#and like it would be one thing is they just existed as a game mechanic but the fact that theyre popular?? yall just like yourselves lmaoo

[ajdrawshq]

sometimes i cant help but think about the enemy pokemon u find in mystery dungeons and the in-universe reasons for why theyre Like That. like. i know we have a bunch of examples in each game for pokemon that attack u for various reasons (misunderstandings, guarding something, gone berserk from outside influence, just an asshole, etc) but whats going on with the hundreds of mons that spawn INSIDE the mystery dungeons. like those things are already weird even though theyre well known by most residents and they appear pretty much anywhere but theres tons of pokemon that straight up live in those places. and while some have good reason to wander and attack intruders there, some are just. why. why are there Enemy Pokemon in a Mystery Dungeon next to a School. who are you people.

[dreampearls]

colleis personality functionally being left to the ether because her webtoon iteration is at such fundamental odds with her game iteration that any attempts to temper between the two just range so dramatically

[dailyoyo]

all that said. despite so much of this stuff being heavily future-based. i find og jsr more fun to actually Play LMAO

[icewindandboringhorror]

me everytime I am preparing a meal with multiple elements I have to balance so they all finish cooking at the same time: Wow this is just like the 2009 hit Nintendo Wii game 'Food Network: Cook Or Be Cooked'

[styxnbones]

Cass Briar 2023 Patch Notes:

The Diablerie Update

Its been a long 8 years since the abrupt end of development but we're back with a significant rework and a timeskip that assumes the successful diablerie of Prince Marcel of New Orleans (that's what you get for having such lax security around your torpored brother). We sincerely hope that you'll all particularly appreciate the addition of more explicit confirmation of Cass's queer identity now that we are no longer writing in partnership with a bunch of 40-something y/o cishet dudes. Anyways, here it is:

-Aromantic and Lesbian modifiers no longer hidden

-Pronouns updated: She/They (Lesbian Variety)

-Relationship to Sire (Astrid Hallman) tweaked to be more explicitly sexual (and romantic on Astrid's part), and updated levels of both resentment (as the blood bond has faded with time) and insecurity (both being now of equal generation)

-Huge buffs to Confidence and Self-Superiority

-Huge nerfs to General Deference Capacity and Respect For Autonomy

-Remainder XP spent on Dominate 4

-Slight redistribution of Ability dots

-New Paint-job for Stolen Motorcycle (now fits red/white/black color scheme)

-Coterie Nicknames Updated (Kristos: "Dirt Nap" -> "Captain America", Marcus: "9-to-5" -> "Marie O' Net", Clair: "Covergirl" and Jean: "Socks-in-Crocs" remain unchanged)

-Tendency to mask Malkavian heritage reinforced (Hecata is now most implicated, being much more ambiguous than Giovanni alone and less suspicious than Lasombra, though lingering Ventruesque vibes from the diablerie may send mixed signals)

-Death Faked with aid from Leopoldite contacts (to end New Orleans-specific obligations just in case she ever does return to active play)

-Paranoia Increased

-Downward Spiral of Humanity now veers towards the Path of Power and The Inner Voice (just a little more palling around w the sabbat would probably tip her over into committing to it)

-Playlist now includes 100% less Panic! At The Disco

That's all for now, but community feedback is much appreciated and may spawn more future updates

aka plz ask me abt my oc so i can fill out all the shit ive inevitably forgotten to think about

[twow]

[dravidious]

You're more amazing than theories

Made a TON of monster hunter cards and now every melee weapon has a decent amount of representation in the card pool. I have not made a single gunner weapon card.

