#and how everyones designs differ + design choice discussion
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150en · 7 months ago
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Etho Ehto Ergo
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rxttenfish · 1 year ago
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one of the things that particularly pisses me off about art discussions, either in how nowadays everything has to aim for more and more realism in art styles and even live action to be seen as "real art", and in dismissing more abstract styles of artwork as not "real art" and having no inherent worth, is that they explicitly do not consider realism an art style either. to them, realism is just a given of "good" art, not chosen but rather just default. which i hate, because you CAN pick realism as an intentional style and a purposeful choice to suit a narrative, and all this results in is no one noticing or understanding why you made that choice or why that choice works better than any other possible choice to tell the story you want to tell.
#all the care guide says is 'biomass'#like i like realism because i have a heavy focus on anatomy as a theme#on the body as something innately complex and with a lot of feelings to have about it in all its messy ugly states#im interested in all the complex ways the body intersects with its environment and with culture and with other people#as the outside as contrasting the inside or serving as a strange reflection of it#like im kind of going for a lot of merfolk designs to not be particularly visually different from each other#they have incredibly similar silhouettes and thats on purpose#i want all of their differences and visual traits to be things that they would find more prominent#but we would struggle to pick apart without learning about them deeper and committing these to knowledge#because thats so much been my experience with trying to tell different individuals of the same species of wild animal apart#and i want to use that as a lens to then discuss how humans would then interact with an entirely different sapient species#and what happens when you are someone who experiences that#of someone else not recognizing you as individuals like you do each other#of them not even trying to adapt or learn your differences#what damage it does when this happens to you#and how much the world opens up when someone actually does learn these little differences#but of course#no one else recognizes this because everyone just thinks realism is the default#realism cannot be a purposeful choice done for a reason#realism is just What You Are Supposed To Do and Unevocative Of Deeper Meaning
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thedensworld · 2 months ago
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Gentle Daddy | C. Sc
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Pairing: Scoups x reader
Genre: fluff, parent au
Summary: welcome aboard to the threenager stage of Seungcheol's son and how he parents him.
Seungcheol was seventeen when he met Chan, the youngest of their group. Was Chan a little brother? Yes. But at the start? Not quite. To Seungcheol, Chan was just another kid, someone he had to look after out of duty rather than choice.
As the oldest in their group, Seungcheol often became the subject of jokes about his strict ways. “Everyone, if you don’t wake up on three, I’ll give you 10 more laps of running,” Seungkwan teased, mimicking Seungcheol's commanding tone from their training days, complete with a mock-serious expression that drew laughter.
“Seungcheol hyung definitely needs someone gentle to balance that out,” Chan piped up with a cheeky grin. But before he could finish, Seungcheol raised an eyebrow and asked, “Balance what?”
Chan swallowed nervously, waving his hand dismissively as the others burst into laughter. “No, no, I was talking to myself,” he stammered.
But now, Seungcheol stood in a different scene, holding his three-year-old son, Wontae, on his arm during his birthday party. The house was filled with chatter and laughter, the kind only close friends could bring.
“Your interior is beautiful, Seungcheol. Come over and do mine next,” Jeonghan quipped, throwing a casual compliment with a hint of a request. Seungcheol rolled his eyes, scoffing.
“Appa did my room too!” Wontae beamed proudly at Jeonghan. Jeonghan’s features softened as he reached out and ruffled the boy’s hair. “Your appa is very talented, isn’t he?”
Seungcheol discovered his passion for interior design when he was searching online for the perfect nursery layout for Wontae. But nothing he found could match the vision in his mind. After discussing it with you, he decided to take matters into his own hands. Trips to the hardware store turned into projects that filled his weekends: crafting custom cabinets, building desks, and designing coffee tables.
In preparation for the party, Seungcheol went all out—rearranging furniture, painting walls, and adding small decorative touches that showcased his new hobby.
“It’s almost as good as Mingyu’s house,” Jeonghan said with a mischievous smirk. Seungcheol chuckled, nodding in agreement. “I think taking care of others did that to me. Just like how Mingyu took care of everything for us back in the day.”
“I want to get down,” Wontae said, squirming in his father’s arms. Seungcheol gently set him down, watching with a smile as his son darted over to Wonwoo, who was showing him a video game on his phone.
“He’s going to be three, wow!” Jeonghan remarked, shaking his head in disbelief. “It feels like just yesterday when I first held him.”
“How is it like?” Jeonghan asked, a rare tone of seriousness in his voice.
Seungcheol sighed, his lips curving into a soft smile. “Go get married and have one yourself,” he said playfully.
“Jeonghan’s getting married?” Your voice chimed in as you returned from putting Wonna, your four-month-old daughter, to sleep. Both Seungcheol and Jeonghan turned toward you. Seungcheol’s eyes softened as he reached for your waist, pulling you gently into his side.
“Is she asleep?” he asked, concern blending with affection. You nodded, resting a hand on his chest.
“Don’t listen to him,” Jeonghan interjected, rolling his eyes but unable to hide the smile tugging at his lips.
“I feel really bad that you’re going through all of this right after giving birth, just for his birthday party,” Jeonghan joked, glancing around at the well-decorated room. The party was being held the day after Seungcheol’s birthday, even though Wontae’s actual birthday was next week.
“I told you, it’s for Wontae!” Seungcheol insisted, his tone defensive but playful.
You chuckled, shaking your head. “Jeonghan, I gave birth four months ago. Besides, I’m grateful that Joshua and Mingyu helped with the food prep.” You nodded toward Joshua and Mingyu, who were now joined by Jihoon in the kitchen, scrubbing dishes and joking with each other.
Suddenly, a tiny voice interrupted the grown-up conversation. “Look what Uncle Hoshi got me! It’s a matching tiger onesie for me and Wonna!” Wontae announced proudly, holding up the tiny outfit with wide eyes full of excitement.
Seungcheol’s eyes flicked to Hoshi, who was now rolling on the floor, laughing at Wontae’s reaction. The older man couldn’t help but smirk, shaking his head.
You smiled and turned to Seungcheol. “I’ll go help him with his present,” you said, squeezing his arm before walking over to your son.
Jeonghan, still standing beside Seungcheol, gave him a knowing pat on the shoulder. “You know, it’s great you married Y/N. I never thought I’d see the day when the legendary Seungcheol, the training tyrant, would become the poster child for gentle parenting.”
Seungcheol scoffed, turning to Jeonghan with a mock glare. “A monster? Really? You’re one to talk,” he protested, crossing his arms but unable to suppress the grin threatening to break through.
Jeonghan just laughed, throwing his hands up in surrender. “Hey, I’m just stating the facts. Besides, we all know you wouldn’t be half as patient if it weren’t for her.”
Seungcheol glanced across the room where you were now helping Wontae into the tiger onesie, a soft smile crossing his face. The room buzzed with laughter and warmth, the chaos of their little family perfectly imperfect.
*
Seungcheol woke up a bit late this morning, the warm glow of the morning sun filtering through the curtains. A soft smile spread across his face as he took in the sight of his family already gathered at the dining table for breakfast. The sound of Wontae’s cheerful voice filled the room when he spotted his dad entering.
“Appa!” Wontae called out with excitement, his tiny hands waving eagerly. Seungcheol walked over and pressed a gentle kiss to the top of Wontae’s head before his eyes found Wonna, cradled in your arms, contentedly finishing her second bottle of the day.
“Wonna Wonna~ did you sleep well, my princess?” Seungcheol cooed, his heart melting at the sight of his daughter’s chubby cheeks. Wonna wriggled in your embrace, her eyes lighting up as she recognized her father’s voice.
“You had breakfast, love?” Seungcheol’s gaze shifted to you, his tone laced with concern. You shook your head with a soft smile. “I was waiting for you.”
He grinned, taking Wonna gently from your arms. “I’ll play with Wonna for a bit. Go have your breakfast.”
You nodded, appreciating his thoughtful gesture, and sat down to enjoy breakfast with Wontae. After some quality playtime with Wonna and tucking her back into her crib for a nap, Seungcheol returned to the dining room. By then, Wontae had retreated to his bedroom, engrossed in the toys his uncles had gifted him.
“Wontae loves Mingyu’s gift,” Seungcheol said with a chuckle, recalling how his son had immediately fallen in love with the plush corgi toy Mingyu had brought him. It was amusing how Wontae adored anything Mingyu gave, no matter what it was.
You laughed as you finished your meal. “Of course he does. He’s your son, after all. It makes sense he’d have a special bond with Mingyu.”
Seungcheol joined in your laughter, the sound warm and genuine. “Thanks, love,” he said when you placed a steaming bowl of rice and soup in front of him.
“Is your head still dizzy?” you asked, sitting beside him to keep him company while he ate.
He sighed, a touch of guilt crossing his features. “Not as much, but I really need to cut down on my drinking.” A rueful smile followed. “I still don’t get how you don’t drink at all—not even a beer.”
You smiled, amused by his amazement. “The last time I drank was before I got pregnant with Wontae,” you reminded him. Seungcheol’s eyes widened as the memory came rushing back—it had been at Joshua’s birthday party.
“Right!” he said, letting out a soft chuckle at the recollection.
Before he could say more, Wontae’s voice rang out, echoing through the hallway. “Eomma! Come here!” He came running into the dining room, eyes sparkling with excitement as he tugged at your hand, eager for you to join him in his room.
“How about we stay here and keep Appa company while he finishes eating?” you suggested gently, but Wontae shook his head, determination written all over his little face.
“No! I want to show you my drawing!” he insisted, practically bouncing on his feet. “Uncle Chan gave me crayons, and there are so many colors! Even five different blues!”
You exchanged a knowing look with Seungcheol, your heart swelling at Wontae’s joy. “Alright, let’s see your masterpiece,” you said, getting up and giving Seungcheol a reassuring smile before following your son.
Five minutes later, you returned to the dining room, barely suppressing your laughter. Seungcheol had just finished eating and looked up, curiosity piqued by your expression.
“You should see what he’s done in there,” you said, eyes twinkling with amusement.
Seungcheol raised an eyebrow, intrigued. “What did he do this time?”
“You need to see it for yourself,” you urged, playfully nudging him in the direction of Wontae’s room. “I’ll take care of the dishes.”
With a grin, Seungcheol pushed back his chair, eager to see what kind of adventure awaited him in his son’s room.
Seungcheol opened Wontae's room and was greeted by the sight of his son enthusiastically coloring in his new book, using the crayons Chan had gifted him. The vibrant hues danced across the pages, a mix of scribbles and childlike shapes. Wontae’s eyes lit up when he noticed his father standing at the door. He bounded over, grabbing Seungcheol’s hand and pulling him toward his little art corner.
“Look, Appa! I drew a rock!” Wontae exclaimed, pride beaming from his small face.
Seungcheol’s eyes followed Wontae’s pointing finger until they landed on the wall. Oh my god. There, on the freshly painted surface, was a child’s drawing—a colorful depiction of what was presumably a rock, sketched in bold crayon strokes.
He froze, processing the situation. So this was why you had insisted he see it for himself. He could practically hear the smile in your voice when you said it.
“You drew on the wall?” he asked, keeping his voice as steady as possible.
Wontae nodded innocently. “But Eomma said it’s better to draw on the coloring book, so now I draw here. But sometimes it gets boring, Appa!”
Seungcheol felt a wave of relief wash over him. So you caught him and told him to stop. Thank god.
He closed his eyes briefly, taking a deep breath to quell the frustration bubbling beneath the surface. Remember, Seungcheol, they don’t know better. They don’t understand how much work it is to paint a wall.
“Yes, your eomma is right. Drawing on your coloring book is best.” He sat down on the floor beside Wontae, the urge to scold replaced by the desire to guide. “Show me more of your drawings here.”
Wontae beamed at the invitation, plopping down next to his father and eagerly flipping through the pages of his coloring book. Seungcheol couldn’t help but smile as he watched his son’s eyes sparkle with excitement, oblivious to any worry or consequence.
Every time Seungcheol’s eyes strayed to the drawing on the wall, a chuckle escaped his lips. It was ridiculous! He wanted to be mad, really mad, but he just couldn’t muster it. “You know you shouldn’t draw on the wall, right?” he asked his son, carefully suppressing the instinct to say, “I just painted that! Why did you draw on it?!” in a booming voice that would only frighten the boy. He took a deep breath, holding back the frustration that threatened to spill out.
Wontae looked up at his father’s face, his eyes wide with curiosity as he noticed something unusual. “Why is your face red, Appa?” he asked, putting down his crayon and reaching up with his tiny hands to cup Seungcheol’s flushed cheeks. Seungcheol let out another soft chuckle, his anger melting further.
“You know Appa loves this house, right?” Seungcheol said, his tone remaining gentle and warm.
Wontae nodded, his little head bobbing earnestly.
“No one in this house draws on the walls because Appa worked hard to keep them nice and clean,” Seungcheol explained, still smiling softly despite the chaos inside him.
Wontae bit his lip, his eyes beginning to glisten with tears. “Are you mad at me for drawing on the wall?” His voice trembled as he spoke, and Seungcheol’s heart lurched. Panic surged through him—he was the one who felt like crying, not his son!
“I didn’t say I’m mad at you,” Seungcheol said quickly.
“But your face says it…” Wontae mumbled, the quiver in his voice growing more pronounced.
Oh no. Shit.
“Eommaaaa!” Wontae suddenly burst out, tears streaming down his cheeks as he ran toward you. Seungcheol’s eyes darted to the doorway where you were standing, suppressing a smile as you scooped up your tearful son into your arms.
“Why? What happened?” you asked Wontae in a whisper, stroking his back to soothe him.
“Your father wasn’t mad at you, was he?” you asked softly, glancing over at Seungcheol with a knowing smile. “Did he shout at you?” Wontae shook his head, hiccupping as he clung to your shoulder.
“No,” Wontae admitted, his sobs quieting as you continued to comfort him.
“He was just talking to you,” you reassured him, casting Seungcheol a gentle, supportive look.
Seungcheol groaned internally, a mix of confusion and self-reproach. He thought he’d nailed it—the gentle parenting that you both had worked so hard to practice. Yet here was his son, still able to sense the tension in his expression, and hurt by it despite the lack of yelling or scolding.
Seungcheol sighed, running a hand through his hair as he sat back on his heels. “We’re on this stage now,” he muttered, more to himself than anyone else.
You glanced at him, raising a brow. “What stage?”
“The threenager stage,” Seungcheol said, his tone carrying both exasperation and amusement. “I read about it somewhere. It’s when kids start acting like teenagers—rebelling, pushing boundaries, testing their parents’ patience. Wontae’s only three, but he already knows how to push all my buttons.”
You laughed softly, shifting Wontae in your arms as his sniffles subsided. “It’s not rebellion, Seungcheol. It’s curiosity. He’s learning, exploring his emotions, and figuring out how far he can go.”
“Exploring his emotions by drawing on my freshly painted wall?” Seungcheol deadpanned, though a small smile tugged at his lips. He wasn’t truly upset anymore—not when Wontae was looking up at him with wide, apologetic eyes.
“Exactly,” you teased, setting Wontae back down on the floor. “It’s frustrating, but it’s normal. And you handled it really well, by the way.”
Seungcheol tilted his head, raising a skeptical brow. “I did?”
“Yes,” you said firmly, giving him an encouraging smile. “You didn’t yell or scare him. You explained things calmly. That’s the kind of parenting that sticks with them, Seungcheol. He’ll remember this.”
Seungcheol glanced at Wontae, who had returned to his coloring book but kept sneaking shy glances at his father. He felt a wave of warmth wash over him, mingled with pride and relief. I can do this, he thought. Even when it’s tough, I can do this.
“Okay, buddy,” Seungcheol said, crouching down to Wontae’s level. “Let’s make a deal. No more drawing on the walls, okay? If you want to draw something big, we’ll find some paper or maybe a special board just for you. How does that sound?”
Wontae’s face lit up at the idea. “A special board? Really?”
“Really,” Seungcheol promised, ruffling his son’s hair. “But only if you promise no more wall art.”
“I promise, Appa!” Wontae beamed, holding up his pinky. Seungcheol chuckled and locked his pinky with his son’s, sealing the deal.
You watched the exchange with a fond smile, stepping closer to place a hand on Seungcheol’s shoulder. “See? You’re doing great.”
Seungcheol exhaled deeply, his smile widening. “Thanks, love. I guess I just need to remember to breathe. And to hide all the crayons.”
You both laughed softly, and for a moment, the chaos felt a little more manageable.
*
"One… Two… Three…" Seungcheol’s voice was steady as he counted while Chan, drenched in sweat, gritted his teeth to finish his push-up set. His arms trembled, and his face was etched with exhaustion, but he pushed through, determined to complete the punishment.
The door to the practice room swung open, and the rest of the group filed in, their faces a mix of confusion and amusement as they took in the scene. Seungcheol stood towering over Chan, arms crossed, while the youngest member struggled through the exercise. It was a far cry from what anyone had expected when they read Seungcheol's early-morning text asking Chan to come to the practice room an hour ahead of schedule.
"What’s going on here?" Joshua asked, barely hiding his amusement as he watched Chan squirm on the floor.
"Ten!" Seungcheol finished his count, clapping his hands in exaggerated applause. He smirked as Chan collapsed onto the floor, utterly spent. "That’s ten sets done—one hundred push-ups. Congratulations, Chan. That’s what you get for giving my son those crayons."
Chan’s pout was instant. "It’s not fair! It’s your son who drew on the wall. Why am I the one getting punished?" His voice was full of indignation, though it lacked the energy to be truly effective.
Mingyu burst into laughter, doubling over as realization dawned. "Wait, wait—Wontae drew all over the wall with the crayons Chan gave him? That’s hilarious!" He clutched his sides, nearly toppling over from laughing so hard.
Jeonghan, leaning casually against the doorframe, nodded in mock agreement. "Honestly, it makes sense. Seungcheol’s a gentle appa with Wontae—there’s no way he’d punish his precious son for something like this." He shot Chan a teasing grin. "But you? Yeah, I’d do the same if I were Seungcheol."
Chan groaned dramatically, throwing an arm over his face. "This is so unfair!" he whined, his voice muffled. "I’m the innocent one here! Gentle appa is a fraud—he’s evil!"
Seungcheol couldn’t hold back his chuckle as he crouched down to look at Chan. "Gentle appa does exist," he said with a smirk, "but only for Wontae. You and your crayons? You’re a different story."
"See?" Jeonghan said, straightening up. "I told you. Seungcheol’s priorities are clear."
Chan sat up, still sulking. "Unfair. So unfair." He shot a glance at the others, hoping for sympathy, but all he got were amused grins and stifled laughter.
"Hey," Joshua added, chuckling softly, "at least now you know not to mess with Wontae’s creative genius—or his dad’s freshly painted walls."
Mingyu clapped Chan on the back, nearly knocking him over again. "Think of it as a lesson in self-sacrifice. You helped foster Wontae’s artistic side. That’s a win, right?"
Chan groaned louder, flopping onto the floor in defeat, while Seungcheol leaned against the wall with a triumphant grin. "Alright, everyone. Lesson’s over. Let’s get to practice before he starts crying for real."
"So unfair!"
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orphiclovers · 5 months ago
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The first scenario of ORV has always fascinated me. "Kill another person to survive." It might be the most common plot point in apocalyptic stories.. Pretty much all of them feature some discussion of morality and how to define it, good and evil, played out by deeply morally grey characters who have to make a choice to kill.
But ORV is a story about stories.
The Star Stream is trying to tell 'the story of an apocalypse' and it does! But in the most crude and unpolished way.
It's almost cynical. 'We are telling an apocalypse story, what's a common plot beat in apocalypse stories? 'No one is innocent and everyone has killed to survive'. Okay, let's make it a literal requirement for everyone to have killed someone to proceed.'
It's robotic, taking a story beat and stripping it down to it's bare essentials, then forcing the incarnations to adapt to it or die.
But the thing is. That's what all writing is. ORV just pulls back the curtain, exposing the internal circutry that makes a story work. Orv doesn't lie to you about the inherent artifice of it all.
The scenarios are perfect little plot arcs, designed to test the limits and reveal the strenghs and weaknesses of incarnations - 'the characters' of the story. It's not some cruel torture, it's literally just the act of storytelling. Writing 101 is put characters through hardship to reveal certain qualities in them or to make them go through character development.
Only difference is that writers usually camouflage the 'scenarios' they give their characters until the circumstances seem 'realistic' and like they happened on their own, like the author isn't forcing their reality to bend this way at all.
Oh, one character didn't lock the door in time due and got bitten by a zombie. And so inevitably this other character has to make the choice to kill them or not. There's as many explanaitions as the author can cook up as to what lead the characters to this moment. How the zombies got there, why these two were in the same vicinity, etc etc.
But, it's all set dressing the author has added to make the audience forget that this is too a 'scenario' given to the characters to test them. There's a time limit and a description and a reward and a penalty for failure, but all of these are cleverly hidden. The time limit can be until the last helicopter leaves in 10 minutes. The unspoken penalty is death. The author arranged how the characters find out some or all of this information in convienient ways.
Star Stream just lays it all out in front you you, straight up. States 'Kill another incarnation or have them kill you' and doesn't attempt to justify the circumstances, because of course, the real reason all this is happening is because the story demands it.
