoughts that were good. and they fell in love — with a confession scene where laudna raised concern that she might be a bad person, because she herself had ill intentions in reaction to bor’dor (absolutely mediated by deliliah, but her own emotional reaction that prompted that mediation). and imogen’s rebuttal isn’t a reference to laudna’s choices or her actions but to the thoughts she’s had that imogen has been witness to.

except. except it’s been months and imogen has a mother who had the best of intentions to start with . intentions that look a lot like imogen’s own, but now she stands at the side of a man willing to risk the entire world so that he can (ostensibly) no longer have to deal with divinity. imogen’s mother who allows the murder of countless people, of every member of the hells themselves except imogen, of oryms family, to get the answers and the solution that imogen herself is looking for. and as imogen has gotten further in the journey, the role of thoughts and intention has become apparent in its limits. because it’s true that they are important, it marks a difference between ludinus and liliana absolutely when it comes to likelihood that they might have a path for redemption, but it doesn’t mark much of a difference for the lives lost. and imogen has become much more concerned with this, i think maybe most clearly in her decisions around her last few predathos diving dreams because her hesitation hasn’t been that they need to consider the sides more, it’s been that, regardless of her intent to come back to the hells, to get information for their mission, her will might still lose the fight against the pull of predathos and if she’s forced to be this vessel which might allow it free, it might not matter as much what her intentions are when she dreams.

and at the same time. laudna has been confronted with the same evidence that her worldview might not paint a complete picture, but she’s still looking at that incomplete image as the whole. as is clear in her reaction to liliana, where she sets up her position to imogen by referring to her own love for her — for laudna, liliana must not actually love imogen, couldn’t possibly if the outcome of her actions is imogen growing up without her mother and liliana aiding and abetting (even if occasionally Maybe limiting) exandrias mage criminal of the decade. except, as imogen who has started to be checked on her flawed thoughts > actions perspective points out, that inconsistency isn’t one that laudna is immune to — laudna loves imogen and the hells and undoubtedly wants to see them live in a world they can thrive in, but she’ll also give up pieces of herself and make decisions without their input that have implications for those she chooses to exclude as evident in her choice with the sword,

and so tonight’s everything was delicious . when marisha’s interparty conflict beam hits it hits and it did tonight but the conversation between laudna and imogen was truly truly fantastic and so compelling because you get both laudna so locked into the familiar comforting behaviour that thinking that her intentions are all that matters is and being confronted by the fact that right now the consequences seem so enormous that the comfort is cold and imogen realizing that the thing that she’s been struggling through with her mother — and don’t get me started about imogen’s response to her mother saying she’s made her choices for imogen and the fact that laudna’s first explanation of why she chose this was a similar appeal to protecting imogen — is the same thing that has a hold of the woman she loves, though in different forms. and god, not to add another unnecessary sidebar, but laura is truly so good at coming up with heartwrenching prompts? dialogue? i dunno what to call it but the way that taliesin is insane with one liners, laura is like that with setting up conversations and then eventually spiking them into my heart because jesus the “i just watch. [as she plunges a dagger into her heart]” “i’ll always love you, i just don’t know what to do with it” “i didn’t mean it” “i know” because that’s the thing, that’s the struggle . ethel cain voice directed at laudna and liliana. imogen temult loves you but not enough to save you. because it doesn’t matter how much anyone loves laudna if she still believes in the necessity of delilah, it doesn’t matter how much anyone loves liliana if she still believes her presence at ludinus’ side is a requirement. and that’s not to reduce the degree to which they both have undoubtedly been trained to believe those things, but it is to say that both in the text and in the real world situations to which people love to refer when reducing agency to make characters more girlboss or whatever — it’s actually explicitly the role that laudna ascribes to her own emotions and choices and value that will lead her to a life where delilah does not have full reign.

the ambiguity and complexity is that as long as laudna wants (which translates to a need for her) her power, she wants delilah and whatever words that delilah will feed her to validate the need for and/or increase that power, which means that her actions are always her own, and the consequences are always hers to bear. the messiness is her continued insistence on separating intention from consequence — because laudna never means harm, for her it’s about protection, even power doesn’t seem to be power for its own sake. even with orym tonight it was about protecting orym from the sword, but also of course about finding power for delilah so that deliliah might also grant her more power so that she can help save imogen and the hells and the world. but that means when she explains to others she can make claims like i didn’t mean to, or that the choice was all her own because as incorrect to anyone else, laudna has completely committed to her founded belief that intentions matter more than anything else when it comes to the judgement of someone and their actions.