[rassicas]

In the splatoon fanbase, there are many misconceptions surrounding the relationship between inklings and water. without fail whenever I mention something related to the topic I'll get replies of "actually the canon is [some popular but incorrect theory]" "no they can do this and this canonically [it's actually a headcanon]" "no its really [something NOA made up]"

so to briefly go over The Facts:

Inklings canonically die when submerged in water. And yes, getting "splatted" is them dying for real, respawning is also an in-universe thing that has existed for at least 2000 years and not just a game mechanic. While the dying in water thing originally came from a game mechanic, it has been repeatedly stated that they incorporated this into the inkling's biology. The water weakness is not because of the water itself being toxic. The reason is based in osmosis. in the process of their evolution, Inklings (and octolings) changed a lot, and one of these changes was the ability to transform between a humanoid and swim form. Doing this transformation requires skin that is a thin, semi permeable membrane [this kind of skin is a trait found in real life molluscs]. The evolutionary trade off is that, because of how semi permeable their skin is, the ink inside of their bodies will bleed out when in contact with another liquid. This is the answer given directly by the series' creator. And here it is confirmed that while the water weakness originated from game mechanics, it is very much became a part of an inkling's in-universe biology. Kind of like how a slug will die if you sprinkle salt on it (for a reason that's almost the same as the inklings), but ultimately needs salt in its diet through the food it eats to live, inklings do drink water and other liquids. Its also not like they touch water and immediately explode, it seems they can wash their hands in it and dip their feet in it and be fine.

Some people think the water weakness is stupid, personally i think its reasonable because Inkling biology is already weird as hell and of how ridiculously advantageous it is to be an ink-based cephalopod. the ink gives them the ability to jump absurdly long distances and cheat death to an extent. they're not losing much by not being able to dunk themselves in water. Anyway point is it sucks that all the relevant canon information on this is one of those japan only things/exclusive to developer interviews and pretty much every time it's brought up in English the localizers make shit up. I plan to make a video about this one of these days, but with how 'controversial' the topic is, and how many little details and connected concepts there are, I've been holding it off because I want to do it right. there's also some specific details that are unclear that I've been hoping would be clarified in the artbook or a dev interview but haven't, I might just have to go for it at this point. for the time being, i hope this post helps clear up a few things!

[karlachismylife]

Yeah, but what if you're a character in a game they like to play? A pre-existing townie in a life simulator that helps them reconnect with normal life outside deployment? The one they somehow always tend to romance in every savefile, courting you through the clumsy mechanics?

Soap would absolutely spam interactions, interrupting any of the tasks you are trying to do. What do you mean your relatonship progress starts going down after he chose "tell a flirty joke" twenty times in a row? Why are you falling out of the conversation and going to water your plants or play on the computer? Does he have to delete it out of the game for you to stop getting distracted? Hmph. If you were a real person, you would be already swooning at his jokes, that he knows for sure. C'mon, bonnie, don't leave the lot for work! If you accept his proposition to move in, you'll never need to work a day in your pixel life! He also has a fuckton of savefiles, because he wants to try every single thing the game has to offer, but turns out mastering all 158 skills and 73 careers isn't that easy in one go. He still goes after you in each and every savefile. What can he say? You're just the prettiest of them all.

Gaz has the strategy nailed down. He knows your pre-set preferences and makes sure his character caters to them (good thing you seem to be generally into him, all he needs to do is add your favourite colour to his outfit, and it suits hm too!), he can calculate the shortest route to have a romantic meter above your head in one conversation. Juggling the interactions with ease, never making the mistake to bore or upset you. He knows you'll have the best family tree in that game, and he'll make it happen. Also has quite a few savefiles, but only because he enjoys the storytelling aspect and always prepares some elaborate plot, filled with drama. Takes inspiration from the hundreds of episodes of different TV shows he manages to watch, also plays with mods to add as much flavour to the game as possible.

Price tries to court you like he would a real person. Inviting your character out, putting a lot of thought into which conversation theme choose out of what game offers, bringing you gifts. Unfortunately for him, the game isn't registering his actions as actually trying to woo you... so he just takes the gloves off and fucking cheats your relationship status. His in-game self needs a pretty partner to look after the pack of three dogs, named Ghost, Gaz and Soap respectively. He's not above cheating your babies (whether your character carries them or it's the science baby option) to be triplets. Only starts new savefiles when you both grow old and pass away in the previous one, maybe because he can't bring himself to live out your kids' lives (they should be their own little virtual people and decide for themselves), or maybe because he doesn't understand that he actually can keep playing even if his character's dead.