It's a universe that does not hide the author's hand in every tiny little event that happens.
So this too is the question "What if the characters knew they were in a story?" asked yet again. Every single being in the ORV universe knows they are in a story. The system itself makes it obvious - you can look at your own character sheet, you obtain 'stories' when you do something impressive but are constrained by 'probability' and what the audience finds interesting. You're body is literally made up of words written about you're life!
That's why the worldbuilding is so cohesive and so so good. All of it is telling you 'the world is a novel.'
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doctorho · 16 days ago
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this one is for eveyone who needs some extra love around these times.
Viktor knows better than he'd like that life isn't always...pretty. Or simple, or easy, or fair. No matter how hard most of Piltover seemed to pretend that there was something magical in the midwinter turnpoint that made everyone suddenly forget the suffering and misery and the complexities of real-life situations, he knows that's not the case.
Which is why he doesn't ask stupid questions when you stay at the Academy over winter break. He doesn’t pry; he doesn’t need to. It's evident enough in the way you preoccupy yourself with work that it's something you'd rather not discuss. You're focusing harder than usual, and he's familiar enough with what that precarious, tight-knuckle grip on being okay.
And Viktor?
Well. Viktor's more than happy to be a distraction.
When he gets to the lab, mid-morning, you're already there. He's not exactly surprised; he'd anticipated this. Maybe even hoped for it. He'd worked with you for a while now and grown exponentially more attached to your company - not that he'd told you the extent of his affections. But he'd get to that. Hopefully.
He came prepared with two warm drinks and still-steaming pastries, and he silently starts unloading those to the common desk that had been designated as the makeshift kitchen of the room.
"Good morning," he says casually, "I brought breakfast." He thinks of adding if you want some, but upon reflection, doesn't. There's a fine line between respecting someone's free will and pushing them to make good choices, and he's currently erring hard to the side of I don't know if you've eaten anything yet today but you definitely should.
You only hum in response, not lifting your eyes off your current project.
In response to this, he hums back and tilts his head, studies the organized mess on your desk; circuit boards, either half-assembled or half-taken apart, he's not sure, stripped wires, a steaming soldering iron. Your hands, shaking a little.
He places the drink intended for you on your desk, just annoyingly out-of-reach, and waits for you to look up.
"When was the last time you ate something?" he asks, holding up the pastry now that he has your attention.
"Why does that matter?" you ask, reaching for the takeaway cup on the edge of your desk. Viktor leans the handle of his cane to block your reach, which makes you look up at him. Properly.
"Just trying to determine if I should make you take a lunch break while I'm bothering you, or if the pastry will suffice."
He lifts his eyebrows, waiting for you to answer.
You shift in your seat. He can hear your back crack in several places, and not in the pleasant type of way.
"Last night," you answer, leaning back with a sigh, then quietly add, "I think."
Viktor reaches over to turn off your soldering iron. "Lunchbreak it is, then. These can be dessert."
"I'm fine-" you start, and he lifts an eyebrow.
"I don't believe you," he says, completely casually, "I think you're pushing through low blood sugar to get this-" he gestures towards the desk, "finished, and I can tell you it's much easier to make mistakes when you aren't thinking clearly."
When you're quiet, he continues, picking up your coat and offering it to you. "You can trust me on this," he says, "I have more than enough experience."
You take a deep breath and sigh it out, feeling somewhat like a toddler.
"I promise you can go right back to poking at this later." He adds, and you slowly take the jacket from him.
"Good," he says, "I know a place."
It's a careful dance, and he knows this; he doesn’t want to push you. But he's been there, and he doesn’t want you to suffer more than absolutely necessary. And he really does know a place.
He re-packs the drinks and the pastries, and you follow him to a nearby cafe-and-drink-cart that's serving small steaming dishes outside. They're serving small steaming cups of - stew? Soup? And warm bread filled with different things, and you hadn't really noticed it before, but now that you were looking at - and smelling - the food, you were starving.
By the time you've registered the selection, he's already ordered for the both of you, and then the guy at the cart is offering you a brown paper bag and Viktor is moving again, and you take a few hurried steps to catch up with him.
"Where are we going?"
You can see him smile before he answers.
"Well," he says, "I was thinking we could take advantage of the great hall being empty, and eat there." He turns to look at you with an eyebrow raised, "I can only imagine how displeased the Academy Staff would be if we risked dirtying their marble floors with common food."
"Oh, really, you can only imagine?"
He shrugs, grinning. "Are you insinuating I have experience with matters such as these?"
"Yes," you answer, opening the paper bag to study its contents while you walked.
He hums in answer. "I am shocked by your accusations." He says, then, clearly fighting a smile, "I would never get caught breaking such a boring rule."
You smile now, too. "Right," you answer, "only the interesting ones."
The way he glances at you and smiles is more than enough of a response.
He stops at one of the long tables at the grand hall, and as he shrugs off his jacket and sits down, you place down the paper bag and do the same. He starts unpacking the contents of the bag, focused, placing down steaming bowls with a spicy scent to them, paper-covered wraps of something, utensils, and smaller bowls of... something colorful. Spices? Toppings?
Viktor opens the containers one by one, making the contents of the single takeaway bag look like a pretty impressive feast.
And you study him as he moves. Careful, confident in his movements, calm. While your insides felt like they were trying to hide, and had felt like that for... a good while now, he was calm like any other day. A rock-solid presence in the otherwise empty room.
"Are you not going to ask me?" you ask, "why I'm working through the winter break."
Viktor's only imminent reaction is the gentle lift of a single eyebrow.
"No," he answers, casually, and it sounds simple when he says it like that.
He meets your eyes, and that feels simple, too; because he is here, too.
It doesn't have to be any more complicated than that. He unwraps a folded paper napkin with careful fingers, and then places a steaming-soft bread in front of you.
You look at him for a moment, and then take a bite of the bread. It is soft and warm and heavenly, and when you taste the stew-soup-something, it's like it warms you down to your soul. You eat in silence; but it feels like there's a gentle bubble of understanding surrounding you.
You hold the warm bowl, and slowly, your hands shake less and less. The tension around your head gives away a little, too.
"Do you like the snow?" Viktor asks, and you follow his gaze out the window.
"I probably shouldn't," he continues, "the cold isn't exactly gentle on me. But it is pretty, I can't deny that."
You hum in answer. "Yeah," you agree with a small sigh, "it is beautiful."
His eyes meet yours, and he tilts his head.
"Do you want to break another rule?" he asks, something michievous curling at the end of his words.
You tilt your head in response. "A more interesting one?"
"Infinitely," he responds with a smile, and you're already on your feet.
And that's how you end up breaking into the roof of the Academy with him. Or, it's probably not technically breaking, since he has the keys, but you definitely aren't supposed to be in there, so that's what it feels like.
It also feels... breathless. And not just because it feels illegal, but it's... it's beautiful, and he holds your hand in the dark stairway and doesn't let go when he guides you to the expanse of the roof, and there's snow floating down all around you-
and for a moment, it feels like you're the only two people in the world, surrounded by a gentle blanket of snow and silence.
Or... not-silence. There is a song softly floating through the air, like it's being reflected in the snowflakes all around you.
And Viktor is offering you a hand.
You furrow your brows as your head catches up with your heart. "Are you asking me to dance?"
"Would you say yes if I was?"
And that was the question, wasn't it;
would you?
Your head tries to butt in with should you, but... something still-soft and light in your heart comes in way too solid with a yes.
Yes, you would.
So you take his hand, and meet him halfway to an embrace. He pulls you close to his chest, and the dance is as gentle as the snowfall around you; just a soft sway from side to side, breathing in sync with the music.
And Viktor isn't sure if this is a good idea, but... you look like you're further away from that edge now, no-longer shaking, and... he hated seeing you in your head that deep, and if he could do anything to help you find your way back to yourself, he'd do that.
It feels a little selfish, this dance, but... it was difficult to justify that when you were in his arms, breathing calm and even.
"I really am fine," you tell him quietly, and he runs a hand up your back slowly. You swallow. "Or I will be, at least."
"I know," he breathes out, and he means it.
You close your eyes, and believe it.
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melled42 · 4 months ago
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Is ewen bothered by how naturally oily their head wool is from the lanolin?
Ok, so random but i'd like to use this question as a jumping off point to discuss things that are part of ewen's design that either don't come up or there's not an easy way to work it in the story without going off to stuff that doesn't really help move the plot forward.
So skip if you dgaf
I haven't posted the time line piece yet because im still deciding on some of the outfit changes (and now it looks so crap to me i might just redraw it, fix inconsistencies too.) But there are a lot of changes that happen "physically" to them when they get the crown
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There's the weight gain, which, despite not needing to eat, going from growing up not knowing where your next meal is to being surrounded by available food... they over indulged. so we got our squishy little short stack we have now. but thats more natural.
Everything else could be considered, at least at the beginning of using the crown, a type of glamor. like if you took the crown early on, they would have gone back to the way they looked before. And because its a glamor, they're the one who made a lot of choices in how it looked. That's one of the reasons their bell is different to the cannon design too, its their choice. They hid of a lot of scars, a lot more than we can really see. They fixed their broken horns (the black, pointy look is very cartoon devil to match their personality). they grew the wool on their head, which would not grow even because of the scaring, even if they weren't constantly shaving it to sell. They wanted to give the look of the soft, fluffy, totally not dangerous sheep people expected of them. Because the wool is mostly from the crowns magic, even after they're more permanently changed as they develop into a god, it doesn't behave like usual wool or hair. They can even grow it at will if they want.
additional not so fun fact. While on the run, wool was a pricey item if you were brave enough to try and sell it, so Ewen was always completely sheered. They only kept some on their head to prove to other sheep that they even were a sheep, and hid it from everyone else under robes. Because of this, they actually have a lot of sensory issues when it starts growing out on their body and NEED to sheer it. To the point where they'll get violent if they can't. But they hide that from everyone, even nari until they start living together. Since the wool on their head doesn't have the same consistency, since its basically unnatural and part of their costume, it doesn't bother them. So yea, the oils would bother them, but not on their head.
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accio-victuuri · 5 months ago
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xiao zhan elle september issue cover story Q&A
ELLE: During this rest period, do you think about things that happened on the set?
Xiao Zhan: Of course, I remember a few days after the filming was finished, I had a dream that we were still filming, and the director and I were still discussing how to say that word? How to handle that scene?
ELLE: Do you actually miss the atmosphere on the set?
Xiao Zhan: I like it very much, because I like the feeling of everyone creating together and working together to get something done.
ELLE: When you first entered the entertainment industry and your popularity grew rapidly, you said that it felt a bit unreal and magical, but now you seem to be quite relaxed. How did this change happen?
Xiao Zhan: Rather than saying it’s unreal or magical, after so many years I feel that I haven’t had time to adapt to the fast pace at that time, so when I wake up from sleep, where am I today? What am I doing? I think it’s a process, just like when you first enter the workplace, everyone is very excited, "I’m here to work, please take good care of me", "I’m here, everyone get out of the way", "I can do it, I can do it". (Laughs) But after experiencing a lot of things, I feel that everything needs to be planned for the long term.
ELLE: In several interviews you mentioned that you like to play roles that "can convey energy". Why do you have such a preference?
Xiao Zhan: Because I think it is the life of the character. The kind of energy I am talking about is not just a single positive energy in the general sense. I mean the nutrition that can be subtle and silent. I believe that every character has a complete story line in his heart. This is what I like very much. As long as you dig deep, you can move people. I don’t like to call the villain a "villain", as if it is defined as a bad character from the beginning, but it is not. He may have his own difficulties.
ELLE: It sounds like “transmitting energy” is just a general term. Is it actually about understanding different people through performance?
Xiao Zhan: Yes, if we break it down to each character, they all convey different things. But if we say they are “good guys” or “bad guys”, I think that’s meaningless.
ELLE: So do you think acting is a form of communication?
Xiao Zhan: Yes, you can say that. I think it’s great to say that (acting) is a bridge to communicate with the audience. Just like when a play is broadcast, I will read some of the audience’s comments and impressions, and feel that they have a rich feeling about the work. When I see some comments that are exactly the same as my thoughts when filming, I feel very magical, as if this bridge is really connected. We don’t know each other in life, and we haven’t communicated, but he suddenly got my thoughts at the time, and I felt that, oh, acting is a very beautiful and magical thing.
ELLE: Do you watch some science fiction movies, TV shows, and literary works?
Xiao Zhan: Yes, I used to like watching "The Three-Body Problem". I have watched some science fiction movies recently, the American TV series "The Stars", and recently I am watching "The Replica". They are all about infinite flow and parallel time and space. Because I think there may really be parallel time and space. Every choice you make will split into a different parallel time and space.
ELLE: Do you imagine Xiao Zhan in a parallel universe?
Xiao Zhan: I really wonder, for example, is he still an actor? Maybe, is he still filming now? Is he still singing now? Or is he still a designer? Is he working for others or is he his own boss? (Laughs) Really, I really wonder.
ELLE: What do you think the future will be like?
Xiao Zhan: Wow, I think the world might return to its original state at that time, and the world might become a better place, and people would return to the most basic communication with each other.
ELLE: This is very interesting. Why do you think so?
Xiao Zhan: Anyway, at least now I am a little disgusted with the ubiquitous Internet. When we were young, when there were no mobile phones, we would chat while eating, and we would call our friends downstairs to play hide-and-seek and various games. I think that time was very precious.
ELLE: Will the profession of actor still exist by then?
Xiao Zhan: I think there will be. I believe that as long as life goes on, drama will continue. Because everyone needs an output, needs emotional resonance and sustenance, whether it is images or sounds. So I think that even if the world is destroyed, as long as there are still people, drama will definitely exist.
-END.
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what-eats-owls · 10 months ago
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Show vs Tell, Or: Please Stop Making Things Difficult for Yourself
I said a while ago that I'd write a brief essay about the most misused craft advice in writing once I wrote 10k words, and for once I actually held myself to that! So now, I'm here to tell you about Show vs Tell, or why people make it more complicated than it needs to be.
First, a basic primer for anyone who hasn't heard this term before: "Show vs Tell"/"Showing vs Telling" refers to "showing" the audience information instead of "telling" it to them. You may be thinking, gosh, that sounds unspecific to the point of being readily misapplied, and you would certainly be right! Lots of folks throw it around without fully grasping what it means, how to use it, or when it doesn't actually apply. And I'd really like everyone to stop making it harder on themselves when there's a very straightforward way to conceptualize it.
So for starters, Chuck Palahniuk has an old but good essay about eliminating "thought" verbs from prose that holds the hell up. But I'm going to tell you an even simpler way to conceptualize the difference between showing and telling:
Eliminate the inner thoughts entirely.
Ask yourself, if my narrator's interior monologue was inaccessible to the audience, how would I convey the same information—literally showing it?
Forget for a moment that your medium is the word, and imagine you only have dialogue and visuals. If this was taking place on the screen or in a graphic novel, how would you convey that this character has a crush on someone in their class? That they're hotheaded? That they're struggling with a decision?
Here's a perfect example of this from the opening scene of Howl's Moving Castle.
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Devoid of context, we have a girl trying on a hat in a mirror, and also trying on a fake smile. Then her expression sours and she pulls the hat down over her face until we can only see her frown. She's wearing a plain dress and the hat is simple, despite the elaborate hats and ornaments on display around her.
You don't have to know anything about this character to understand what's being conveyed in this moment: This girl is deeply uncomfortable with trying to be pretty and flirty, but in the safety of privacy she wants that, even though she feels inept and self-conscious about it. She's in this world, but she's not part of it. Even brushing up against it for a moment makes her shut down and reject it with hostility.
More importantly, it's all communicated with a simple gesture and design choices. Not by Sophie thinking to herself, I wish someone would take me dancing—no I don't! I work too hard to have time for dancing!
That's showing. And it's more resonant, because we've all felt silly trying something on in a mirror! Or, say, if you want to show a character has a crush, having them get flustered and laughing too loud. Or showing that they're a hothead by having them snap at a simple disagreement, etc. etc.
This also extends to worldbuilding, dialogue, and stakes.
Worldbuilding: If your story is set in a town run by a crooked sheriff, you could have the narrator say "everyone knows Sheriff Smith is squeezing the shops for bribes." Or the sheriff can stop the narrator for "smelling like weed" while the sheriff's drunken son speeds by, about to total his third BMW.
Dialogue: If your character is angry, they can say "I'm furious." Or they can slam dishes in the sink and insist "I'm not angry" while openly crying. They can snap "I'm not discussing this again." They can demand "What is he doing here?"
Stakes: You can have an all-seeing oracle say "If you do not return the Mystic Orb to the Sunlight Altar by the solstice, the world will plunge forever into darkness." (And as we'll get into it below, sometimes you actually need that.) You can also have intermittent but increasing periods of total darkness occurring as the party travels to the Sunlight Altar. You can have the Mystic Orb start cracking the longer it takes, and the sun getting a little dimmer with every fracture. You can have people's shadows growing bigger and bigger and acting autonomously.
But showing isn't the end-all-be-all; telling absolutely has a place. Sometimes it's better to quickly and plainly state information and move on, such as a little earlier in the scene, when the other hat shop girls have spotted Howl's castle:
"Look, it's Howl's castle!"
"I've never seen it so close!"
“Do you think Howl will go into town?”
“He’s gone!”
“No, he’s just hiding in the fog from those planes.”
“Did you hear what happened to that girl, Martha, in South Haven? They say Howl has torn her heart out.”
“Now I’m too scared to go out!”
“Don’t worry. He only preys on pretty girls.”
This tells us some stuff directly: Who owns the castle we see in the first few seconds, that he's hiding from soldiers, that he has a reputation for preying on beautiful girls. We can infer also that he's a bit of a coward, he stays away from civilization, and that his reputation for cruelty has spread over multiple regions.
This happens so quickly, and it's couched in enough character between the teasing and the gossip, that it doesn't stand out as capital-t-Telling. That's exactly what expository dialogue should do. "Showing" us all that information would take a lot of screen time that can be saved in ten seconds of dialogue.
It's also not just about saving time; it's setting up an image that Howl initially fulfills when he helps Sophie escape the soldiers... only to be punctured when she actually goes to his castle and sees the real Howl. Telling is good for setting expectations that you know will be subverted later.
So yeah, tl;dr: If you're tied up in knots about "am I showing?? am I telling??" just ask yourself how you'd convey the same information in a movie or graphic novel, without access to interior monologue, and evaluate if that'd be better. Most of the time the answer is yes, but not always!
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she-posts-nerdy-stuff · 2 years ago
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An interesting thing about Kaz is the way he views a hierarchy within everyone he meets, an attitude probably defined in him by the Kerch culture of trade and the environment of Ketterdam. Kerch is a country that in many ways is designed to reflect the American Dream as it is portrayed in classic literature such as The Great Gatsby: as an ultimately unattainable and useless lie, designed to control and quell the masses in the danger of extreme capitalism. The social hierarchy in Ketterdam is well-established and discussed throughout the novels, though mostly in Crooked Kingdom since the plot stays almost entirely within city limits, and the attitude of viewing a miniature hierarchy amongst those around you as part of the overall societal structure is evidenced in Kaz, and possibly reflected in Wylan; a link both to their different upbringings within the Ketterdam social structure, and their position as literary foils. (I wrote a whole long thing about how Kaz and Wylan had/have the potential to become each other, so feel free to check that out for more detail if you want it). The city’s hierarchy and the unattainability of joining the rich upper echelon of society is cleverly hinted at from the very beginning of Six of Crows, when Kaz is jumped and then wakes up in what he expects to be the deb of a rival gang. He instead finds himself in Councilman Hoede’s Manor House, which I believe is on the Geldstradt, and the way he makes the distinction is by realising that the decor in the room he’s in “takes real money”. We know that people like Pekka Rollins or Tante Heleen have become truly rich from what they do in the Barrel, and so it’s strange to suggest that you’d need “real money” for this since we would generally use that phrase to refer to a large amount of money. What Kaz actually means here is “old money” or “family money”; you need the kind of money that the Merchant Council have been hoarding for generations, making supposedly risky trades when they have millions of savings to cushion the blow if things go wrong, not the kind of money that comes from the popular gambling dens and brothels of the Barrel. He means the kind of money that Daisy and Tom have in Great Gatsby, people who’ve never worked a day in their lives and yet like to think of themselves as very successful at life when all they’re truly succeeding in is spending their parents money, not the kind of money that Gatsby scraped and saved and began to chase through undisclosed illicit means. Even when men like Gatsby and Rollins make their money, and their name, they are never equal in the social hierarchy to people with old money. (To be clear, not that this is a defence of either character, I have criticisms of both, especially Rollins).
But the hierarchy Kaz places upon himself and upon the others is slightly more subtle, and arguably subversive. He looks down on Matthias because he “stinks of decency” and because he supposedly hasn’t struggled, arguably gaining slightly more respect for him when he learns of him losing his parents and baby sister but still maintaining the idea of ‘everyone has a sob story and you were clearly more lucky in your options to deal with it than I was, it’s not my fault if you made the wrong choice’. We as readers obviously know that Matthias had no options but to go with Jarl Brum and spent the next 6 years of his life (I think that’s the right amount of time, please correct me if I’m wrong) being emotionally manipulated and abused by him, but Kaz simply refuses to accept has suffered because it would be psychologically damaging to him to admit that Matthias was able to go through that and still come out a good person, when Kaz sees himself as having become truly demonic. Matthias looks down on Kaz for the exact same reason, unable to understand - especially since he knows far less detail about Kaz’s trauma - how someone who ever had a core of decency couldn’t maintain it through their pain, he assumes Kaz was never a good person, or never had the potential to be one. Kaz also looks down on Wylan, arguably far less for his attempt to maintain a core decency but because he views Wylan as having had the option to do so. Kaz seems to have more respect for Wylan in Crooked Kingdom than in Six of Crows, when he knows more about (but never, it should be noted, the full extent of) Jan Van Eck’s abuse to his son, once again showcasing that he struggles to accept the idea of someone feeling bad when they have supposedly suffered less than him. His trauma has clearly warped him in many ways, and one of them is losing the ability to see relative pain and how different things can affect different people in different ways; he effectively views everything in the manner of ‘I had it worse, and I’m fine so you need to get over yourself’. He labels Nina “a snob” for staying away from the Crow Club and the Slat despite being a Dregs member, and her response is “she didn’t much care what Kaz Brekker thought”. I think that Nina is possible the person Kaz holds the most respect for in his platonic relationships, and that is mostly because she simply couldn’t care less whether he respects her or not.
His relationship with Jesper is more complex; he judges Jesper for his addiction and yet continually eggs him on, giving him a line of credit to play cards at the start of Six of Crows and having the first step of his planning in Crooked Kingdom to make Jesper play all night, although it’s unclear whether Jesper has ever shared anything about his mother if anyone knows then the most likely parties are Kaz or Inej and yet Kaz forces Jesper to give up his revolvers in Crooked Kingdom, his most treasured possession and his constant connection to his late mother, he consistently infantilises Jesper, but mostly in his head and this is possibly an interesting link to the final nail in the coffin of their relationship; Kaz sees Jesper as a substitute to Jordie. I think it’s possible that he likes to see him as younger because that’s how he remembers Jordie - it’s also important to remember that Kaz is now several years older than his elder brother ever was so seeing him in someone his own age is possibly even more painful because that’s a point Jordie never reached (he was only 13 when he died). Jesper is someone that Kaz feels the need to keep at arms length, not because he doesn’t respect him but because he fears having a close relationship with someone who could so easily slip away from him like Jordie did. I think we can also arguably see aspects of Jordie within Jesper, the naïveté of thinking you can make it Ketterdam followed by the city swallowing you whole, killing Jordie and driving Jesper to his slow self-destruction - “I’m dying anyway, Da. I’m just doing it slow”. (If y’all have read many of my analytical posts you may have begun to notice that’s one of my favourite quotes)
Then we have Inej. Kaz places Inej on a pedestal whatever she does. I’ve spoken before about how she claims to be bad at picking locks whilst he claims to have done “a shoddy job at teaching her to pick locks” because he’s incapable of accepting that she is incapable of something; if there are flaws, they must be his because she cannot have any. In a lot of situations this can be harmful, going back to the romance of Daisy and Gatsby where Daisy is placed on a pedestal and idealised so much that she become more of an image than a person, so when she does not live up to his every high expectation Gatsby is destroyed by it. But with kanej this seems only to elevate their position, possibly because Kaz isn’t claiming that Inej is flawless, but rather that she is capable of working on her flaws in a way that he isn’t; it is almost a form of envy. For example, Inej also has a fear of touch and human contact, but she purposely forced herself to cope with small amounts of it, such as allowing Nina and Jesper to hug her even though it makes her flinch, because she fears it becoming a debilitating condition, as it has done for Kaz (not that she knows that initially when it’s first implied that she too fears contact). In the bathroom scene when she admits to him that she also struggles with touch, it has such a massive effect on Kaz not because he refuses to accept that she has flaws but because he sees her as so much stronger than himself and wishes that he could be more like her. Although both of them are ultimately unable to go any further than a few light brushes of contact, it’s suggested that what trigger Inej more than the touch itself is the sexual implications of those touches based on everything she went through at the Menagerie. Kaz doesn’t see Inej aligned with with himself or the other gang members, but as above them - and not in the way he labels Nina as a snob, but in a genuine manner he refuses to acknowledge her as low in society because he sees her as deserving of so much more. He notably never refers to her as “a canal rat” and he never even comes close to defining her by her time at the Menagerie, a start contrast between him, the supposed low of the hierarchy, and Van Eck, the supposed upper, he yells at her “you little skiv! You little whore!”. However, there is one way in which Kaz arguably looks down on Inej and it’s in a similar way that he looks down in Matthias: how dare she still try so hard to remain truly good, and decent, and to find her Saints and to politely ask them for forgiveness, when it would be so much easier to let the world beat that out of her? Arguably, it’s not that he judges either of them for their faith, but it’s that he fears them judging him for losing his, be that in religion or in the world at all. (I don’t think we know if Kaz was raised in a religious household or not, but based on societal structure in Ketterdam and the way most of the population in most of the countries are religious I think it’s safe to assume he at least grew up with an understanding of Ghezen). Kaz fears that they’ll judge him for failing to maintain his core of decency, which is exactly what Matthias does, and so he aims to offend or challenge them before they can him.
Ok I’m not gonna lie to you guys it’s like quarter past one in the morning as I’m writing this, and oh my god it just got so long out of nowhere… I might have lost my point somewhere in there, I don’t even know, this came from one quote I was thinking about and I’m not sure I even wrote that quote in there so, yeah, I guess. If you bothered to read this far the tysm I hope it made sense
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lurkingshan · 11 months ago
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Love for Love's Sake Episodes 7 & 8
Well holy shit, that went in some directions I never imagined, and it was very dark indeed. I can't believe this intriguing little show is already over. So let's unpack what happened here.
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My interpretation of everything we learned in these final episodes is that Myungha already died by suicide in the real world after a series of hardships, including the death of his grandmother, a long-term struggle with depression, and rejection from his ex and his mother, and the author gave him a chance to live again in the game world. The ending suggests he will now stay in the game world with Yeowoon and get another chance at life where his core objective is to make himself happy, and any expectation we had that he would have to return to the real world is out the window, because his life there has already ended.
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But what exactly is this game world? I don't think we'll ever fully know for sure. Certainly, the show did not explain the how of it, or tie together all the vignettes we saw of Myungha and the author discussing their philosophy on life in a clear throughline to how we got to the game. The game world was purportedly based on the author's fictional novel, but all along it has taken on the features of Myungha's real life, including all the significant people we saw in his first life flashbacks. His grandma is here, his mother is here, his ex is even here in the guise of Yeowoon's agent. Myungha's memories and consciousness seem to inform the way this world was built, even as he did not create it. The author is given the role of Creator, somehow designing this world for Myungha to try to find happiness via seeking to make someone with very similar experiences to his happy.
Now, on this point, I don't think everything that happened in the original iteration of the game totally holds up. The way the author was messing with Myungha and forcing cruel choices on him really does not track with a desire to help him find happiness, and the point where Yeowoon seems to discover the game and somehow intervene to pull Myungha back in was lacking some clarity. And I wish the show had grounded us in Myungha's experiences earlier on rather than holding everything back for the sake of mystery--I do think that choice got in the way of a more coherent emotional arc for our protagonist.
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But despite those quibbles, I still was able to connect with Myungha's struggles. This is a boy who has been so mired in his own misery that he doesn't know how to let anyone else in. He is too afraid to trust and let someone care for him in the way he cares for others. I wanted to reach through the screen and strangle him when his own emotional paralysis caused him to destroy the game--Yeowoon was telling him exactly what he needed, but he couldn't find the strength within himself to give it to him. And this is why knowing Yeowoon is exactly what he needed to see a different path for himself, because Yeowoon has experienced many of the same hurts but still finds within himself the ability to trust and rely on Myungha. Yeowoon is the stronger of the two of them, and Myungha needed to learn from him to overcome his own cowardice. Their happy reunion in the game world felt earned, and I believe in Myungha's ability to try again at both life and this relationship without holding back this time.
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This show definitely wasn't perfect, but it really did some interesting things and left us with a lot to think about. I am looking forward to reading everyone else's interpretations of these final episodes, and Myungha and Yeowoon will be staying with me for a long time.
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wonderfulwitchwillow · 3 days ago
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So like, when anyone thinks Ravenloft you probably think of Curse of Strahd. Or hell Curse of Strahd as a standalone thing. Like its one of the most popular modules of all time. But Curse of Strahd is an adaptation. One of many adaptations of 1st edition's I6: Ravenloft.
It got me wondering, how many people have actually taken time to look at this module who weren't playing in the 80s. I wasn't even alive in the 80s, and when this module came out my father was in high school playing D&D. So I doubt alot of people go back and really look at some of these older modules. And I happen to be a collector/lore nerd for all things Ravenloft. So what exactly is different? I have somewhat compiled my thoughts into a semi-cohesive analysis of I6 and Curse of Strahd.
Alot, and I do mean alot, of the module is similar to the opening and the castle in Curse of Strahd so this is your warning for spoilers for the module. I intend to talk about every major (and some minor) changes between 1st editions Ravenloft and 5th editions Curse of Strahd and give some of my commentary on what I have found, and some notes about random related facts. I am not going to discuss the overall narrative of I6 or Curse of Strahd since the only major narrative differences is in the Castle, which I do discuss in detail in that section of the post. I also know there are other adapations of I6 Ravenloft, 2nd edition has House of Ravenloft and 3rd edition has Expedition to Castle Ravenloft, but I am analyzing 1st edition and 5th edition's design choices; if I focused on all the editions, I would need more than just 1 super long post; plus Expedition to Castle Ravenloft really deserves its own post since its canon is separate from the greater ravenloft canon of second and third edition. Forgive me if my photos suck, I am using my phone and my shadows keep showing up. I have several things I want to say before I get started proper; I6 uses some derogatory words for the Vistani people, a ethnic group in Ravenloft not subtly based on the Romani people. These words may appear in some of my images but I am going to do my best to avoid showing them and the slurs will not appear in my text. I make mention of this because the Vistani are not refereed to as the Vistani in I6 but in all other versions of the module and the setting as a whole, they are called the Vistani. This is something that is an issue in second and third edition when it comes to the Ravenloft setting. It is at times, very racist. And I would not be doing justice to those who are harmed without mentioning the use of slurs or racial caricatures for a real ethnic group in this module. I am not going to talk more about them in the module since their presence outside of Madam Eva is small and racist; serving as minions of Strahd with a neutral evil alignment; which this alone is incredibly disgusting by making a real group of people evil. The harm started with this module and it is something that everyone who interacts with Ravenloft, regardless of canon, take caution and care with handling. I added IDs to each photo to help as well. I shall be discussing the module under the cut.
Part 0 - extra bits and forward
This post is incredibly long, I have tried to add mini-headers for each major subsection of this post because as I was working on it, it somewhat ballooned in scope and I want it to be fairly readable for those who are interested.
Onto the module discussion
Part 1 - Cover and maps
Forgive me for having a section just dedicated to the maps but as you would soon find out, its quite extensive in detail.
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[ID]
A cardboard outer sleeve with the words Advanced Dungeons & Dragons Official Game Adventure Ravenloft. Below the title is a landscape image in a gothic horror art style.
The image is of the vampire count Strahd von Zarovich standing on his castle's walled balcony overlooking a misty cliff side. On the railing of the balcony sits two gargoyle statues. The castle itself is behind Strahd with a gateway being directly behind him. There are two castle spires, one in the foreground cut off by the artwork, one in the background with the spire's peak nearly visible. The castle's battlements are behind the right spire and go from the upper center of the artwork to the edge on the right. There is a lightning strike in the upper right corner along with bats flying out of the right spire into the night. Mist fills the lower right corner, obscuring the spire.
Below the artwork is a line of marketing text- "The master of Ravenloft is having guests for dinner - and you are invited. Ravenloft is an adventure for 6 to 8 players of levels 5 to 7." Below this is the TSR logo, which is an outline of the letters "T" "S" and "R". Below the logo is the copyright information "TSR, Inc. Products of your imagination. Advanced Dungeons & Dragons and Products of your imagination are trademarks of TSR. Inc."
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I think I am not alone in saying but the first edition module covers are iconic. It is this generic fantasy style now but like that style is timeless to me. Its Strahd looking menacing over the chapel outlook's balcony. Its incredibly imposing. Its a different vibe and I don't think the other modules ever nail the vibe that Strahd is menacing on the cover art. He is waiting to strike or overlooking his lands. Though Curse of Strahd cover is probably my second favorite because he is less of a monster and more of a noble playing a game which is far closer to how he is played as a villian. Strahd always changing his appearance to fit in with what we consider "fantasy" for the era. I am fascinated with older editions of D&D so it makes sense why I would love this art so much. It is absolutely my taste and I am biased.
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The image contains two documents on a wooden table. The document on the left is the same document as the first image, cardboard outer sleeve On the top of the sleeve above this title is an orange header with "I6" on the left corner and "9075" on the right corner which wasn't visible in the first image.
The second document is a map folded in half showing only the right potion of the map. The map has a white margin surrounding the entire map as a a border. The top of the map has a repeating pattern lining the edge of the map invoking a gothic crown molding. The right edge of the map has a marble pillar going from the top to the bottom of the map, serving as a border. The map's legend is in the right corner. The contents of the legend are in a white box. The words Ravenloft stylized in bold font are above the rest of the legend. The Letters R and T in Ravenloft have gargoyle heads extending outwards to face the edges of the the legend. The legend is organized into 4 rows with 3 columns. The legend shows off several colors with associated elevations: Light green is associated with Elevation 0-49 feet", Dark Green is Elevation 50-99 feet. Blue Green is Elevation 100-999 feet. Purple is Elevation 1000-1499 FT. and is the end of the first column. At the start of the second column is the last color, a Reddish Purple is Elevation 1500+ feet. Continuing down the second column there are shapes to indicate map elements. Lines repeating next to each other vertically indicate a cliff wall, two parallel lines that complete indicate a road, and two parallel lines that are dashed indicate a trail. The third column shows more colors to represent buildings that are occupied: A brown rectangle indicates an occupied house. A light brown rectangle indicates an unoccupied house. A small light brown square indicates an unoccupied store. The last icon on the legend is a red rectangle indicating an Encounter Building. Bellow the columns and the width of the rows is text "Scale: 1 hex = 200 feet". Bellow the legend is a title. "Map 1. Lands of Barovia"
The map starts at the right and flows left following a white road. The maps elevation up to the city remains light green with the northern portion of the city, near a point labeled E7, becoming dark green. North and south of the road is a woods. The road starts near the letter A passing through what appears to be a gate labeled B Continuing we see two hexes with the letters C on the map on the left and right adjacent hexes. Following the road is the village of barovia, with houses indicating occupancy. There are several red houses each labeled with corresponding letters. The center has E1 and E2. South is E3, E5, and E4. North is E6 and E7. The road heads south west from the village, passing E and ending at a gate before the fold cuts off the map. Below the village is a river labeled D.
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Moving to the actual contents for a moment - how many folks know that these sleeves/covers are not attached at all? I store my older books in comic book sleeves with backs. I don't know if this was a cost cutting measure or if comic book storage was the original intention since I could see the same communities overlapping in the 80s but like, if someone knows why, please let me know. I am so curious. I know they made comics that were released around the same time, made by DC in the 80s and 90s, so its not a stretch to say that it was expected to store modules like comic books.
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A folded out display of several maps for Castle Ravenloft as isometric cross sections. The sleeve contains Map 2. Walls of Ravenloft, Map 5. Rooms of weeping. Map 6, Map 7, Map 8, Map 9 and Map 10 all of which are associated with the Spires of Ravenloft. In the bottom left corner is a front facing image of the entire castle with size guide displaying the full height of the castle including the spire. The total height of the castle is 360 ft. The break points shown along the way up to the total height are associated with floor sizes for each of the associated maps. The maps 5 through 10 are stacked on top of each other such that 10 is at the top and 5 is at the bottom of the sleeve.
Map 5 contains a hallway with a stairwell leading down labeled K46, a bedroom labeled K42, additional rooms labeled K41, K43, K44, K45, K36, and K37 along with several corridors labeled K39, K38, and K40. There are additional stairways labeled K21, K18, and K20. Map 5 is 40 feet from floor to ceiling.
Map 6 contains roof tops labeled K53, a chimney labeled K52, 4 interconnected rooms labeled K51, K50, K49 and K47, the same stairways from Map 5 labeled K18, K20 and the top of K21 which ends in room K47, and a new stairway labeled K48 which is connected to room K47. Map 6 is 40 feet from floor to ceiling.
Map 7 contains the Straiways K20, K18, and K48. Three rooms are attached to each other. K55 is attached to both K54 and K56. K54 is attached to the stairwell K48. Map 7 is 40 feet from floor to ceiling.
Map 8 has the stairway K48 end as it reaches a spire's battlements, labeled K57. There is a stone bridge linking to the stairway K20 labeled K58. K20 continues to ascend to map 9 but depected on Map 8 is a heart. K18 continues to climb and will reach its peak in map 10. Map 8 is 20 feet higher than map 7.
Map 9 starts 50 feet from map 8 with a spire's battlements as the ending for the stairs. This room is labeled K60.
Map 10 is the peak for the stairs K18. It is spire with a pointed roof. The room is labeled 59 while the enter of the stairs is now accessible, a fall of 380 feet, labeled K18a.
Returning to the left side of the sleeve, above the front facing image is Map 2. This map is the courtyard of the castle along with some ground floor elements. The front yard entrance is labeled K1, the side gates to the back of courtyard are labeled K2, the carriage house is labeled K4, the chapel is k5 and the outlook is K6. The gate leading into the courtyard is labeled J
Above map 2 is a full 3d side view of the castle. It has the spires indicated in Map 8, 9, and 10 along with the rooftops from map 7. The walls are also clearly visible along with the chapel. The stable house is also visible but the outlook is just a flat floor.
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Back to the sleeve, if we open it, its a map of Castle Ravenloft! Its isometric and how in the hell do you keep this hidden from your players if you ever need to refer to it while in session? You probably have to grab it out and review it as you draw on some kind of graphing paper and attach it with tape together or something or just draw it out before the game starts and come to your weekly game night with it all prepared, like how we do it now. Its also wild that this sleeve isn't attached in anyway. If you lose either this outer sleeve or inner sleeve with even more maps, you just lose all the maps. I did not grow up in the 80s or 90s when this was the way you would play, 5th edition was my first edition, so again, was this ever a problem? I could see it being a problem since cardboard is not sturdy at all and I am terrified in tearing it accidently. The pricing was also around $7 to $9 in the 80s which would be about $22 to $28, which is cheaper than modules are now but no where near cheap enough to justify the cardboard and the paper quality.
Anyway, the castle itself is 360 feet tall which is massive for an actual castle. Though most of the height is the main spire with the Heart of Sorrow like we all know all love, referred to as the Guardian of Sorrow in I6. If you did the math with all the heights for maps shown, it wouldn't be 360 ft. That is because the rest of the maps are on the inner sleeve, which is two sided. The other side has the map of Barovia, which you have gotten a sneak peak at. Lets finish up on the outer sleeve before moving to the inner sleeve with more maps.
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An outer cardboard sleeve with the following words: "Advanced Dungeons & Dragons" "Official Game Adventure" "Ravenloft" "by Tracey and Laura Hickman"
"Under raging stormclouds, a lone figure stands silhouetted against the ancient walls of castle Ravenloft. Count Strahd von Zarovich stares down a sheer cliff at the village below. A cold, bitter wind spins dead leave about him, billowing his cape in the darkness."
"Lightning splits the clouds overhead, casting stark white light across him. Strahd turns to the sky, revealing the angular muscles of his face and hands. He has a look of power - and of madness. His once-handsome face is contorted by a tragedy darker than the night itself."
"Rumbling thunder pounds the castle spires. The wind's howling increases as Strahd turns his gaze back to the village. Far below, yet not beyond his keen eyesight, a part of adventurers has just entered his domain. Strahd's face forms a twisted smile as his dark plan unfolds. He knew they were coming, and he knows why they came. All according to his plan. He, the master of Ravenloft, will attend to them."