Ghost starts with adding himself to your family and setting your relationship status as spouses. Oh, you have some in-game pathetic weird looking prick as your pre-set partner/husband? Too bad, evicted, deleted from the game, forgotten. If he is in the mood, he won't straight up delete that poor bloke, but will set up a pool with no ladder and drown him in it or lock him in a separate room to starve. Nothing you should see, though, you'll be plenty busy drowning yourself, not in a pool, but in his affection. Doesn't spam interactions, but really enjoys just watching you go about your day and making it so that his character takes care of your needs - if you start to get hungry, he's already slamming the "call to meal" button on the giant ribs plate his in-game self just roasted. Probably has one savefile where he keeps cheating any death back.

Or are you a cute tamagochi pocket friend/pet they enjoy taking care of, because having a real pet is impossible with their lifestyle? An NPC with an everyday quest of collecting produce in a chill farm simulator? A weekly boss they lose fight to as much times as they can afford to, just to see your opening cutscene replay over and over? A companion whose personal quest they have memorized line by line, but never skip dialogue to hear your voice and look at every expression you make?

Whoever you are, what if one day something in your code changes and you suddenly start recognizing them?

[valtharr]

In the last few days, I've now had two run-ins with people on this site regarding the idea of a TTRPG's mechanics and rules impacting the roleplay aspect of said game. And from what I can tell, these people - and people like them - have the whole concept backwards.

I think people who only ever played D&D and games like it, people who never played a Powered by the Apocalypse or Forged in the Dark system, or any other system with narratively-minded mechanics, are under one false impression:

Mechanics exist to restrict.

Seeing how these people argue, what exactly they say, how they reason why "mechanics shouldn't get in the way of roleplaying," that seems to be their core idea: Rules and mechanics are necessary evils that exist solely to "balance" the game by restricting the things both players and GMs can do. The only reasons why someone would want to use mechanics in their RPG is to keep it from devolving into

"I shot you, you're dead!" "No, I'm wearing bulletproof armor!" "I didn't shoot bullets, I shot a laser!" "Well, the armor's also laserproof!" "Nuh-uh, my lasers are so hot that they melt any armor!" "My armor's a material that can't melt!" And so on. Because we have rules, the players can't just say "we beat this challenge", and neither can the GM say "you haven't beaten this challenge." Because the rules are clear, the rules are obvious, the rules tell you what you can and can't do, and that's it.

So obviously, when the idea of mechanics directly interacting with the roleplay - generally seen as the most free and creative part of a TTRPG - seems at best counterintuitive, at worst absolutely wrong. Hearing this idea, people might be inclined to think of a player saying "I'm gonna do X", just for the evil, restrictive mechanics to come in and say "no, you can't just do X! you first have to roll a Do X check! But you also did Y earlier, so you have to roll the Did Y Penalty Die, and if that one comes up higher than your Do X die, you have to look at this table and roll for your Doing X If You Previously Did Y Penalty! But, if you roll double on that roll..."

But like... that's not how it works. Roleplay-oriented mechanics don't exist to restrict people from roleplaying, they're there to encourage people to roleplay!

Let's go with a really good example for this: The flashback mechanic from Blades in the Dark (and games based on Blades in the Dark).

In BitD, you can declare a flashback to an earlier point in time. Could be five minutes ago, could be fifty years ago, doesn't matter. You declare a flashback, you describe the scene, you take some stress (the equivalent of damage) and now you have some kind of edge in the present, justified by what happened in the flashback. For example, in the Steeplechase campaign of the Adventure Zone podcast, there was a scene where the PCs confronted a character who ended up making a scandalous confession. One of the players declared a flashback, establishing that, just before they walked in, his character had pressed the record button on a portable recording device hidden in his inner coat pocket. Boom, now they have a recording of the confession.