"Another lightning flash rips through the darkness, its thunder echoing through the castle's towers. But Strahd is gone. Only the howling of the wind - or perhaps a lone wolf - fills the midnight air. The master of Ravenloft is having guests for dinner. And you are invited. "
"1983 TSR, Inc. All Rights Reserved. Printed in U.S.A"
"ISBN 0-88038-942-X" "394-53465-4TSR0600" Below this text is a logo for TSR. Beneith the logo is additional text: "TSR, Inc. Products of your Imagination" On the left margin of the sleeve is a barcode within a white box with the number 0 at the start of the barcode and the number 3 at the end. Beneath the barcode but within the white box is the following string of numbers "46363 09075"
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On the reverse of the outer sleeve, its a bunch of information on the module itself. I'll use this time to talk a bit about the creators - though I'll admit I don't know as much as I should. Tracey and Laura Hickman are iconic authors and module designers for the early years of D&D and especially Dragonlance. They also created the second edition version of I6, House of Strahd, Ravenloft 2 House on Griffin Hill (A story for another day) and so many more works. If you see their names on something, its going to be good from my experience. Its also why Dragonlance is so interconnect to Ravenloft to an extent or that's what I think atleast. Though Ravenloft is interconnected to every major setting TSR had at the time (Greyhawk, Forgotten Realms, Dragonlance, and Dark Sun all have characters and dread domains from their universes). Anyway back to the Hickmans. Their works are considered what made D&D jump from just dungeon crawling to more narrative experiences and Ravenloft absolutely shows this. This culminated when Tracy pushed forward on his work in creating Dragonlance, which is one of the biggest settings for D&D. I am sadly not super knowledgably about Dragonlance but we can really feel this shift in module design moving from I6 onward. I6 has a lot of notable steps in module design, the biggest being the maps!
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[ID] An image of a map. The map has a white margin surrounding the entire map as a a border. The top of the map has a repeating pattern lining the edge of the map invoking a gothic crown molding. The right and left edge of the map has a marble pillar going from the top to the bottom of the map, serving as the maps' border.
The map's legend is in the right corner. The contents of the legend are in a white box. The words Ravenloft stylized in bold font are above the rest of the legend. The Letters R and T in Ravenloft have gargoyle heads extending outwards to face the edges of the the legend. The legend is organized into 4 rows with 3 columns. The legend shows off several colors with associated elevations: Light green is associated with "Elevation 0-49 feet", Dark Green is Elevation 50-99 feet. Blue Green is Elevation 100-999 feet. Purple is Elevation 1000-1499 FT. and is the end of the first column. At the start of the second column is the last color, a Reddish Purple is Elevation 1500+ feet. Continuing down the second column there are shapes to indicate map elements. Lines repeating next to each other vertically indicate a cliff wall, two parallel lines that complete indicate a road, and two parallel lines that are dashed indicate a trail. The third column shows more colors to represent buildings that are occupied: A brown rectangle indicates an occupied house. A light brown rectangle indicates an unoccupied house. A small light brown square indicates an unoccupied store. The last icon on the legend is a red rectangle indicating an Encounter Building. Bellow the columns and the width of the rows is text "Scale: 1 hex = 200 feet". Bellow the legend is a title. "Map 1. Lands of Barovia"
The map starts at the right and flows left following a white road. The maps elevation up to the city remains light green with the northern portion of the city, near a point labeled E7, becoming dark green. North west of the village the color shifts to being blue green before shifting to purple and sections of redish purple representing mountain peaks. Continuing west, the map remains purple with reddish purple mount peaks scattered throughout.
North and south of the road is a woods. The road starts near the letter A passing through what appears to be a gate labeled B . Continuing we see two hexes we see the letters C on the map on the left and right adjacent hexes. Following the road is the village of barovia, with houses indicating occupancy. There are several red houses each labeled with a corresponding letters. The center has E1 and E2. South is E3, E5, and E4. North is E6 and E7. The road heads south west from the village, passing E continuing to a branching path marked by the letter F.
The northern branch flows north before becoming a trail passing landmarks G1 and G before meeting back up with the main road at a bridge. The southern branch flows around woods and turns north before bending south east around a mountain. The road continues to follow this mountain until the road bends north to meet a bridge, labeled H. The road flows around another mountain before going north and reaching a fork in the road, indicated by the letter I. The fork heading north is blocked by a gate, indicated by the letter B. The road continuing north and west off of the map. The fork flowing east winds through the mountains until it reaches a drawbridge gate indicated by the letter J. The road ends at a castle indicated by the letter K. Following the entire road is a river that flows through the first bridge, meeting up with the trail with G and G1, passing under bridge H, then continuing west before the river is off the map
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There is an inner sleeve with more maps and the map of Barovia itself which is very familiar to those who know the map from 5th edition. It looks like you could just place it out and play right on it using a token to represent the players because its gorgeous and heavily colorized. Each color meaning different elevations since Barovia is so mountainous and hilly. The map only goes up to Castle Ravenloft, that is because Barovia would be expanded when Ravenloft itself gets expaded in second edition with its AD&D box set, modules, and lorebooks. The whole story we know with "I, Strahd" would be years later. The village of Barovia looks much larger than we would assume but the general town's make up and people don't change much on the way to 5th edition. WotC did a good job on preserving the setup for Curse of Strahd.
On the Reverse of this inner sleeve we see more maps of Castle Ravenloft and again, its very similar to what we know in 5e.
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A folded out display of several maps for Castle Ravenloft as isometric cross sections. The display contains the following maps: Map 4. Court of the Count, Map 3. Main Floor, Map 11. Larders of Ill Omen, and Map 12. Dungeon and Catacombs. Above Map 12 is a compass. In the bottom left of the display is the following text "1983 TSR, Inc. All Rights Reserved. 119-I-9075". Along the left of the maps is the height from floor to ceiling for each map. To the left of the maps is a key for the maps. This key is two columns and 21 rows. The first column uses flat 2d images; the second column represents the image from the first row in an isometric view, mirroring the maps.
The first row represents doors with a square and a thick line extending from the center of the left and right sides. The second row represents double doors with rectangle divided in half by a vertical line with a thick line extending from the center of the left and right sides. The third row represents secret and standard doors with a square missing one side, the letter S being placed inside this incomplete square, with a thick line extending from center of the left and right sides. The fourth row represents secret doors with the letter S with a thick line in the left and right side of the letter. The fifth row represents one way secret doors with the letter S with an arrow passing through the letter with a thick line on the top and bottom of the letter. The sixth row represents teleport traps using several small staggered inverted Vs. The seventh row represents trap doors in the floor using the letter T in a solid circle. The eight row represents trap doors in the ceiling with the letter T surrounded with a dashed circle. The ninth row represents windows with a white rectangle surrounded with a black rectangle while the isometric view shows a white trapezoid instead in the rectangle. The tenth row represents arrow slits using a black rectangle with a white triangle in the middle. The eleventh row represents bars and portcullises with sequential circles. The twelfth row represents brazier with a circle with an inner ring while the isometric view shows a brazier. The thirteenth row represents ladders with a ladder. The fourteenth row represents stairs with lines reducing in size making a shape of a triangle from left to right while the isometric depiction is a set of stairs. The fifteenth row represents spiral stairs with lines that reduce in size and curve inward while the isometric view is a spiral staircase. The sixteenth row represents a bed with a bed. The seventeenth row represents a chair and thrown with a top down cube with the isometric view is a chair. The eighteenth row represents railing with 4 black dots connected with a line, while the isometric view displays a railing. The nineteenth row represents a statue with a circle containing a black star. The twentieth row represents a curtain using a thick black squiggly line with 4 humps. Lastly, the twenty-first row represents water with repeating waves as rows while isometric view is a wavy layer on top of a white square with scattered dots. Below the key is the text: Scale: 1 Square = 10 feet.
Map 12, labeled Dungeon and Catacombs, is the largest of the maps in the image. K84 is the largest room in the map with several small one square rooms labeled 2 through 40. 1 represents a door connected to room K81. North and south of K84 are the rooms K85 and K86. Both of these rooms are mirrors of each other. East of K84 is a hallway labeled K87 with a room at the end labeled K88. Opposite of this hallway attached to K84 on the west is a stairwell labeled K18a and a stairway labeled K18. Continuing from K81 there is a trap on the floor that leads into K82, a slide that leads into K74. Across the trap is the hallway labeled K80. A staircase is attached K80 leading to the room K78. K78 has a brazier along with two statues. There are three staircases leading out of K78: the left most stairwell is K72 with the associated text "Up 70 feet to Map 11, K72", the center is K80, and the right stairwell is K83. The door out of K78 leads to room K77 which is divided by a Curtain with two chairs overlooking another room, labeled K76. K76 is flooded with water and to east is a hallway Labeled K73. K73 is also flooded which has two rooms branching north labeled K74 and south labeled K75. Both K74 and K75 are prisons with cells labeled A through H and are flooded. Attached at the end of the K73 is a staircase labeled K21. The height from floor to ceiling of map 12 is 50 ft
Map 11, labeled Larders of Ill Omen, has two stairwells that are not attached to the main map, both K18 and K831. K18A is a empty cylinder that the stairs of K18 wrap around. K18 has the following associated text "Up 30 feet to rubble blockage then 10 feet past rubble to map 3, K18". Starting in the top left corner of the map, the stairway K79 leads up to a secret door attached to K72. K72 leads into a the K70. K70 has two attached rooms, K71 to the east and K67 to the south. K71 features a stairway K20a with the following associated text: "Up 40 Feet to Map 3". K67 is a room with a double door leading to K62 to the east and K68 to the south. K68 is a hallway with the room K69 attached to the west and the stairway K64 to the south with the following associated text " Up 40 feet to map 3". K69 has 10 sections divided by walls, 5 on the north and south walls of the rooms. Room K62 has 4 rooms attached to the hallway, K66 to the north, K65 to the north but east of K66, a unnumbered room with the staircase K21, and K63 to the east behind bars. K62 has a stairway to the north, east of K65 with the following associated text "up 40 feet to map 3". In the room containing K21 there is a trapdoor between the staircase and the door to K62. The staircase K21 has the following associated text "Up 40 feet to Map 3". The height from floor to ceiling of map 11 is 40 ft.
Map 3, labeled Main Floor, contains a entry hall out to the courtyard of the castle, labeled K7. Next to K7, unattached to any of the rooms in Map 3, is the staircase K83. K7 is attached to one room, K8. K8 is attached three rooms, K14 to the east, K9 to the south, and K19 by a staircase to the north with the following text "Up 30 feet". K19 leads to another staircase with the text "Up 20 feet to map 4". K9 is connected to the staircase K21 to the east and the room K10 to the west. K21 leads up to Map 4. In the wall north of K21 is a hole labeled K31a. K10 is a large room with a secret door the the east, leading to K11. K11 leads to the a hallway, K13. K13 is attached to K11 with a northern hall and attached to the room K12 to the west. At the end of hall k13 is the staircase K64 with the following text "Up 50 feet Map 4, Down 40 feet to Map 11". K14 is a hall that leads into K15. K15 is a large room with two passages, K16 to the northwest and K17 to the southwest, which are attached to two separate stairways. K16 is attached to the stairwell K29. K17 is attached to the stairway K18 and the hollow cylinder K18a with the following text: "Down 10 feet to new wall down pas wall 80 feet to map 12". Unattached to the rest of the map and north of K14 is the room K20. K20 contains the stairway K20a and an unlabeled stairway with the associated text "Up 50 feet". A hallway labeled K13 leads into K20. At the west end of K13 is a round room labeled K12. The south end of K12 leads into a small room labeled K22. Connected to the outside and unconnected to the rest of map, east of K20, is the room K23. K23 has a staircase leading down with the associated text "Down 40 feet to map 11". The room to the north of K23 is K24. K24 has a stairway that leads up with the associated words "Up 30 feet to map 4". The height from floor to ceiling of map 3 is 50 ft.
Map 4, labeled Court of the Count, contains a throne room. This throne room, labeled K25, is located in the western half of the map and is connected to two stairwells which lead back to K19. There is a secret door in front of the throne on the south wall of K25 which leads into K13. The eastern end of K13 is a stairwell labeled K64 with the following associated text "Up 40 feet down 50 feet". To the north of K13 is the room K12. To east of K13 is the room K22. K25 has two additional rooms attached, K26 attached with a set of double doors, and K30, attached with a single door. K30 has a set of stairs labeled K21 with the following associated text "Up 40 feet down 50 feet". K26 is a small hallway with a secret door to the north that connects to the room K33 and a double door to the east that connects to K27. K33 connects to room K32 to the west and hallway K13 to the north with a secret door. Similar to the other hallway labeled as K13, to leads to two rooms and a stairwell. The room K12 is in the same location as the previous K12. K22 is to the south of K13. To the west of K13 is a large stairwell labeled K20. The stairwell K20 leads up and down and has a secret door that leads to a ladder with the following text: "Ladder up 20 feet from K34 to K20". The ladder leads to an additional secret door that that leads into the room K34. K34 has a staircase leading down off the map. K27 is a long hallway that leads to another set of double doors connected to K28. A secret door is in the middle of the southern wall connecting K27 to K31. K31 has a hole next to the small room labeled K31a. K28 has two chairs and a outcropping that overlooks the main floor over K15 that is 50 feet in the air. K28 has a stairwell that leads down to Map 3 labeled K29. To the south of K27, to the west of K28 and to the east of K31 is the stairwell K18 and the cylinder K18a. The height from floor to ceiling of map 4 is 40 ft.
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I want to say before moving on to the module, that these maps are immaculate. Like now we are spoiled with battlemaps in modules and how they are designed but back in the 80s, they had black and white paper that feels like its a elementary workbook. Its fairly cheap feeling. Where I could describe modern books as more textbook in quality. So imagine then you had these black and white books to use for making maps. These sleeves are so much higher quality and the color is beautiful if you ask me. I can see how a dm could run this dungeon flawlessly. Even know the castle is massive and yet it always goes off without any issues. Its a testament to good dungeon design and displaying information to the dm and players. Its one of those tales that these maps are what made I6 Ravenloft popular; again I don't know any old school ttrpg fans who played this when it was new but I could absolutely see it. During my researching, this is one of the biggest factors in what made Ravenloft popular. That and of course our beloved Strahd von Zarovich.
Now onto the actual module. I am not going to have a photo of each section of the module since there is alot but I will be showing off all the images in the module plus anything of note. The layout of the module itself makes sense from a ease of access but compaired to modern module layouts, it a bit jumpy. First is Strahd's stat block and his personality. It makes sense to put this first since he is the villain and you will need to have ready access to it. Second is the fortune reading, called "Fortunes of Ravenloft". Then onto the actual setup for the module following the similar steps to what we have come to expect from Curse of Strahd: The lands of Barovia, Barovia Village, Tser pool encampment, and Castle Ravenloft. Then statblocks for the rest of the monsters. I am not going to go over the narrative of I6 since there isn't any major differences to Curse of Strahd! I6 is almost beat for beat the same as Curse of Strahd as long as we include only the portions in I6. This makes sense since Curse of Strahd is a remake after all. Now, onto Strahd's statblock!
Part 2: Strahd von Zarovich
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The image is a black and white page full of text with an image of Strahd von Zarovich in the bottom right corner. The documents text is positioned into two columns. The top of the document has a repeating border that is a shape that is a hollow rounded triangle with two curved arches on the left and right of the shape that meet in the middle under the bottom of the triangle. On the left and right of the triangle is abstract black shapes that meet up at a black thick line the top near of the page. Around these triangles are broken lines that outline the shape. A thin black line creates an outline from the bottom of the triangles around the document.
The image of Strahd von Zarovich in the bottom right corner is of a cloaked figure with a cowl. His hair is pulled back with a strong widow's peak. His eyes are white and luminous. His knows and ears are barely visible, with the rest of his face hidden in the darkness. His right arm appears to be extended but is hidden by his cloak. Behind Strahd is a full moon with three bats casting a shadow on the moon. In the bottom right of the image is the artist mark of Clyde Caldwel, A c like shape that flow into an n like shape with a dot beneath. At the center of the page is the page number, 3
The text of the document starting with the left column is as follows: "Count Strahd Von Zarovich, Vampire.
The entire adventure centers around the vampire. Always keep in mind the motives of the vampire, how he moves about, and what his cunning plot is. You must play Strahd in the same way players play their characters. Study this NPC as carefully as the players study their characters.
Count Strahd Von Zarovich (The First Vampyr) Frequency: Unique Number Appearing: 1 Armor Class: -1 Move: 12"/18" Hit Dice: 10 (55 hit points) % In Lair: 90% Treasure Type F Damage/Attack: 5-10 (1d6+4) Special Attacks: Energy Drain Special Defenses: +1 or better weapon to hit Magical Resistance: See below Intelligence: Genius Alighnment: CE Size: M Psionic Ability: Nil Attack/Defense Modes: Nil
Although Strahd can be encountered in many places, he is always encountered in the plaace indicated by your Fortunes of Ravenloft results (see p.4) unless he has been forced to his tomb. Strahd is slightly above-average vampire. He has the normal 18/76 strength and his blows drain 2 life levels from his opponents. Strahd has the usual vampire abilities. He can only be hit by magical weapons and can regenerate 3 hit points per round He can assume gaseous from at will or shape change into a large bat. He can charm person at will by gazing into a character's eyes, causing the character to make a saving throw vs. spells with a penalty of -2. Strahd is also a 10th level magic user. He learned his magic from studies during his life from subsequent studies over the centuries. His available spells are:
First level: comprehend languages, hold portal, protection from good, sleep. Second level: invisibility, locate objects, mirror image, ESP. Third level: fireball, gust of wind, suggestion Forth level: polymorph other, polymorph self Fifth level: animate dead, distance distortion"
The following text is the right column of the document: "Strahd has a variety of spies and servants. They report to him four times each day (at dawn, noon, dusk, and midnight). There is a 60% chance that Strahd knows the PC's location at these times. If Strahd knows their location, he attacks the OCs -wherever they are -within two hours. Strahd chooses the time and method of his attacks carefully.
Strahd can attack in each of the following ways once.
Strahd attacks a single PC for 5 melee rounds then leaves.
Strahd calls 10-15 Strahd zombies to attack the party. All of the zombies must attack at the same time in the same place.
Strahd calls 3-12 worg wolves to attack the party. All of the wolves must attack at the same time in the same place.
When playing Strahd, above all, keep these three things in mind.
Strahd chooses when he attacks. Strahd is supposed to be a genius, play him as one. Whenever he is aware of the PCs poisitions, he is allowed to make an attack how and where he wants. His attacks must be timed to be most advantageous to him. To do that, Strahd must move around during the adventure. However, he can always be found in the place determined in Fortunes of Ravenloft. It is your responsibility to see that the vampire uses his abilities to his greatest advantage.
Strahd knows when to withdraw. He knows when he is over his head. If he is losing a battle he becomes gaseous, polymorphs into a wolf or bat, and/or summons other creatures to guard his retreat.
Strahd's attacks depend upon his goals. There is a reason why Strahd lured the PCs into his little kingdom. This reason is determined in Fortunes of Ravenloft. Strahd's plans for achieving his goals are listed with his goals."
[End ID]
I don't know 1st edition but if I'm not mistaken (and I could be since my knowledge is based on the 1st/2nd edition dos games), is a roll under system unlike 5e's DC system. Its cool seeing spells remain at spell levels I know like invisibility being second level and fireball being obviously third level; though I feel its common knowledge that fireball was third level in 1st edition. If someone who is far more versed in 1st edition could tell me what his stat block actually means, I would appreciate it immensely.
Something awesome is that Strahd has different goals determined by the module's Fortunes of Ravenloft, something similar to the fortune reading in 5th edition. Strahd is also cunning and plays keepaway with the players, running away when he is losing and ambushing the players at any time. He even has a randomized set encounter location where the Fortunes of Ravenloft says, again just like 5e. The whole intent behind his creation and play style is that he is supposed to be this menacing calculating monster of a man, not a generic monster. This design has lasted to this day which is impressive. I may be spreading more internet nonsense from saying but the idea of the whole module to my knowledge cam from a playtest of a game with players fighting a vampire in a cave and it didn't make narrative sense.
What is also fascinating is his title, The First Vampyr. Was the intent was to set up the villain as well the first vampire in universe? I don't know when TSR started focusing on building out their universes, like Forgotten Realms, but this feels like this is something that would be kept in mind for the future. At the same time, this could just be throwaway flavor text as Strahd is referred to as a "slightly above average vampire". Which feels like they are downplaying his strength as a monster. But he also is a fairly formidable caster though I don't have the context of how formidable, I am just extrapolating using my experience with 5th edition; just 5th level spells feels like alot for any party. He is also immune to any damage not dealt by magical weapons, which would be an issue if the module didn't give the players magical weapons. But it does. We know it has the sunsword but as we will see, the module has other magical weapons as well, making this trait something the players could handle once they are in the castle.
Lastly, Strahd feels like he teleports around quite a bit given what the module is suggesting, that he should be reappearing and fighting the players before the castle. Curse of Strahd does solve this by giving him a teleportation room, a difference I highlight later, here he just has to run around using his powers. I think its fine to handwave this as Strahd can just move quickly due to his ability to polymorph since its so core to this module that he can just show up and scare the players.
Next, the Fortunes of Ravenloft
Part 3: The Fortunes of Ravenloft
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[ID] The image is a black and white page full of text with three images of Cards on the top of the page, above the text "Fortunes of Ravenloft", with the first card partially behind the "R" in Ravenloft. The page itself is grey and splits text into two columns that flow similar to the previous document image. At the center of the bottom of the page is the number 4, indicating the page number. The three cards are similar with white playing card like border and an embroidery pattern filling an inner border with text in the center. At the top left of the page is the head of a gargoyle, with a line drawn down from the neck to the bottom of the page, passing behind the left playing card. Under the left most card's left side grouped together is the letter J and a heart written into the book in pen. Further down in pen are the words "Jack spades" crossed out. In text between the two handwritten texts is the text "Deal the top five cards face down". Below the right side of the left most card in pencil are the words "king of spades". Under the center card is the letter K and a diamond in pen. Under the right most card is the letter K and a heart in pen. The text outside of the cards is the following, starting from the left column and omitting slurs: "Fortunes of Ravenloft is an imitation ancient [slur] card reading. It does not resemble any real or mystical fortune telling process. Fortunes of Ravenloft determines Strahd's goals and the placement of important treasures. This card reading can add a great deal of flavor to your game and makes Ravenloft different when you play it again. You must run this card reading before playing the module. If, during the course of the adventure, the PCs have their fortunes read at the [slur] camp, run this card reading again, out loud. Substitute the new results for the old ones. Be sure to write down the results of your card reading, so you can have them when you need them. Find a regular 52-card deck of playing cards. Remove all 2, 4, 6, 8, 9, and joker cards from the deck. Now you have a set of four suits with eight cards in each suit. Shuffle the deck. If you don't have a regular deck of cards, you can get the same results by rolling 1d8 to determine the type of card and 1d4 to determine its suit. Roll again if you get the same card in any suit twice." The following text is a table that starts in the left column and continues on to the right. Around the bottom portion of the text in each row is an enclosed box. "Table 1. Fortunes of Ravenloft Places Card Place 3 Study (K37) It is in a place of tranquility, a harbor for the mighty and powerful. It is in a place of wisdom, warmth, and despair. Great secrets are there. The object is on the mantlepiece just under the portait of the women. If Strahd is there, he is sitting back in the overstuffed chair, staring into the blazing fire. 5 Treasure Room (K41) You should seek for a carefully hidden place of great worldly wealth. I see a blazing fire protecting the place. The object is set prominently atop the other treasures in the room. If Strahd is there, he is counting his ill-gotten gains. 7 Chapel of Ravenloft (K15) You may find this amid the ruins of a place of supplication. The object is on the altar, brightly illuminated by a shaft of light from the ceiling. If Strahd is there, he is standing in the center of the room-a dark shape in the vast hall. 10 High Tower Room (K60) This is a place of dizzying heights that all loathe to travel. The road winds ever upward and the rocks themselves live here! The object is in a locked iron chest. If Strahd is there he is at the window, looking over his lands. Jack Crypt of Sergei von Zarovich (K85) This lies with a fallen prince of old. The brother of dark is light and he rests in this place. The object is lying across Sergei's chest. If Strahd is there, he is lying across the marble slab, weeping. Queen Crypt of Ravenovia (K88) This is in the mother's place The object is lying on top of Ravenovia's coffin. If Strahd is there, he is in a frenzy of rage and despair"
The text in the left most card has a section in a box similar to the table. The box surrounds the middle portion of the card's text. The following is the text of the left most card: "First, determine where the Holy Symbol is (see Treasures and Tomes on Page 30 for a description of the holy symbol). Pick up the first card and read the following boxed text. This card is a symbol of great power. It tells of a powerful force for good and protection against the forces of darkness. To determine where the holy symbol is, find this card in Table 1. to determine the 'to hit' and armor class modifiers to use in that place, find this card's suit in Table 2.
The center card and right most cards' text is similarly laid out as the left most card. The center card's text follows: "Second, determine where the Tome of Strahd is (see Treasures and Tomes on p.31 for a description of the Tome of Strahd). Pick up the second card and read the following boxed text. This card tells of history. Knowledge of the ancient may help you understand a foe. To determine where the Tome is, find this card in Table 1. to determine the 'to hit' and armor class modifiers to use in that place, find this card's suit in Table 2."
The text of right most card follows: "Third, determine where Strahd von Zarovich himself can always be found. Pick up the third card and read the following boxed text This is the object of your search! Ah! I see darkness and evil behind this card! It is a powerful man whose enemy is light and whose powers are beyond mortality! To determine where Strahd can always be found, find this card in Table 1. to find the 'to hit' and armmor class modifiers to use in that place, find this card in Table 2." [End ID]
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[ID] The image is a black and white document similar to the previous image. The background is the same color along with the layout of text. The page number is 5. Two cards are above the left column of text. On the right edge of the document is a face of a gargoyle mirroring the previous document. Under the left most card is two sets of text: "Jack" and a diamond are written in pencil and the number 5 and a club written in pen. Under the right most card is two sets of text similar to the left card. The text is the same, just written in pencil and pen: the number 3 and a heart. Under the The left column continues Table 1. The following is the remaining text:
"King Kings Audience Hall (K25) A king's throne is the place to find this The object is lying across the dais behind the throne. If Strahd is there, he is sitting on the throne. Ace Crypt of Strahd (K86) This is a very bad sign. This is in the very heart of darkness: his home, his source. It is his center and his life. It is the one place to which he must return. The object is in a corner of the room. If Strahd is here, he is within his coffin, ready to attack at the first sign of someone opening the lid" Continuing after Table 1 is Table 2. Table 2 is similar to Table 1; the only difference is the location of the box containing text. The box is below a section of text and is the second half of each row. Table 2 contains images of each card suit vertically aligned in the left column of the table. The suites descend in the following order: Heart, Diamond, Clubs, Spades. The suits are solid and are black. The following is the text of the table, including a text replacement of the suit to indicate its location: "Table 2. Fortunes of Ravenloft: Modifiers Suit 'To Hit and Armor Class Modifiers'
Heart The PCs gain a +1 bonus to hit and a -1 bonus to their AC.
There is a very good influence there. If you are there, the power of good will aid you.
Diamond The PCs gain a +1 bonus to hit, but suffer a +1 penalty to their AC.
The diamond blesses your skill there, but bodes poorly for your protection.
Clubs The PCs suffer a -1 penalty to hit, but gain a -1 bonus to their AC
The club sustains your strength here, but holds you from your victory, taking more time than it otherwise would.
Spades The PCs suffer a -1 penalty and a +1 penalty to their AC.
The spade is a dark shadows of evil cast over that place. You fight under its influence here." Table 3 is similar to Table 1, sharing the location of the box containing text in the table. Table 3 is the entirety of the right column. The following is the text of Table 3, ommiting slurs: "Table 3. Fortunes of Ravenloft: Strahd's Goals Card Strahd's Goal
3 or 5 Strahd seeks a new identity.
Not yet, but soon, one who appears to be your friend will become your enemy.
Strahd will try to be alone with a charmed PC. When he is alone with a charmed PC, Strahd casts a polymorph other spell on the PC, turning the PC into a vampire. The spell operates as detailed in the AD&D Players Handbook with the following clarifications. The PC takes the form of a vampire and radiates a magical aura, regardless of whether the PC survives a system shock check or not. A PC that survives a system shock check has all of the abilities of a vampire as detailed in the AD&D Monster Manual, regardless if whether that PC passes a mental check or not. Undead cannot drain levels from undead. Thus, if a polymorphed PC vampire retains his own mind, he and Strahd can fight, but neither can drain levels from the other. They can both, however, drain levels from non-undead. After turning the PC into a vampire, Strahd casts a polymorph self and turns into the likeness of the PC. Strahd puts the new vampire PC into his own coffin and attempts to join the party, masquerading as the PC. Strahd will try to persuade the party that he found a away out of Barovia. Strahd can, after all, open the gates. Strahd wants to move to another country using his new identity. The [slur] will carry dirt from his crypt to his new home.
7 or 10 Strahd wants to make a magical sphere of darkness.
This card tells of a tool of evil. Darkness surrounds and protects this tool, giving comfort to the black hearts and protection from good.
Strahd is trying to assemble a magical item that casts a continuous sphere of darkness. Such an item would greatly extend the range of his travels. Over the centuries he gather the pieces of the sphere one by one, until he is missing only one piece, a black opal. Strahd mistakenly believes that one of the PCs has black opal. Strahd mistakenly believes that one of the PCs has black opal stone. Strahd will use his natural charm person abilities to charm lone PCs. Stahd will send those Charmed Pcs back to the party asking, 'Do you have the black opal?' When Strahd discovers that none of the PCs have a back opal, he will attempt to destroy them.
Jack or Queen Strahd wants to win the love of Ireena Kolyana
The darkness lovesa light and desires it Great subtle plans are in motion about you; plans that the dead may find warmth from the living.
Strahd will attempt to charm all of the PCs, and make them attack Ireena. When they attack, Strahd will swoop down and save her from the PCs. Strahd hopes that the rescue will turn Ireena's heart to him. He wants Ireena to love him willingly rather than by force.
King or Ace Strahd wants the Sunsword.
Here is a high and noble card. One of you carries a weapon that is stronger than any other against the evil in this land. Only one part is missing from this weapon. That part is found in the evil one's lair.
See Treasures and Tomes on p.31 for details about the sunsword. Strahd wants to destroy the sunsword. He believes (correctly) that one of the PCs (a random fighter) has has been unknowingly carrying the sunsword for some time. If the sunsword hilt is found and reunited with the blade, Strahd could be in real trouble."
The text of the left card is the following:
"Fourth, determine where the sunsword hilt is (see Treasures and Tomes on p.31 for a description of the sunsword). Pick up the forth card and read the following boxed text.
This card is good for you. It is a card of power and strength , the victor's card. It tells of a weapon of light, a weapon of vengeance.
To determine where the sunsword is, find this card in table 1. To determine the 'to hit' and armor class modifiers to use in that place, find this card's suit in Table 2."
The text of the right card is the following:
"Last, determine Strahd's goal. Pick up the fifth, and last, card, and read the following boxed text.
And here is the root card. Out of darkness and chaos, this card find the reason and foundation for darkness and chaos. This card shows the purpose of all things. It is the key to life and death and else beyond.
To determine Strahd's goal, find this card on Table 3." [End ID]
My copy is used so it has some writing on it from past fortunes but I think its cute, since the fortunes are still done with playing cards, with the only difference being the reading in Curse of Strahd is far more complex. The objects are the exact same, the Sunsword, the Holy Symbol, and the Tome of Strahd. Similarly, the locations you find these items can also instead be the locations you fight Strahd: the study , his treasure room, the chapel, the top of the high tower, Sergei's crypt, Strahd's crypt, the audience hall with his throne, and Ravenovia's crypt (Strahd's Mother). Taking a step back here to talk about this decision as a whole, I have always loved the randomness. The fact that everyone's experience is always different and unique feels great. It leads to a different narrative expierence each time and gives us a reason to replay the module. I have played Curse of Strahd as a player on three separate occasions with three separate DMs and each experience as a player was unique. Other than each character having that DM's twist or personality, the items were never in the same place so my groups always prioritized different areas. I have also ran my own game of Curse of Strahd and I have felt similar as a DM. I prioritized different characters or locations to add depth to the world. This randomization leads to unique situations that could never be replicated. I think it is one of the most novel ideas that I6 presents and I am so glad all the other adaptations have kept this idea while expanding upon the whole experience.
Jumping back to I6's fortunes, what I found really interesting is that the cards drawn add modifiers to your parties AC and to hit modifier. It feels very odd to me, but also that is because this is something that we do not have an equivalent to in Curse of Strahd. The closest is the ally we get but even then, that is more impactful from a narrative lens than the modifiers. The modifiers feel like a twist that deepens or add to the feeling of struggling against the darkness. It is very mechanical and calls back to more of the dungeon diving elements of early D&D. I don't think that modifiers change the game enough to feel sad that they have disappeared. Then again, we do get something similar with Argyvost's skull in Curse of Strahd so atleast we get some kind of spiritual successor to the modifiers in the reading.
Now I mentioned above Strahd has a goal. He does, its why he grabs the players. In 5th edition, its to toy with them and have amusement more or less and then later he wants them for Ireena. In here he has 4 reasons potentially and I want to talk about each of them. One, to grab Ireena. How he plans this is wild. He will charm the players and make them attack Ireena and he will swoop in and save her since he wants Ireena to love him willingly rather than by force. This is absolutely wild to me that Strahd could play the valiant knight for Ireena. This feels the most vanilla but this is his goal moving forward into Curse of Strahd. I think its smart to make this the "core" goal since he does attack Ireena in the opening of the module and Tatyana is core to Strahd's descent into darkness. Given all the additional material that has come out focused on Strahd, Curse of Strahd made the correct call to make this his focus. I do like that he has other goals as well in Curse of Strahd, but it is a bit of a shame that he doesn't have any of the other goals he has in I6.
The second goal is to steal a player character's identity. He will charm someone, use a spell to turn them into a vampire, shove them in his coffin and then masquerade as the player character using magic. Absolutely amazing. I love this and its also so evil. Like more than most DMs would go evil. "How do you do my fellow player characters". Sadly, this also feels like its retconned with newer Ravenloft lore since Strahd can't actually escape Ravenloft and this ending if he succeeds in stealing someone's identity and convincing the party that he found a way out everyone just leaves Ravenloft. The player who gets turned into a vampire can make checks to be able to fight back and you get this vampire duel which is so cool. Vampires in older versions of D&D can drain levels from players by the way, so the book specifies undead cant drain other undead's levels. Like the set up is amazing, the idea is wild, but there is no way for this to work if we are conforming to the rules of Ravenloft. We kind of get a successor to this goal in Curse of Strahd with Strahd's desire for a consort or successor since he wants to to be able to leave; but the book calls out that Strahd will never find any of the player characters worthy. Again a DM can change this and many have so I feel the spirit of this goal lives on; but we don't really see Strahd becoming a party member only to betray the group. That would be a fun twist however.
The third goal is the only goal where Strahd fails whether the players live or die - he wants to make a magical sphere of darkness. Strahd thinks the players have a black opal stone, which is the last piece he needs to make a big old sphere of darkness to make the world dark and stuff so he can travel more at night. Strahd will charm one player who is alone and have them ask the rest of the players if they have this black opal stone. He is certain they have the stone so when its revealed they don't, he will try to kill the players. Curse of Strahd places Barovia under the magical darkness that he is attempting to create here in this goal, which I think is a perfect way of honoring this goal
The last goal is Strahd wants to destroy the sunsword. So the module recommends the players have a cleric and a fighter as a requirement since the holy symbol is for a cleric and the sunsword is for a fighter. I mention this because Strahd just knows who has the sunsword and if this is rolled, the sword is just magically on this person and not where the fortune says. So Strahd wants to kill them and take the sword and destroy it. This is very boring to me. Like it should be a given rather than an explicit goal. If Strahd has gone out of his way to destory the sword, he should just want to do this regardless if this is a goal. This is the direction Curse of Strahd goes and I think it makes sense. 5th edition focuses more on narrative and less on dungeon crawling so this change is just natural. We even get more lore for the sunsword in 5th edition, it being a sword belonging to Sergei and being sentient. I am not sad to see this goal just disappear and become a background element. It feels like a cop-out to get Strahd to fight the party early. If he knows they have the sword and he knows where they are, why not just kill them? I mean he does like to toy with his prey but if this sword is the biggest threat to his existence, I would expect him to hunt the players down once they near the castle.
Overall, I think the goal's Strahd has in I6 are a mixed bag; some are really novel and some are fairly boring or straightforward. That is my own opinion and I am very curious on how everyone else feels.
Part 4: The lands of Barovia, Barovia Village, and Tser Pool Encampment
I am lumping all of the pre-castle encounters into one section since they are more or less similar to what we know and love from Curse of Strahd.
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[ID]
The image is that of a black and white document, with a layout similar to the statblock of Strahd von Zarovich, including the borders of the page. The page number is 6. The following is the text of the left column omitting slurs:
"Lands of Barovia
A perpetual rolling blackness of thunderclouds casts a gray pall over the land. The darker silhouette of Castle Ravenloft looks over the valley from its 1,000 foot pillar of rock.
Castle Ravenloft dominates the small village of Barovia. The castle stads high atop a natural pillar of rock against the cliffs to the north of the village. The dark Svalich woods surround the village and cliffs. Use Map 1 to see the relative locations of the town and Castle Ravenloft.
The road to the village and lands of Barovia goes through ancient iron gates, controlled by the will of Count Strahd. There are only two gates, one east the of village and one west of the castle crossroads up the mountain. The gates open when the PCs arrive but close after they enter Barovia. The gates will not open for the PCs again until Strahd is destroyed.
There is a deathly stillness in the dark Barovian woods. Yet the woods are patrolled constantly by the wolves and serving beasts of Count Strahd.
No one has left Barovia for centuries. This is because of the trapping fog that exists everywhere in Barovia . Once it is breathed, it infuses itself around a character's vital organs as a neutralized poison. the fog does not taste or smell any different than normal fog. It does not harm characters as long as they continue to breathe the air in Barovia. However, when they lave Barovia, the poison becomes active. Characters must save vs. poison or start to choke. Unless choking characters reenter Barovia within 24 hours, they die. The choking stops as soon as they breathe the fog again.
The [slur] were given a potion by Strahd that cancels the effects of the fog. this potion is jealously guarded by Madam Eva, who buried it in a secret place. It is impossible for the PCs to discover the potion. The fog is magically produced by Strahd and disappears entirely upon his destruction.
The poor villagers of Barovia have been terroized for centuries by 'the devil' Strahd. Only the town and the few survivors of the second ruling house of Barovia have the will to offer more than just personal resistance to Strahd. No villager has left Barovia for centuries. Those who tried never returned, dying from the vile snapping teeth of the Barovian wolves and the choking deadly fog.
Every 3 turns, check for na random enoutner. When the PCs are not in castle Ravenloft, during daytime, use Table 4 at the right, during night time, use Table 5 at the right. When the PCs are in Castle Ravenloft, use Table 6 on p.12.
Each night the PCs stay anywhere other than the castle (Area K), Strahd attacks with his wolves and bats. His attacks are intended more to frighten the PCs than to damage them. Strahd mjust toys with them. After 5 melee rounds, Strahd and his creatures withdraw.
If the PCs are indoors, every turn strahd attacks, wolves try to break through a window or door. A roll of 1 or 2 on 1d6 means that a wolf breaks through. Once a wolf gets in, the remainder of the wolves and bats come in. The wolves and Strahd never attack Ireena Kolyana. After 5 melee wounds, all of the creatures flee into the night, leaving only Strahds hollow laughter in the distance.
4-16 (3d6) worg wolves: AC 6; MV 18"; HD 4+4; #AT 1; Dmg 2-8; AL NE.
10-100 (10d10) bats: AC 6; MV 4"/18"; HD 1d4; #AT 0; DMG 0: AL N.
The bats fly into the room, getting into the way of spell casting. Characters must make dexterity checks to cast spells with material components." Some of the text in the right column is cut off. The following is the visible text of the right column including table 4 and table 5 with slurs ommited:
"Strahd may knock at the door, but he cannot enter the building until someone invites him in. Strahd tries to charm characters into inviting him in.
Table 4. Barovia Daytime Random Encounters (Sunup to Sundown)
Roll 1d6. If the result is a 1, the PCs enounter something. Roll 1d6 and us the encounter below with the resulting number.
Roll Encounter
1 2-8 (2d4) worg wolves: AC 6; MV 18"; HD 4+4; #AT 1; Dmg 2-8; AL NE.
2 1-10 [Slur]: AC 6; MV 12"; HD 2; #AT 1; Dmg 1-8; AL NE.
3 1-4 villagers: AC 9; MV 12"; HD 2; #AT 1; Dmg 1-6; AL
4 1-4 worg wolves: AC 6; MV 18"; HD 4+4; #AT 1; Dmg 2-8; AL NE.
5 1-4 [Slur]: AC 6; MV 12"; HD 2; #AT 1; Dmg 1-8; AL NE.
6 1-4 villagers: AC 9; MV 12"; HD 2; #AT 1; Dmg 1-6; AL
Table 5. Barovia Nighttime Random Encounters (Sundown to Dawn)
Roll 1d6. If the result is a 1, the PCs enounter something. Roll 1d12 and us the encounter below with the resulting number.
1-2 1-10 worg wolves: AC 6; MV 18"; HD 4+4; #AT 1; Dmg 2-8; AL NE.
3 2-10 (2d10) worg wolves: AC 6; MV 18"; HD 4+4; #AT 1; Dmg 2-8; AL NE.
4-5 3-12 (3d4) zombies: AC 8; MV 6"; HD 2; #AT 1; Dmg 1-; AL N
6-7 10-100 (10d10) bats: AC 6; MV 4"/18"; HD 1d4; #AT 0; DMG 0: AL N.
8 1 ghost: AC 0/8 if corporeal: MV 9"; HD 10; #AT 1; Dmg 10-40 years; AL LE.
9 3-12 (3d4) ghouls: AC 6; MV 9"; HD 2; #AT 3; Dmg 1-3/1-6; AL CE.
10 1-4 wights: AC 5; MV 12"; HD 4+3; #AT 1; Dmg 1-; AL LE; SA hit drains 1 energy level.
11 1-4 wraiths: AC 4; MV 12"/24"; HD 4+3; #AT 1; Dmg 1-; AL LE; SA hit drains 1 energy level.
12 1 maiden vampire: AC 1; MV 12"/18"; HD 8+3; #AT 1; Dmg 5-10; AL CE; SA hit drains 2 energy level, gaze can charm, become gaseous in same way as Strahd."
[End ID]
The first page of the lands of Barovia is setup for random encounters along with more info on The Mist. It talks about how to handle nighttime, daytime, and indoor encounters.