How many times have you done something like this in a D&D game? How many times did your DM let you do this? I think for most players, that number is pretty low. And for two reasons:

The first, admittedly, has to do with restrictions. If you could just declare that your character actually stole the key to the door you're in front of in an off-screen moment earlier, that would be pretty bonkers. Insanely powerful. But, because BitD has specific mechanics built around flashbacks, there are restrictions to it, so it's a viable option without being overpowered.

But secondly, I think the far more prevalent reason as to why players in games without bespoke flashback mechanics don't utilize flashbacks is because they simply don't even think of them as an option. And that's another thing mechanics can do: Tell players what they (or their characters) can do!

Like, it's generally accepted that the players only control what their characters do, and the GM has power over everything else. That's a base assumption, so most players would never think of establishing facts about the larger world, the NPCs, etc. But there are games that have explicit mechanics for that!

Let's take Fabula Ultima as another example: In that game, you can get "Fabula Points" through certain means. They can then spend those points to do a variety of things. What's literally the first thing on the list of things Fabula Points let you do? "Alter the Story - Alter an existing element or add a new element." I've heard people use this to decide that one of the enemies their group was just about to fight was actually their character's relative, which allowed them to resolve the situation peacefully. I again ask: In your average D&D session, how likely is it that a player would just say "that guy is my cousin"? And if they did, how likely is it that the GM accepts that? But thanks to the Fabula Point mechanic making this an explicit option, thanks to rules explicitly saying "players are allowed to do this", it opens up so many possibilities for story developments that simply would not happen if the GM was the only one allowed to do these things.

And it's only possible because the mechanics say it is. Just how your wizard casting fireball is only possible because the mechanics say it is.

[withahappyrefrain]

"For someone who hates me, you're not pulling away."

Feels like this was MADE for Jake!

"You gotta be fucking kidding me," you muttered, praying your sunglasses would conceal what you were really looking at.

It seemed like a higher being was out to personally spite you. Because not only were you being forced to spend the whole day with the guy you hated,

He looked fucking hot without a shirt.

Of course he did. It wouldn't be fair if he had a physical flaw, the universe had decided it so.

It was supposed to be a bonding experience, pilots versus mechanics. Why was beyond you, considering you actually liked everyone in your current squadron.

Well, except one pilot. A blonde pilot. A cocky pilot. A pilot who thought the sun rose for them personally to shine a light on their ass. A pilot who had become the bane of your existence.

"Hey Rosie!" You ignored the nickname (all because you wore a fucking red bandana) he insists on calling you, turning to your coworkers instead.

"Your not so secret admirer has arrived," your coworker Nicole giggled.

"Please don't remind me. I already have a headache from him and the game hasn't even started," your index fingers rubbed your temples in a vain effort to soothe the dull ache that came from Jake Seresin.

"Well don't look now but he's coming your way," and with that Nicole walked away, no doubt to go flirt with Bob.

"Hey Rosie, looking pretty good," he pushed his sunglasses down the bridge of his nose, making it clear he was looking at you.

"You're going to get burnt with all that baby oil, Seresin," you stared at your phone, not wanting to make eye contact. Or to look at his broad chest.

"Aww, you care about me." He was close. Too close. You could see the hair on his broad chest.

"The same way one cares about a dying mosquito," you took a step away, hoping it would deter him.

Jake has the audacity to chuckle, "You're funny Rosie. Why don't we make this game a little more interesting?"

You raised your eyebrows in mocked surprise, "You're actually going to show good sportsmanship? I'm impressed Seresin, miracles really do come true!"

If your comebacks deter him, he doesn't show it, which is honestly the worst part. No matter what you say, it doesn't drive him away. No, it has the opposite effect, encouraging him to continue to try and interact with you!