The encounters will only last 5 melee rounds (again 1st edition stuff, no idea sadly) so the monsters attack the players and then they flee as they serve to scare the players. Similarly for indoors encounters, just that wolves attack with the random encounter and they try to break down the doors and windows (roll a d6, on a 1 or 2 they succeed) and again after 5 rounds, the attack ends.
What is interesting is that you can get attacked by good aligned villagers or atleast encounter them? It is not fully clear but all the other encounters on the table are evil aligned so I imagine its all combats. I say that I am unsure because later on in the castle encounters, the module specifies one encounter as a non-combat. I find it interesting you can just encounter Barovians who will just be silent and treat the players as outsiders. Maybe some will be willing to talk to you? I doubt it but it could serve as a indication to the players that something is not quite right in the land of Barovia.
The night encounters look like they are all combat. My favorite is either the 2-20 wolves (roll 2d10) or the 10 to 100 bats (10d10) bats. Just the sheer number would actually terrify someone. Imagine fighting 50+ bats. That is unforgettable.
Moving on to The Mists, or as the module refers to as the fog, we get some interesting lore elements I want to talk about. The fog here is in fact the mists we think of and the poisoning fog is consistant across second edition; I skimmed through my third edition source book and didn't find a comment, other than Strahd can close the borders and third edition source books tend to play very close to second edition canon. So the poison element is Strahd closing his borders to Barovia and preventing those within Barovia from leaving. You can obtain an antidote to this poison as the Vistani do sell this but second edition calls out that you also need Strahd's permission where in I6 the cure exists but is unobtainable; its just away to explain why the Vistani can come and go. I6's poison is different the Curse of Strahd since players don't start choking in the fog and the fog itself is not poisonous, but rather magical. The fog in Curse of Strahd also gives players exhaustion which is closer to second edition which lowers the players constitution; though unlike I6 or second edition, a player can't leave Barovia even if they succeed on the saving throws.
I want to also talk about the whole decison to add the fog and the consequences to the whole lore of Ravenloft. The fog from a gameplay perspective gives Strahd more power and makes sense as to why the villagers of Barovia have never left, they cant. This whole land is Strahd's lair. In the tome, Strahd calls himself "the land" and being able to control who can enter and leave makes it far more literal. He is quite literally the land, the fog moves when he asks and it bends to his whims. I won't lie and say the early iteration of the fog in I6 is a bit cheesy, like its just a poisonous cloud of fog and the vistani just happen to have the cure so they can come and go but they way it evolves is so interesting. It starts as this trapping force just for the players to becoming the prison that keeps Strahd contained, just that he is literally Barovia itself. He can trap those as part of his curse being the Darklord of Barovia. Its a wonderful role-reversal.
Returning to the module, the next couple pages are the set up for the module and its surprisingly one of the set ups in Curse of Strahd, "Plea for Help"; down to the exact same letter the players receive. It is word for word, only with some minor changes like inserting commas
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[ID] The image is a black and white document on a wooden table. It is similar to the previous image. There is text on the page laid out such that there is two boxes containing text with text in the middle separating the boxes. The first box is cutoff in the image; the following is the text starting with a cutoff sentence:
"subdued. The letter is lying before you. Dated yesterday, the ink is still not dry and the parchment is crips. The seal is a crest you don't recognize."
The following is the text between the two boxes:
"If the PCs open the letter, read its content from the following boxed text."
The following is the text in the second box:
"Hail to thee of might and valor:
I, a lowly servant of the township of Barovia, send honor to thee. We plead for thy so desperately needed assistance within our community.
The love of my life, Ireena Kolyana, has been afflicted by an evil so deadly that even the good people of our town cannot protect her. She languishes from her wound and I would have her saved from this menace.
There is much wealth in this community. I offer all that might be had to thee and thy fellows if thou shalt but answer my desperate plea.
Come quickly for her time is at hand! All that I have shall be thine!
Kolyan Indrirovich
Burgomaster
[End ID]
I shouldn't be surprised by this; the "Plea for Help" adventure hook from Curse of Strahd is one of two adventures hooks that don't really need set up or has hard requirements. It also is very organic. Someone comes in and offers your party job, shows off that they are clearly rich by buying the whole tavern drinks for the night, and leaves. The letter is also very forward and offers the party riches for help. Its very simple but effective. I am a bit shocked how the words have not been changed in the 30+ years between the modules; but as I have mentioned earlier Curse of Strahd doesn't take a lot of liberties for the content in I6. The hook also assumes the least about the players which helps with its effectiveness. The hook relies on the party desiring wealth, which in first edition was a guarantee since leveling was associated with gold, and offers some additional motivation for good aligned characters.
Continuing on, as the players enter the Svalich Woods, they also encounter the real letter being sent by the Burgomaster of Barovia village. Again this is the same letter, though some of the words are slightly different, like dropping the words "creature calling its race".
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The image is a black and white document similar to the previous image. The image has two boxes with text. Between the two boxes is a set of text. The only word legible in the first box is the word: "scream". The following is the text between the two boxed texts:
"Three turns after all the PCs enter the woods, they find a dead villager in the underbrush. He holds an envelope crumpled in his hand. The remains of his clothes are torn and raked with claw marks. Paw prints of many large wolves are pressed into the clay around the body. The man has obviously been dead for several days.
The letter is dated one week ago. It is sealed with a large 'B'. The parchment is worn and flimsy. It reads as follows:"
The following text is contained in the bottom box:
"Hail thee of might and valor:
I, the Burgomaster of Barovia send you honor - with despair.
My adopted daughter, the fair Ireena, has been these past nights bitten by a creature calling its race 'vampyr.' For over 400 years, he has drained this land of the life-blood of its people. Now, my dear Ireena languishes and dies from an unholy wound caused by this vile beast. Yet I fear, too, that the creature has some more cunning plan in mind. He has become too powerful to be fought any longer."
In small text below the box is the following: "Letter continues on next page."
[End ID]
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The image is a black and white document similar to the previous image. The border of the document is similar to the "Lands of Barovia" image. There are three potions of text in boxes, with third becoming cutoff and unreadable. Between the first and second box is more text. The first box contains the following text:
"So I say to you, give us up for dead and encircle this land with symbols of good. Let holy men call upon their power that the evil one may be contained within the walls of weeeping Barovia. Leave our sorrows to our graves, and save the world from this evil fate of ours.
There is much wealth entrapped in this community. Return for your reward after we are all departed for a better life.
Kolyan Indirovich,
Burgomaster"
The text between the first box and second box is as follows:
"Roll 1d6 every turn the PCs ar ein the woods. If the result is 4 or more, the PCs hear a lone wolf cry in the distance. One more wolf cries each round. If the PCs are still in the woods after 5 rounds of howling, the wolves attack. If the PCs are entering Barovia, only 5 wolves attack; if the PCs are attempting to leave Barovia, 25 wolves attack. The wolves stop their attack if the PCs leave the woods by entering the village.
5 or 25 worg wolves: AC 6; MV 18"; HD 4+4; #AT 1; Dmg 2-8; AL NE. "
The following is the text contained within the second box along with its header: "D. The River Ivlis
The river Ivlis flows as clear as a blue winter sky through the valley."
The following is the text contained within the last box along with its header; part of the text is cutoff and the last word visible is 'wet':
"E. The Village of Barovia
Tall shapes loom out of the dense fog that surrounds everything. The muddy ground underfoot gives way to slick, wet"
[End ID]
Continuing on, the village of Barovia is more or less the same. Ireena is also a 4th level fighter in this module. I find this interesting that she is a level lower than what the players start at (5th level) since Vampires drain levels in 1st edition and this is not so subtle acknowledgement that Ireena was attacked by Strahd and had her blood drank. It also prevents the main npc character from overshadowing the players in fights, though Strahd and the monsters he controls do not target Ireena. Ireena's characterization in I6 and Curse of Strahd is similar, a mild but strong willed fighter. I6 however says she wants to fight and kill Strahd for harming her homeland and killing her father where this only occurs if she is you ally in Curse of Strahd. Ireena is someone who's is fighting for a lost past and a future she can never have. Her life was completely upended several times by Strahd, as both Tatyana and as herself. I6 is a story about Strahd, Tatyana, and Sergei. Strahd's jealously and envy destroying his family and he is cursed to live in a nightmare for eternity as death, the thing Tatyana saw him as. Tatyana is forced to reincarnate endlessly by The Mists to remind Strahd that he can never have her. Sergei can not move on after losing the love of his life and seeing his brother in endless torment. Its a tragedy. Ireena needs to be part of the group who helps kill Strahd. It makes her and Tatyana not some damsel in distress but instead someone who is hurting and who triumphs over their pain to forge a better future; whether or not she ends up with Sergei is left to the DM depending on how the players have interacted with her. Curse of Strahd has some changes, that takes keeps the elements of this story but expands further with the introduction of the randomized ally.
The introduction of a randomized ally frees up that role to be anyone in the cast, with a few exceptions. It allows Curse of Strahd to break away from just a story about Tatyana and Sergei and to be about how Barovia, the country, is suffering at the hands of Strahd and how everyone in the cast has a dark or tragic tale because of this suffering. From Victor hating his homeland and trying to escape to Vasilka, a person who is being made as a wife for Strahd. I don't think you can have both. At the cost of Ireena being the sole focus, we get more depth and re-playability and Curse of Strahd is designed for that in mind. It also lets Ireena free herself as a character from just being Tatyana again. While both have the same ending for Ireena, Curse of Strahd's "Something Blue" special event in Krezk and the optional ending in I6, due to the length of Curse of Strahd, Ireena gets more of a chance to bond with player characters and come to understand the world she lives in and perhaps become more than Tatyana. Again this is up to the DM and the players in roleplay and narrative but I have seen this happen a handful of times. Ireena is allowed to become more unique.
Stepping off of my soapbox and coming back to discussing differences, we come to Donavich; he doesn't have a son in I6. The son is a vampire in the church's basement, that comes from Expedition to Castle Ravenloft, kinda. In Expedition to Castle Ravenloft, Donavich called Danovich, he creates a zombie plague after his son gets killed by Bandits. He hopes to bring him back so he keeps his corpse in the church basement; which yeah that is one hell of a change that gets rolled right back. I am not going to talk about Expedition here, but his personality in Curse of Strahd is much closer to this version than I6's version. In I6, he is close to a generic clerical figure; warm and kind while knowledgeable about evil. Donavich in I6 knows Ireena's whole backstory of being adopted, which Curse of Strahd does stay consistent with. However in I6 he has information on Strahd he is suppose to give the players, mainly info about the tome of Strahd.
He is almost a different character in Curse of Strahd because how much he is hurting from his son being a vampire. The villagers do not trust him in Curse of Strahd and he is losing his grip on reality. He is doing everything he can to save his son and clearly wants to help the players when they meet him. He is also the one to give the players the idea to take Ireena to Krezk and the abbey. And if he is your ally, you have to help him kill his son and give him a proper burrial. Without Doru, Donavich is much more put together and reasonable. He wants to help the heroes just as much but he isn't an actual cleric, he doesn't have magic. And if he were to leave, then the only place of good in Barovia would fall to darkness which gives him a reason to stay behind. I do not have a strong opinion on which version I like more. I think both fit the energy of the Ravenloft as a whole and both serve their purposes well. Doru exists to give Curse of Strahd more darkness in the opening and highlight that the players were not the first to try to kill Strahd. I did go on about the changes for Ireena but making Donavich a potential ally really fits with his I6 counterpart even if he wasn't really a fighter in I6. The reasoning for him join is very clear. He has lost nearly everything, and the only thing he has left to give is himself. A father who wants the devil to pay for killing his son. He gains a conviction, which is something that is missing in I6.
Outside of Ireena and Donavich, there aren't any more major differences until the castle. Once you get to the gate that we know would lead to Villaki, the carriage to Castle Ravenloft appears and it waits for the players to enter to go to the castle. The module breaks if you don't enter the carriage which makes sense. Vallaki, Krezk, and the rest of Barovia don't exist in lore as this is the first module. When all the players arrive at the Castle, the drawbridge drops down and it has one of the funniest and also probably most infuriating ways you can die. Quoting the book "Each time anyone except Strahd crosses the bridge, there is a 5% chance of a cross board breaking. If the cross board breaks. the character on it must make a dexterity check or fall to the bottom of the cliffs, 1000 feet below". In other words, 5% chance you need to make a dex save, on a fail you die. I had to share; first edition is fairly infamous for traps that can just kill you and I6 is no exception. I am so glad we do not design dungeons this way anymore.
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A black and white document on a wooden table similar to the previous image. The border of document is the same as the previous image. The page number is at the center of the bottom of the page; the page number is 10. The document is a black and white image of a carriage drawn by two horses heading to a large castle. The carriage is in the left corner of the document. The style of the carriage invokes victorian style. The carriage has three accents that divide the carriage into sections horizontally. At the top of the cairrage is a holding area for luggage and other objects. In front of the carriage is a drivers set which is unmanned. On the right of the drivers set is a parking lever. The back of the carriage is additional luggage space, in the shape of an "L". Below this additional luggage space is a seal that is illegible. The carriage has 3 windows each spaced equally apart on the upper half of the right side. Above the the right window is a Victorian styled lantern. The door to the carriage is in the center of the right side of the carriage. The door's hinges are on the right of the door and the door's handle is on the left. On the lower half of the door is a symbol of what appears to be a bird or bat. Three of the carriages wheels are visible: The Front right and both rear wheels. The left rear wheel is cut off by the page. The right rear wheel is cutoff by dust and the page. The front right wheel is obscured by dust. All the wheels are attached to the bottom of the carriage and each other with a bar.
The carriage is being pulled by two large black horses. Their harnesses appear to be uniform in make are similar. The harness attaches near their neck and the middle of the back, and near the hip. The horses are controlled by reins that attach at the horses mouths and face and loop into the harness before becoming no longer visible.
The castle is in the background. The castle is made up of several spires and a drawbridge. The drawbridge has two towers at the end of the bridge. The drawbridge is attached to a large barbican by a chains. The barbican has three visible towers, one at the left corner of the wall, and two towers between the gate of the barbican. Above the gate of the barbican the same symbol that is on the carriage's door. Each tower and the walls between the towers have battlements. Behind the walls is the keep. The keep has 5 visible towers, two on the left and right of the keeps center barely visible, one tower that lacks a spire on the right taller than the keep and is attached to the left tower by a bridge, the left tower is taller than the right tower and has an attached spire, and the tallest tower on the right with a spire at the top. The keep has a chimney under the bridge attaching the two towers.
The foreground has a set of trees obscured by the carriage on the left with a patch of grass in the bottom right corner. The background behind the tower is a set of mountains only illuminated by a large lighting strike. The lightning starts in the top right corner and flows left towards a set of trees in the foreground. The carriage is traveling on a dirt path that leads into the castle.
[End ID]
Part 5 The Castle
Starting of the castle section similar to the previous one with Castle Ravenloft's encounters. You can encounter Strahd randomly but the most interesting encounter is the angry villagers which make you get more encounters because they are making a ton of sound but will help out in a fight. They don't attack the players but I think its a fun bit of story telling to have others who are fed up with Strahd's rule helping the players as they explore the castle.
Before I continue onto the rest of the castle bit by bit, I want to talk about the npcs in the castle. The biggest difference in the castle is Rahadin. Rahadin is actually introduced into 5th edition. The dusk elves don't exist until 4th edition and are introduced in one of the Dungeon Magazine issues, in specifically "Fair Barovia"; side tangent on the side tangent, look into Fair Barovia, it has some really cool similarities to 5th edition and it feels a bit like 5th editions proof of concept for Vallaki. Anyway, Rahadin and the Dusk Elves just don't exist. Nothing about them at all is in the older versions of Ravenloft. The closest thing are the Shadow Fey but the whole Drow/Shadow Fey retcon is a neat topic for its own day. Gosh sorry, Rahadin. He probably is my favorite change to the module full stop. He adds so much more depth to Strahd and his own darkness. Rahadin allows Strahd to be more human. He has someone who is his weakness and vice versa, Rahadin's weakness is his loyalty to Strahd. He can be just as meanacing as Strahd and just as cold while at the same point letting the players feel above him since whenever/if ever the players have dinner with Strahd, Rahadin is forced to be the servant. Yet it feels like there is something more. He takes care of the dirty work for the master of the castle, sometimes its cleaning, sometimes its killing. Overall, I wish the dusk elves were better integrated into the story of Curse of Strahd since other than Rahadin's backstory along with the whole Patrina and Kasamir story line, they don't get a ton of flavor and because they are so recent and it makes me sad, especially since the Dusk Elves are from wherever Barovia is from and some older modules touch on this exactly, mainly the hexad modules (again another time if people want).
Speaking of Patrina - She exists! Wait I just said the dusk elves don't exist. Correct! Both are true statements. She is made into an elf vistani, which is a bit weird. 2nd and 3rd edition make it clear that only humans can be Vistani while 4th and 5th say it doesn't matter (they invent Mother Luba for Tasha's Cauldron of Everything and add her in with Van Richten's Guide to Ravenloft; she is a halfling). So uh, no idea what this means. 1st edition breaking all the rules! 5th edition dropping the Vistani part and making her a Dusk Elf does let Rahadin have more depth as I mentioned. I think this element is just messy lore because Ravenloft was just a module; it wasn't intended to be the start of a setting. Weird things like this happen. Otherwise for Partrina, her backstory is more or less the same. Just Kasamir doesn't exist in I6. Curse of Strahd does a much better job integrating her into the overall setting of Ravenloft, even if it meant inventing a type of elf native to Barovia. I was honestly a bit shocked reading that she existed in I6 since elves don't have a strong place in Barovia when it comes to the greater Ravenloft canon. Patrina's expansion and role in the story along with Rahadin and Kasamir add depth that I would never want to remove and feel almost as if this was something missing from second or third edition. Something that is a one line piece of text and encounter in the crypts became something far more interesting and it makes Curse of Strahd better for it.
The next changes are Strahd's vampire brides (and Escher). They do not exist in I6. I don't have any fun facts on like when they were added or what inspired them; just that they are added in 5th edition. I am curious as to why they were included. Strahd isn't just after Tatyana, given that Patrina is from 1st edition, so it make sense he could have some wives (and someone else) so is that why? I would love to talk to someone who made Curse of Strahd and ask so so many questions but I just don't have the info on why they exist. They give flavor and depth. That's probably it. I feel a bit sad that my extent of knowledge on these characters is what it is. Escher is a fan favorite since he is such a sad man who is now over his head. WotC did a good job in adding them since they feel fundamental to the experience of Castle Ravenloft as well as add some additional encounters that are not in I6.
Moving onto another character, Cyrus is Human in I6. He is the only Belview in the module but he is human. The mongrelfolk aren't from 1st edition Ravenloft. I specify this because one, they do exist in 1st edition and two, they do exist in Ravenloft, just later. The mongrelfolk are similar to another creature in Ravenloft, Broken Ones. Just Mongrelfolk tend to be nicer and more friendly (and also have a much sadder existance in G'henna) than the Broken Ones. It makes sense they would live with the Abbot since he is a kind being (good aligned atleast) and they are outcasts who need to constantly look for a home. Just, they are completely an addition to 5th editions version of the module (and Barovia as a whole). I am not going to go into the changes 5th edition does for Barovia as a setting but I do think it would make for an interesting topic. Making Cyrus a mongrelfolk makes him more friendly and overall adds more horror flavor to the world. Every major character is human, that is so bland. The point does work though, it makes non-human characters outsiders. It works well, but adding a bit of change here or there makes the world more interesting because you get characters your players can relate to. A drow character can relate to the dusk elves for example. The Belviews add that depth and strangeness that wouldn't be there if they weren't mongrelfolk. In 1st edition, Cyrus is just an old man who tells jokes at bad times and tries to lead the players to their rooms. I like 5th edition's change; he stays this old man but is far more likable personally.
News for Pidlwick II fans, he does not exist yet sadly. He was created for 5th edition. I generally like clockwork automatons and while Barovia really isn't clockwork-y compared to other Domains (looking at some of the more advanced domains like Paridon), living dolls are so cool. He has some interesting flavor if you expand him into the greater Ravenloft setting since he could be considered a Dread Construct. The lore around Pidlwick II however, is fairly interesting. I6 and Curse of Strahd disagree on who Pidlwick the first is; well I say I6 disagrees, its more the lore given to him in 3rd edition's source books is different than the lore Curse of Strahd uses. In Curse of Strahd, Pidlwick is a fool of Duchess Dorfniya Dislisyna and Fritz von Weerg made Pidlwick II and Pidlwick II killed Pidlwick. In the second and third edition canon, Pidlwick is the husband of Dorfiya Dilisnya and the "father" of one of the most important characters in all of Ravenloft canon, Leo Dilisnya. Leo deserves his own post as well but if you know "I, Strahd" you know Leo. Anyway Pidlwick's mother gets murdered and he starts an assassination war with the Petrovna families called the War of the Silver Knives. Strahd orders the assassinations to end and Pidlwick grows to despise Strahd since he didn't avenge his mother. Leo takes on this hatred for Strahd when Pidlwick dies. Now why is he called a Fool of Dorfniya? Its assumed its because Leo isn't his son by blood and he was cucked by another character. That is such a wild difference in lore for once character but without it, Pidlwick II wouldn't exist. Yet Leo's remains do exist in Curse of Strahd in Wachterhaus but I am getting off topic.
Lastly on the who's whos of the castle: Helga, Lief, and Gertruda exist and 5th edition leaves them unchanged. They exist, they fill their roles the exact same way. It is still very cool to me to see how much of this module can remain the same over 30+ years across several editions.
Now onto the Castle proper; I will be sprinkling in throughout this section the remaining art in the module as there is only a handful more and the rest is text. Something I think that was interesting when I was looking over the other editions of this module is that they all use the same numbering for the locations in the castle. Like K30 is the Office of the King's Accountant in I6. Curse of Strahd also makes K30 - King's Accountant. Overall. I think this is wonderful and its something most people wouldn't notice and only the dedicated fans like myself would. And I love this. And it makes my life easier since I can refer to each room in the castle by its location number. Now overall, the castle is the same in Curse of Strahd as it is in I6 so I will only mention any notable changes.
The first of which is K15 - Chapel of Ravenloft. We don't actually get the name of the figure who tries to steal the Icon of Ravenloft in I6 and in Curse of Strahd the icon is more powerful. In I6 it just lets you heal any creature 6 to 21 hit points and makes the ability to turn undead stronger while 5th edition adds the Protection from evil and good radius and the augury spell. Its also said to be 10 pounds in 5th edition while 1st edition just says its small; which 10 pounds is not small. Then again its a foot tall silver statuette that is half a food wide, so I think 5th edition is correct in making it fairly heavy. I am curious for the reasoning in making the Icon stronger, the protection from evil and good spell is so useful in this dungeon and the augury spell is just fun flavor.
Next is K20 - Tower Hall of Honor or as 5th edition calls it Heart of Sorrow. Yeah, the biggest change is the name. Its called the Guardian of Sorrow as mentioned earlier in this post. The animated halberds also aren't flying swords or anything but instead how the Guardian of Sorrow attacks. The heart actually makes the players take dexterity saving throws every round or they fall down the stairs since the whole castle is shaking which is cool but annoying. The module does mention explicitly the players can move at 1/4 movement to avoid the saving throws but still awful. Atleast 5th edition had the kindness to just knock you prone when you failed the dexterity save rather than fall down to a lower floor. The heart also doesn't have any kind of life/shield link with Strahd like it does in 5th edition; it just exists. Saying it "exists" underpins the whole thematic reason its here. Like the whole purpose of the heart is to say the castle is alive, and maybe the land is alive even? The whole "I am the land" in his journal seems far more literal now, like this could be his heart! Its so brutal. 5th edition makes the link even more clear; he is hurt when you hurt the heart and the heart takes damage for him. Its a masterful change in 5th edition, it adds flavor and gives the players more reason to explore. I also like "Guardian of Sorrow" far better than "Heart of Sorrow" but that's me.
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The image is a black and white document of Strahd von Zarovich playing an organ. The organ takes up the majority of the image, being cut off by the left edge of page curving around and ending at the right half of the page. The top left to the top center are the organs pipes in two rows, each topped with a dragon head open as if to breathe fire. Part of the back row of the pipes are cut off by the top of the image. The pipes are then hidden by the organs at their bottom. The organ appears to have 4 rows of keys that make the up center of the organ. Above the top row of keys as well as the left and right of they keys appear to be buttons or knobs to activate additional elements of the organ. Dividng the buttons from the keys appears to be inlays with circles. Bellow the organ is two rows of swell pedals that get hidden behind Strahd and the darkness of the image. In front of the swell pedals is the pedal board of the organ. The right end of the organ is a ornate carving of the dragon. Below the dragon is a post carved to look like the dragon's feet. Below the foot of the dragon is the signature of Clyde Caldwel.
Playing the organ is Strahd von Zarovich. His left hand is on the second row of keys while his right hand is in the air as if to strike the keys dramatically. Both his left and right arms show a visible undershirt sleeve. The left arm has a button near the sleeve. His right hand has nails like claws. Only the left profile of his face is visible. His hair is licked back but fades into the darkness of his clothes. The rest of his clothing is veiled in the darkness and are to obscure to make out.
The chair Strahd is sitting in is mostly obscured by his cloak. The left portion of the chair is visible; the upholstery of the chair along with its front left leg. Keeping the upholstery in place are round staples or buttons. The left leg is carved to look like the foot of a lion or beast.
[End ID]
K30 - Office of the King's Accountant. The biggest difference is 1st edition has less loot and the reason Lief is upset is slightly different. Lief wants access to the hidden treasury. Why he knows this is never explained but he also knows the whole layout of the castle and will give the players a map to the holy symbol like in 5th edition so I assume he knows it exists but Strahd won't let him use it. I don't know when "Manual of Bodily Health" is first created but it doesn't exist in 1st edition's version of the module so I assume it was added as more interesting loot than just money, since 1st edition has the same amount of money but the manual is replaced with 100 books worth 10 gp each. I like this minor but impactful change. If the player characters are just playing Curse of Strahd, the manual is just as impactful as if it was more money but if they go beyond Strahd into another game, this is far more impactful. Either way, its a cool and fun change.
K31 - Trapworks. The only difference here is the damage you take from being on the top of trap. In 1st edition its 3d10 with no save to avoid damage while in 5th edition is a dexterity save taking 8d10 on a failure, which is so much more. I imagine this is because players should be nearing the level cap for the module and that level cap is far higher for Curse of Strahd than Ravenloft but also I have no context for hitpoints in 1st edition, this could be much more damage. Everything else is the same, magical sleep hits the players and then they are trapped. Overall its a really cool trap, I never have seen it in action and I want to here stories about being imprisoned or the elf of the party saving everyone; seems like a really cool narrative moment.
K41 - Treasury. Similarly to Office of the King's Accountant, the 5th editions version just has far more stuff, but also its missing some things. Mainly all the magical weapons. 1st edition has a +2 sword and 3 +3 maces in addition to all the money. It makes sense to give the player a load of magical weapons since in 1st edition, vampires can only be damaged by +1 or more weapons. So this is a solution to a problem that they player will encounter when they go to fight Strahd. It also reinforces the need to explore dungeons and keeps up with 1st editions dungeon diving nature. I think this is kinda cool, I don't think I know of a module that hands players multiple +3 weapons at once. 5th edition swaps those out for the +2 shield, some potions, and the instant fortress along with the helm of brilliance, rod of the pact keeper and alchemy jug. I think both are fun treasure piles but I think 5th edition benefits from having a larger pool to draw magic items from. The shield is also unique to Curse of Strahd since Argynvostholt was added for 5th edition. I think both treasuries fit the version they are in. Like 5th edition does not focus to heavily on better gear as a requirement for fights, it just makes fights easier. So a diverse pool of gear is better than a large amount of magical weapons; especially since a magical weapon isn't needed to hurt Strahd. 1st edition does focus on that sort of progression so magical weapons make a ton of sense and as I mentioned, characters need magical weapons to hurt Strahd at all. The module is designed for six to eight characters in 1st edition; which is larger than most parties are in 5th edition. There is one sunsword but what if there are 3 fighters? This is how you get around the problem.
K46 - Courtyard outlook or Parapets in 5th edition. 5th edition added an encounter here. Neat. You have to linger here to fight Strahd's armor but you can. I don't have much more to say than it surely is an encounter that exists.
K49 - Lounge. I need to share that they changed the book titles here. One of the old ones is a gem in my opinion. "Identifying Blood Types: A Beginner's Handbook". I think it just neat. That's all.
K63 - Wine Cellar. This area is expanded quite a bit, flavor wise, in 5th edition. First off - potential encounter with a slime. Neat. Second, all the wine is explicitly from the Wizard of Wines. I like this, thats all.
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The document is a black and white image similar to the above image. The image is of Ireena Kolyana standing next to the portrait of Tatyana. Ireena's hair appears to be dark, messy, and long, going past her shoulders. Ireena appears to be wearing lipstick. Ireena's outfit is that of a traditional longsleeve vest and pants with a cloak. Around her neck is a cross with a gemstone in the center of the crucifix. The cloak around her neck is held in place by a clasp with a tassels and a gemstone in the middle of the clasp. Around Ireena's waist is a belt with three buckles, one in the center and one on each side of the middle buckle. The bottom of Ireena's shirt is a repeating pattern of a hollow white diamond with a black square in the center of each diamond and a white dot in the middle of each square. The diamond pattern is on a strip of black fabric. Ireena's pants appear to be dark in color with no discernable features. Ireena casts a shadow on the wall behind her on the left side of the image. In Ireena's left hand is her sword which she is pushing into the ground. The sword appears to be in its hilt and it cut off by the bottom of the image. The hilt has two circular inlays with gem stones. The bottom of the two inlays appears to be in the middle of a cross inlay. Near the top round inlay is a loop that has a strap passing through. Ireena's posture is tall and proud, with her right hand at her waist and her left arm leaning on her sword; clearly poising next to a portrait very similar to her appearance. She is facing the right
The portrait is of Tatyana. Tatyana is sitting in a chair, looking left of the viewer. Tatyana has the same face, hair, and lipstick as Ireena. On Tatyana's head is a crown and 3 strings of pearls from the crowns right end flowing behind her hair. Tatyana is wearing a dress with several sets of jewelry. The first is a large necklace with a round pendent with a inlaid gemstone At the end of the neck of the dress is another piece of jewelry, a diamond shaped button with a gemstone. Tatyana's hands are resting at her lap. Each wrist has a bracelet. At her waist is a cloth belt with circular buckle like piece. The chair she is sitting in has a curved back. The left portion of the chair is hidden and not visible. The right portion shows a carved accented arm that curves round into a spiral. Behind Tatyana is a curtain, that is drawn such that it curves behind her. The portrait's frame is heavily accented. The corners are three leaves facing outward, with the middle leaf being the largest, and a curved bow like accent attacked to the leaves, with the bow's guard or point facing the portait. At the middle of the frame section are additional smaller accents: A circle with a gemstone in the middle cut such that the circle looks to be two portions; from the gemstones are two curved limbs that mirror each other; where the limbs meet the circle are two small spikes pointing away from the portrait. Between all the accents are small circles in the middle of the frame's edges. Below the portait is the signature of Clyde Caldwel.
[End ID]
K67 - Guard's Hall or Hall of Bone in 5th edition. This area is very different. Like not the same area different almost. In 1st edition this is just a hallway. Thats it. Ok, Strahd does still kill is guards here, so there is stained blood still. But 5th edition adds in a whole skeleton/bone art sculpture made by Cyrus because why not honestly. That may come off as mean sounding, I think its actually just amazing. I have a soft spot for Cyrus. This can also be a spot for your treasure or Strahd's encounter which that isn't the case in 1st edition. Lastly, the ossuary has the skull of Argyvost which doesn't exist in 1st edition as I already have mentioned. Taking a step back, its interesting that 5th edition just invented a room. Like original Strahd did not have a bone room. You know, a room for bones of those he murdered. Granted he didn't make this, Cyrus made the bone zone. But is 5th edition Cyrus that much more wild compared to 1st edition then? Or better yet, Strahd just let him do this? That you can fight Strahd here or better find this tome here means he enjoys this room possibly? Like he is sitting at the end of a table in a chair of bone holding the dragon skull; what even? I don't know, there is more to say here than the bone room is cool but I love it. I need to know the reason behind the bone room minus "give the vampire a bone room". If its just that, kudos to the people fighting for this wonderful set piece. Such an amazing addition.
K75- South Dungeon. The real change is giving Emil a character. He does exist in 1st edition but he is unnamed and he just joins the party once freed to help kill Strahd but betrays the party once an opportunity arises. Emil is very similar in 5th edition unless the players know Zuleika (or she is your ally due to the reading) in which case he may join to help kill Strahd or just try to flee instead. I like that they made him a fully fleshed out character along with the werewolves without changing much of his actual role in the story unless you happen to get Zuleika as an ally which makes sense. I am not going into too much about Emil since his story is more related to the werewolves than the castle itself.
K78 - Brazier Room. This is very different/. The purpose of this room in I6 is to block the players from entering into the catacombs or other parts of the castle. Its a puzzle room with no hints other than an hourglass representing time in rounds, the golems each have unique stones their hands that can be thrown into the fire. Each stone has a different associated door and the golems won't attack unless the timer runs out. Other than this puzzle, there is a chest that 5th edition doesn't have for a good reason. First its trapped and if you open it from the front you fall asleep. If you can't be put magically asleep, the chest looks empty due to illusion magic after you open it from the front. So you need to open it from behind. Inside it has some spell scrolls, some potions, and of course a deck of many things. The deck of many things is a wonderful way to end a campaign; though I have no idea what the difference between 1st editions deck and 5th editions. I imagine not much has changed since 5th edition is quite brutal. There is probably a few 5th edition adventures that include the deck of many things somewhere but I don't personally like the item. In older editions where characters feel a bit more disposable, the deck is fine since it can just kill your character, but in 5th edition it can derail a campaign instantly. Anytime the deck has come out, the campaign almost instantly ends or becomes derailed since we now need to save a character because they pulled a card that does something awful to them.
5th edition completely changes this room to be a teleportation room to anywhere in Barovia basically using the same flame color puzzle but with a riddle which is nice and it removes the deck of many things for obvious reasons. I get the changes, it keeps the thematic purpose of the room the same and also removes the deck but also I miss the trap; one more final challenge if you need to get into the catacombs. The change also adds in flavor as to how Strahd can be everywhere in Barovia at any time, he can literally teleport. I think personally, the teleportation puzzle wasn't neccesary but the removal of the chest was. Curse of Strahd is a much longer campaign and to have it get derailed in the 9th hour would be unsatisfying for a lot of players. I6 is probably banking on the players using the deck once Strahd is dead as a treasure and hook for the next story. If you want a story with the Deck of Many Things, you could probably make it work as a way to keep your players in Ravenloft as a continuation but it might take some tweaking.
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The image is a black and white document of a knight with a sword and shield fighting zombies in water.. The image is similar to the previous image. The knight is on the left side of the image while the fully visible zombie is on the right. There are 3 zombified hands clawing up from the water; two near the knight and one in the background between the knight and zombie. The knight is positioned such that they are about to strike the zombie with their sword. The knight is wearing a helmet, scale mail, a shield, a curved sword, pants, greaves, and gauntlets. Their helmet is ornate with several curved inlays on the forehead of the helm. The top of the helm is spiked. The area of the helmet where the face would be located is open but there is no visible face. The helm curves down to guard the neck as it meets up with the scale mail. There is a strip of metal from the top of the helm to the base in the middle of the back of the helm. the scalemail flows from the neck to the upper thigh of the knight. On the knights shoulders is a set of pauldrons. The section of the scale mail around the neck is curved, suggesting that the helm scale mail section is on top of the body scale mail. The knight's overshirt is ripped apart at the chest, revealing the scale mail underneath. There is a strap from the knight's right shoulder flowing down to the left side of the knights waist with a buckle and gemstone inlay near the shoulder. At the end of the strap is a string of pearls or gemstones. Similarly, there is a mirroring strap that starts on the left should and meets the right side of the knights waist; this strap is thinner than the other strap. The shield is in the knight's left hand. The shield is round with a cross painted on the center of the shield. There is wear around the edges of the shield. In the knight's right hand is the curved sword. The sword appears to be a scimitar or a falchion. The swords guard curves up on both sides. Light creates a visible shine off the sword. The knight has a belt at their waist with six circular inlays each spaced equally. The knight's overshirt continues to the left of their body, covering part of their pants. The knight's pants are dark in color and have wrinkles near the right knee. The knight's right knee is protected by a their greaves. The top of the right boot is just visible above the water. One of the three zombie hands is grabbing at the knights right leg.
The zombie fighting the knight is crouched near the water with its left hand reaching to claw the knight and the right hand in the water. The zombies clothes are torn into rags. These rags barely cover the zombie, with big pieces of cloth dangling off the chest and left arm. The zombie's face is heavily decayed as it makes a gaunt snarl to the knight. The zombie's hair is ratty and short. Across the zombie's body are boils and scars. The zombie's chest is hidden and darkned.
The background of the image is misty on the left which flows down to the center of the image; with chains becoming visible in the right corner. The water of the image contains off colored pools around the knights legs, the middle zombified hand, and the zombies limbs in the water. In the bottom right corner of the image is signature of Clyde Caldwel.
[End ID]
The crypts are the next and generally, they either received more loot of flavor since most of they crypts in 1st edition are simple. Most are just text with flavor like "Beucephalus, The Wonder Horse. May the flowers grow ever greener where he trods" (yes they misspelled the name of Alexander the Great's horse in text, look at the last image in my post, Crypt 39). Anyway those that did have significant changes are listed below. Generally, assume Curse of Strahd gave each crypt either a description of the person interred or wealth inside the crypt if I did not mention anything in particular.
Crypt 6 - Marya Markovia. Her crypt is very different in Curse of Strahd. They added her thighbone as a weapon and changed her epithet from "Great was her beauty, undone by a jealous hand" to "Dead for all time". I think this was done to bring more flavor to the morninglord stuff since Barovia really didn't have any ties to the Morninglord other than some elements in "Vampire of the Mists", one of the Ravenloft novels.
Crypt 7 - Endrovich (Endrovich the Terrible) - In changing Marya Markvoia, Endrovich had to be changed. They explicitly call out Marya Markvoia as the one Endrovich loves but since Marya's crypt is Markvoia's crypt now, he just loves a generic Marya with no surname. He also doesn't haunt a gargoyle in 1st edition, he is just a specter you encounter. He also is guarding a stack of 3,400 gp in 1st edition.
Crypt 13 - King Intree Katsky- 1st edition this is just a named crypt with nothing. 5th edition gives him a gun! And a glider. Interestingly enough, firearms are not uncommon in flavor in Ravenloft. There is a lot of imagery and artwork of characters with firearms throughout Ravenloft in 2nd and 3rd edition source books so this is a fitting change.
Crypt 29 - Ivan Ivanovich, Beloved of Anna Betrovich- Yeah this is just not in 5th edition. This crypt is just straight up different. It belongs to Baron Eisglaze Drüf and has actual stuff in it, mainly a luck blade and brown mold for environmental cold damage. 1st edition just has nothing
Crypt 30 - Perfect Ciril Romulich - Since the morninglord doesn't exist yet, 1st edition does not have a holy symbol that blows up on evil creatures. Instead its 10 +1 arrorws, a scroll of raise dead and 3 potions, one is a potion of poison (yum), one is clairvoyance, and one is invulnerability.
Crypt 35 - This crypt is unused in 1st edition. The ghoul trap is new to 5th edition.
Crypt 37- Gralmore Nimblenobs. 5th edition does Nimblenobs dirty. He has so many more scrolls plus a +1 sword that can let you cast wish. Excuse me? I get the change but come on just the three scrolls for 5th edition and calling him "wizard ordinaire" is just bullying a dead guy who knew wish.
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The image of a black and white document of a vampire on the left side of the page and text on the right like previous images. The top of the pages has a similar border as previous images. The vampire is a women in a dress with a set of jewelery. The women's hair is long and dark, partially obscured by the darkness of the background. She is baring her fangs to the viewer. Her dress straps are thin. Her right hand is raised towards her face. Around her neck is a neclace with several gemstones. Around both arms are bracelets; her left arm has two bracelet while her right arm has a bracelet with 3 visible gemstones. Around her chest are several sets of bindings, one crossing under her breasts, one crossing at the waist, and two crossing around her chest forming an "x". The background of the image is darkness that fades to light from top to bottom. To the right of her waist is s signature of Clyde Caldwel.
Not all the text on the right is visible. The following is the visible text:
"A body in white clothing rots naturally, in small chest. Whithin the chest are 10+1 arrows and 3 bottles containing potions of poiso invulnerability
Crypt 31. '$$We knew him only by his wea
There is a large, bulging chest in the center is a trapper who attacks anyone that steps up
1 trapper: AC 3; MV 3"; HD 12; hp 62; #A AC; AL N.
Crypt 32. "St. Finderway, Saint of Lost Tr
The crypt is featureless except for two al Over the alcoves is written "Pass not the mortals!"
These alcoves are transmitting and r alcoves on the east sends thoses who enter alcove in K86. Stepping into the western receives persons teleporting from the west
Crypt 33.
The stone door is blank. This crypt has
Crypt 34. "King Dostron"
Crypt 35.
The stone door is blank. This crypt has
Crypt 36.
The stone door is clawed and marked so The tomb is empty
Crypt 37. "Gralmore Nimblenobs"
The stone door only gives the name abo within, rotting naturally. About the co one wish; a scrholl with hcarm monst polymoprh self spells; and a scroll w haste, lightning bolt, and slow spells.
Crypt 38. "Americo Standarski (Inve
When this crypt is opened, three pair out. Three hellhounds attack. These damage at up to 10 feet from their sco points if the character saves vs drago breath once per round for as many ro
3 hellhounds: AC 4; MV 12"; HD 5; hp + breath weapon; AL. LE.
Crypt 39. "Beucephalus, The Won grow ever greener where he trods."
This crypt has a larger door than all rears up when the door is opened breath obscures vision, blinds oppo"
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For the rest of the crypt, there really isn't any changes. The trap that leads you to a pit full of enemies is from I6. Sergi's armor is +2 plate mail which is reflected in 5th edition, Stradh's teleport trap is the same, and you need to be lawful good to enter the tomb of Barov and Ravenovia; though 5th edition added the squeezing part for small sized player characters. Generally speaking, the crypt really didn't get changed. What was changed in Curse of Strahd was mainly done for balance purposes or to make the crypt more align with the canon that Curse of Strahd uses.
Now about those magic items. How different is the holy symbol or the sunsword. Surprisingly not much. The holy symbol basically has a daylight affect, though its different, weaker, and you can only use it once a week. However, your turn undead feature is stronger while using it. The sunsword is weird but also basically the same. The biggest difference in I6 is that you have to build it. One of the players who is a fighter with sword has the blade portion already, just they don't know it. The blade of the sunsword when not in the proper hilt acts like a normal blade. You have to take the blade out and put it in the sunswords hilt and then its a sunsword. Its a +2 sword except against undead which makes it a +3 and it does extra damage. The flavor of it being separated by a magician and then lost is is also from I6 but the flavor of the blade being Sergei's originally is not in I6.. Lastly, the Tome of Strahd; the passages are the same. I mean "I am The Ancient, I am The Land" is iconic so it would be a shame if 5th edition changed it. Given how much of the module is the same, the tome remaining unchanged is not surprising.
Lastly, talk about is the optional ending. I mentioned when I was talking about Ireena that the "Something Blue" special event in Krezk in Curse of Strahd occurs in I6. It is the optional ending that can play out once the players kill Strahd. I don't want to talk much more on Ireena but moving the ending to Krezk in Curse of Strahd makes sense. If we want other characters to be the ally against Strahd, having her story arc end once she arrives in Krezk feels appropriate.
Closing Thoughts
I know this was a fairly long post but I think it let me kind of go off on my random knowledge I have on Ravenloft as well as discuss some changes and liberties Curse of Strahd decided to take. Its a very iconic module and the fact that it has stood the test of time more or less unchanged is a testament to how impressive and popular this module was in the 1980s. It also gave me a bit of an insight as to the decisions the designers made in Curse of Strahd and their reasoning since despite staying faithful to I6, Curse of Strahd generally made changes for the better in my mind. I may have come across critical of Curse of Strahd but that is more than likely my own bias since WotC has somewhat shown disregard for second and third edition canon which has grown to upset me. If I were to expand upon my thoughts on Curse of Strahd, I would want to talk about it as a follow up since I ignored a majority of the module. I6 is fairly short compared to Curse of Strahd. That is to the benefit of Curse of Strahd, since it is able to flex its world building far more than I6. There were also some topics I never talked about, like the the monster stat blocks. Mainly because I don't have anything meaningful to say. I have never learned how to play older editions of D&D and I really only have passing knowledge. I can take photos and add them as an addendum is someone is able to explain what they actual mean.
Lastly, forgive me if I talk over topics several times in this post. It grew in scope and size several times and had a couple of re-writes. My brain is rot and its full of gothic horror.
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elysianholly · 11 months ago
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Fanworks vs. Published Works
Okay, so, I was on Reddit and there was this discourse of fanfic v. published work, and how the lines are beginning to blur more and more, particularly among readers, and how dangerous this is for fandom spaces because fanfic is not designed for the same sort of engagement one has with a published work. They look similar and feel similar, but equating them can be devastating for fanfic writers, particularly if people start reviewing and critiquing fanworks the same way they do published works.
The comparison on that subreddit—which I had never encountered but might well have been around forever and new to no one but me because sometimes I do live in a cave—was that fanfic is like a potluck. And I love that because it's 100% accurate.
At a potluck, you make something for people to enjoy out of love. It’s really shitty to go to a potluck, then walk up to someone who made what you believe is a subpar casserole and start in like you’re a food critic. You’re missing the point of the potluck. And you’re kind of a dick.
In a restaurant, the rules are different, just like in the publishing industry. You select a restaurant, you pay for a meal, and if the meal isn’t to your liking, you can leave the restaurant a review on Google or Yelp or the platform of your choice (assuming you didn’t just throw a tantrum in the restaurant itself, but that’s another discussion). And sure, YMMV from other diners’ experiences, but even if everyone loves this restaurant and you don’t, it’s perfectly acceptable to leave a subpar review listing the reasons why it didn’t meet your standards. It’s fodder for future diners to consider at this point, less for the restaurant itself. The way book reviews are meant to be for readers, not the author. The author will see it, they might get annoyed, but unless they want their career to go up in smoke, they won’t respond. Just like restaurant owners who go nuclear on bad reviews, word spreads when someone can’t take criticism.
And no, it’s still not cool to critique someone’s potluck dish even if that person is a professional chef. They still elected to invest their time, talent, and creativity to bring that dish to the potluck and are getting nothing out of it but the satisfaction of their dish being enjoyed. The potluck should be a safe space for everyone—the chef knows to expect unsatisfied customers at work; when they’re at play, when they’re relaxed and enjoying something with a chosen community, it’s really shitty to start acting like a customer in the restaurant. You don’t have to love what they brought but keep it to yourself and go try something else.
As a published author, it bothers me a lot more when people invade my fanfic space to be critical than it does any of the 20+ works I have for sale on Amazon and other vendors, and this is why. Fanfic is more personal because it’s unpaid labor created out of love and a desire for community. It’s not a commodity, and treating it like that is how you murder joy and, for some creators, sometimes the drive to ever create again.
So don’t be a dick at the potluck, okay?
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answersfromzestual · 1 month ago
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What type of testerone hormone replacement therapy is for you? - Article Comparing T-gel,Cream and Injections.
The two of the most debated forms of testerone hormone therapy are the cream ( T gel) and the injection method. This article goes on in depth on these two methods. It compares their positives and negatives to provide a very in depth perspective so you can make an informed decision on the method that is right for you.
THRT gel or creams a topical (rubbed on your skin) application that contains synthesized testosterone. It's typically formulated with carriers that ensure the optimal absorption of the formula through the skin. The exact compounds vary from brand to brand however the primary ingredient is always testosterone. Once applied onto the skin, the testosterone in the cream is gradually absorbed into the bloodstream. This process mimics your body's natural rhythm of testosterone release, also providing a steady level throughout the day.
THRT injections usually contain testosterone cypionate, testosterone enanthate, or testosterone propionate suspended in an oil. These formulations are designed for intramuscular injection, ensuring that the testosterone is slowly released into the bloodstream over a period of time (can range from one to a few weeks apart) These injections require a prescription in Canada and the US, but can also be available at clinics both online and offline. They also may require you to need to make doctor's visits to either do your injection or teach you how (depending on what your health care provider says they want to do). Some people can learn to inject themselves, others may not feel comfortable and can go to their doctor or a clinic to receive your shot. Make sure you have been properly instructed by a professional health care provider prior to doing your own injections.
IS T Gel and T Cream the same?
Differences between the cream and the gel options are the thickness and potency of the actual product . They are both transdermal methods (using the skin to get to the bloodstream) of using testosterone and are very similar in how they are used and function and the are usually a used in a smaller area so less chance of transfer and more equal levels. Creams are becoming a more stable option over the gel. This is a decision you and your doctor should make as to which option is better, side effects can differ slightly from brand to brand.
This is a comparison chart I found to help you make an informed decision on which style of application is best for you.
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The images are in order of left to right
Importance of Individualized Treatment: No single THRT method suits everyone. Factors like age, lifestyle, medical history, and personal preferences play a significant role in the best choice.
Factors to Consider: Consider your daily routine, if you are comfortable with injections, the dosage, and potential side effects.
Consulting with Healthcare Professionals: Before deciding on any method, it is very important to discuss options with your/a healthcare provider familiar with testosterone therapies. This can also include an endocrinologist.
Important: remember more is not better! Taking a larger dose than you are instructed to can cause adverse side effects such as irritability, mood swings, changes in libido, and even hair loss.
Here is the source I used for images
Mayo Clinic Source
Source 3
Other sources include my experiences, and advice given to me by my family physician and endocrinologist
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thenarrowstreet · 1 month ago
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Mirror's Reflection
Summary: Pre-relationship comfort between Gale and a reluctant leader Tav, and some reflections after learning the truth about the orb.
“Are you alright?” Familiar, by now. You attempt a smile as he finds his spot beside you. “I could ask you the same thing.”
Basically, Gale is my emotional-support companion lol
Word count: 1,610
AO3 Link
You were decidedly not the leader type. 
Timid, too quiet, overly sensitive. Such are the common themes in how others have always described you. You didn’t think that there should be anything shameful in sensitivity or preferring to listen than speak, and yet those descriptors were spoken with such disappointment and judgment that you felt yourself shrink. Rather than encouraging you to be bold and outgoing, you fell further into yourself until you believed it might be easier to just be invisible. 
So as you somehow find yourself at the head of a rapidly increasing group of strangers plagued with the same ill-fate as you, it should go without saying that you are out of your depth. It had started so gradually you hardly noticed until it was too late. What first began as simply trying to settle differences between Shadowheart and Lae’zel turned into authority unspokenly designated to you as Astarion joined the group. 
As the four of you made camp on the first night, you reasoned with yourself that it was a manageable group size. Compromise and fair discussions should be possible so that the group can make decisions together rather than just leaving them up to you. And yet, there was no denying that your new acquaintances were not going to easily find themselves on the same page. 
The next morning brought a new face to the group which elicited both instant comfort and yet an increasing sense of pressure. Gale was the first friendly face you had encountered, and you were drawn to him instantly by the warmth of his greeting and sincere brown eyes. You couldn’t help but marvel at his good-nature and optimism despite the life-threatening conditions you both shared. 
He was an eager and helpful addition to the party, and you found yourself valuing his input whenever he had insight to offer. Some decisions seemed so clear with him by your side, aided by the fact that you seemed to hold similar values. With Gale’s genuine expressions of approval, you felt assured of a reliable companion. Naturally, you readily helped Gale once he voiced a need for magical artifacts and the two of you only grew closer in mutual trust and reliance. However, you knew that there would be harder choices to make beyond the Grove. And with the more recent additions of Wyll and Karlach to the group the weight of responsibility placed on your shoulders became suffocating. 
Often, dinner around the campfire would result in heated discussions regarding the best courses of action and decisions to be made. Very rarely did you raise anything at these times, preferring to listen to all offered viewpoints. They quickly learned not to prompt you for your opinion, your mind grinding to a halt as all eyes turned towards you. With a mind buzzing with differing perspectives and arguments, you would afterwards retreat to your tent or the riverbank to consider all the options, even long after everyone else had begun to rest. 
On some nights your attention was drawn by a faint glowing light illuminating Gale’s tent, suggesting perhaps that the wizard found himself lost in some new book picked up along the journey. You secretly longed to join him and discover what volume had him so enthralled. For sleep to find you as you listened to his hushed voice reading the words aloud for you, rather than while endlessly turning around possible choices to be made the next day. But you would inevitably talk yourself out of it, any courage brought on from deep-seated longing thoroughly stamped out by reasoning of your own fabrication. 
— 
In the evening after Gale revealed the true nature of his affliction, some members of the party were less than pleased at your decision to allow him to stay and vocalized as much. It had been an instant choice on your part, needing not a moment of reflection. Though you have known him for only a short while, the trust and care you held for him left no room for doubt. Beyond such personal explanations, each member of the party knew that you all only stood a chance if you remained united. 
Even now you could recall with clarity his pained expression as he allowed you to see his self-declared folly, the depth of sorrow in his eyes as he held your hand near his heart and revealed the anguish hidden there. Always so desperate to be useful. And it seemed so obvious now as to why he wanted to help in any way possible. His fear of rejection, of being cast out, was as plain as the guilt pooled in his eyes. 
You had fought back the tears then, for his sake. Though in truth you could have knelt down with him and wrapped him in your arms as best as you were able. You were never very good at comforting, never certain if a hug was welcome or not. So instead your arms wrapped around yourself, trying to find stability after the shock of his revelation to you. But now, hearing the others murmuring that perhaps allowing him to stay was an irresponsible choice, tears prick your eyes once more and your throat tightens. You quietly excused yourself with what you hoped to be a measured expression, the group more than accustomed to your habit of withdrawing to be alone. 
Your hasty retreat to the riverside took you past Gale’s tent. Undoubtedly he would have been aware of the hushed dissent passing around the campfire, and yet seemed determined to appear untroubled as he read outside his tent. 
Not too long after finding a moment’s peace in your favourite spot, you are unsurprised by a gentle hand on your shoulder accompanied by a warm inquiry. He had found you here before, after all. 
“Are you alright?” Familiar, by now. 
You attempt a smile as he finds his spot beside you. “I could ask you the same thing.” 
A small exhaled hum is all the response that comes, leaving room for a thoughtful silence to settle between you. 
Your mind wanders to the first time he found you here alone with your thoughts. He had been searching for somewhere quiet to read, but didn’t want to impede upon your solitude. Where normally you would be grateful for such an offer, truly desiring to find a moment to yourself, you found yourself offering for him to join you. As much as you love to listen to him talk, you were equally delighted to find that you could share in a comfortable quietude. 
You are the one to ultimately dispel the hushed moment, your hesitant admission competing only with the river’s babbling and soft chirping of the crickets. 
“Some of them think I’m wrong, to want you to stay. And given that I’m not the most confident among us, I’m not surprised if they don’t trust me to make decisions. But…” 
You risk meeting his eyes, almost regretting it as you’re met with an overwhelming array of emotions filling his gaze. The intensity with which he considers your admission, seemingly holding his breath as he awaits its completion, is almost enough to derail your thought-process entirely. You avert your eyes though keeping your gaze near, urging yourself to press on. 
“But this is one of the few choices so far that I’ve been entirely sure of.” 
The relief he expressed earlier that day returned, though perhaps somewhat more subdued and paired with something more personal and harder to decipher. Gratitude? Affection? And yet the faintest sign of disbelief lingered. For all his earlier enthusiastic thanks to you, the look in his eyes now was so sincere and vulnerable that you really are in danger of crying all over again. 
But then his warm hand finds your own, so assuring and grounding that the tension between your knitted eyebrows softens almost instantly. 
“I meant what I said before, Tav. In witnessing your conduct thus far I have grown to trust you whole-heartedly. And how fortunate I am that your wisdom and generosity has extended to me. Even if Lae’zel and Astarion may think otherwise.” 
He turns to face you more fully then, both hands clinging to yours almost in a desperate plea. His eyes seek yours as his voice lowers, hushed as though revealing a precious secret. A matter of great magnitude. 
“I promise I will not betray your faith in me. Even if I can scarcely believe I have it, how unearned I fear it must be.” 
Such different lives you both had led, perhaps a result of what might appear on the surface to be almost opposite personalities. Yet as you sit here face-to-face, each finding your own insecurity mirrored in the other, the trust you place in him reflects right back to yourself. 
You huff an incredulous laugh and the tears fall at last, freely and with immense relief. One hand releases yours to hover over your cheek, stopped abruptly by hesitation on its path to wiping them. Stuttering concern that he might have offended you spills from his lips, so endearing and clumsy that you almost laugh properly this time. 
“Sorry Gale, really I’m fine.” You say it with a sheepish smile, opting to wipe the tears yourself. 
You intertwine your fingers with his hand that remained in yours, almost entirely forgotten in his brief panic, and focus your gaze out to the soft moonlight reflected on the river. 
“Thank you, by the way. And you’ve more than earned it, Gale. Truly.” 
Peace settles over you once again as his hand tightens in yours, each of you silently glowing in the comfort of having someone who believes in you.
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zahri-melitor · 7 months ago
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Spoilery thoughts on Batman #148:
This story was pretty clearly drafted to be a 5 or 6 issue story, probably originally resolving in #150 as bringing the family together is a nice round number issue sort of event. My best guess is that the Nakano and Vandal Savage plot and some more of the back ups around the captured villains got cut to the bone to speed things up after Zdarsky was told #150 was needed for Absolute Power (and #149 is apparently doing the epilogue to set up for whatever goes on in Absolute Power). There’s a couple of really clear “and we just skipped 3-4 pages” sort of moments in the shape of the script for this issue (and in hindsight in #147) that if it had been allowed even an extra issue the story would have more space to breathe.
And despite that revised pagecount, Zdarsky still manages to deliver the moments he wanted to bring for Dick, Babs, Jason, Tim and Damian, so I’m impressed by that. Cass unfortunately did get relegated, but if I’m being objective about this, DC’s still waffling over whether Current Cass is adopted or not, and Zdarsky was already juggling a big list of characters (plus part of the point of having a big cast is that you don’t HAVE to focus on all the cast).
I did like how much space Zdarsky still found for the Damian-Tim-ZEA Robin plot. That did NOT resolve the way I predicted from the costume’s first hints in the background (I was totally on team ‘Tim puts on the costume sacrificially to try to get through to ZEA Bruce thinking he can handle this, and gets brainwashed’), but it was satisfying in terms of acknowledging Tim and Damian’s relationship (it was giving me Gates of Gotham vibes, which are the best Tim and Damian working together vibes), there was more discussion of the different elements both bring to the role of Robin and what’s good and bad about each, and how ZEA Robin doesn’t understand what makes you Robin. It was a pretty balanced fight scene. Tim gives Damian an assist, Damian gives Tim an assist, Tim’s a bit too overconfident and pays for it, Damian was a bit petulant about having to sit part of it out (though being tied up is like, PURE Robin aesthetic).
As far as the costumes go for the Robins Fight scene: honestly, switching Tim into a darker costume that was black and green with red accents complemented Damian’s black and grey with red accents aesthetic well, and contrasted with the ZEA costume being so bright red and yellow (which is playing off the original red, yellow and purple ZEA suit). Jimenez also gave everyone a different mask shape, which also helped distinguish everyone when you have three ‘Robins’ appearing in the same fight. All the Bat redesigns at the moment are leaning into darker palettes, and I appreciated the choice to go back to green as Tim’s ‘colour’, rather than red, given: his pre-2006 history used to use green quite often as his distinguishing colour; he can share it with Babs (team green for the computer nerds!); it’s not a colour they’ve particularly focused on for Damian for ages; and it gets him out from under having to share colour palette with Jason, given Jason can’t keep a costume consistent for a year.
It’s fine. It’s not my favourite Robin design I’ve ever seen, it’s not the worst Robin design I’ve ever seen (even on Tim), and it made the fight a lot clearer to follow.
I really liked that Barbara’s contribution was Oracle based and it made her inclusion make sense. I cackled at Dick getting to punch Daniel Captio (I was having serious echoes of the Cave argument in Bruce Wayne: Murderer/Fugitive, and from Tim’s delighted face for that punch I think Tim was too).
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In terms of Jason, having him volunteer to take on the Lazarus-linked part of the plot and tell Bruce “let us have control of our own decisions” IS the resolution and apology for the mind alteration plot (which I am still pretty sure was a Rosenberg driven decision, not a Zdarsky one, in Gotham War), and look. That’s the sort of resolution you get a lot for comics plots. They’re cool. It was never going to end up as a big song and dance.
I like that the resolution pulled everything back to Failsafe. Good way to round off 2 years on the title. Nice extended story arc, with shout outs all the way back to #125.
I did have to laugh at Nakano calling Cass, Steph and Duke ‘child soldiers’ though. Those are all actual adults, sir! Even Duke’s supposed to be 18+ now.
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rationalisms · 3 months ago
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sorry to discourse about the sexuality of video game characters but re: the whole "playersexual" debate...
this idea that people always either subtly imply or outright state in arguments around this is this sort of snide "well why would any of these people caaaaare about something so frivolous as gender when they have Real Problems!" (which you can also swap as needed in sci-fi with "well obviously in The Future everyone would have learned to be bisexual").
which is like. wildly homophobic obviously. outrageously so. this idea of gay people as someone who's just hung up on irrelevant or superficial parts of a person unlike people who Care About Someone's Soul, OR the idea that gay people are not sufficiently progressive enough and need to get with the times, is not even a new or innovative strain of homophobia. and yet i constantly see people repeat it confidently in discussions around "playersexuality" or video game romances with zero thought or care to how insensitive and cruel of a statement they're making. it's bugfuck insane.
also, it's not even like bi people are winning with the current status quo either, because these characters are almost never actually textually bisexual, they're just whatever sexuality matches up with the player avatar's gender. very few of them are openly attracted to the same gender outside of the romance path, or at all part of the wider lgbt community. (and no, a few missable party banters here or there with wink wink nudge nudge style comments does not count as either of those things.)
i would rather there be characters whose orientation is incompatible with mine and whose romance path i therefore might never experience, than there be a world which either implicitly or explicitly features absolutely zero gay people.
(as a complete side argument, i find this obsession with having to Experience Absolutely All The Content in one go and it being somehow a bad thing if there's things you might not see in this specific playthrough of a game a really weird idea too. and it's imo also not a good philosophy for game design, especially crpgs which by nature are supposed to branch widely and allow the option to experience the story differently depending on the choices you make. but that's only tangentially relevant.)
anyway. lesbian party members or bust.
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