Fucking Seresin.

"Nah, but God, you're real cute Rosie," he has that stupid smirk on his face, the one you hate so much. His perfectly white teeth are showing as he oozes Hollywood charm. It's the smirk that makes you briefly consider continuing to chat.

"What do you want Seresin?" You grumble, looking down at the sand. The warmth you felt washing all over your body was clearly the sun, nothing (or no one) else.

"Why don't we make a bet?"

"What are you, twelve?"

Again, he chuckled, as if he found your remarks amusing rather than insulting, "C'mon Rosie, there must be something you want."

"For you to leave me alone." If you had looked up from kicking the sand, you would have seen the assured look on his face fall, his brows knitted together in worry, the corners of his lips turning downward.

But you didn't, giving him time to remask, "Alright Rosie, if y'all win, I'll leave ya alone."

The offer made your head shot up, "And if your team wins?"

His grin widens, "You know me Rosie, I'm a simple man." Lies. "There's not too much I want, just one thing really."

"Just name it Seresin."

"A kiss."

He couldn't be serious. He was.

But your crew had prepared for this game. Nicole would certainly be able to distract Bob, was the dagger's dark horse. You felt good about your chances.

So you shook on it.

Which is how two hours later, you ended up in the parking lot, pressing Jake against his stupid Jeep Wrangler, your lips on his, hands tangled in his stupidly soft hair.

"For someone who claims they hate me, you're not pulling away," He murmurs, victory written smugly across his face.

"Shut up and kiss me Seresin."

"Anything for you Rosie."

[prokopetz]

Re: your post about genre limitations of D&D

There was like a ton of d20 games back then, from browsing forums it feels like half of genres and IPs got their d20 book printed, and the other half got some homebrew.

Did it carry the genre implications of D&D itself? Was it something subtle or did it straight up feel like reskinned D&D? If yes, is this because the implications are that deep mechanically, or simply because the authors didn't do enough hacking?

The thing you need to understand about the d20 System renaissance is that the overwhelming majority of licensed d20 System games genuinely do not give a shit whether Dungeons & Dragons is a good fit for them or not. Indeed, many were created with the explicit understanding that it isn't, and no intention of trying to address that in any way. The bulk of such adaptations exist for one of two reasons:

The author and/or IP owner wanted to publish a worldbuilding bible for their setting (or, in the case of a television franchise, an episode guide), but getting people to pay money for a worldbuilding bible or episode guide is hard. However, if you take that exact same worldbuilding bible, staple some game mechanics to the side of it, and call it a licensed RPG, nerds will line up to buy it. Most worldbuilding-bibles-pretending-to-be-RPGs use the d20 System because the OGL allows you to copy and paste D&D's rules into your product verbatim, which cuts down on development costs.

A media franchise with an existing tabletop RPG wanted to get a foot in the door with the D&D crowd, so they bashed together a d20 System version of their core rulebook as a marketing gimmick, gambling that some non-zero percentage of D&D players who tried it would be interested enough to check out the non-d20 System game it's adapted from. In this case, the d20 System version doesn't need to be good, or even playable, because its purpose isn't to be played – it just needs to exist.

Hasbro, for their part, encourages all this because it reinforces the popular perception that Dungeons & Dragons can do anything, and that's worth more than the relatively tiny number of players they're likely to poach. The fact that half of them are unplayable copied-and-pasted garbage which exist only for marketing purposes and the other half boil down to logistics-driven dungeon crawling with a thin veneer of the licensed setting painted over it just isn't terribly important.

(To anticipate a variety of inevitable responses, please note that no part of this post remarks on the merits of Dungeons & Dragons as a game; I'm talking about marketing here, not game design.)

[slowlyoats]

The Lost Boys: What is their role within the group?

Marko

- The crazy

- I think out of all the boys Marko is closest with his vampire nature

- He puts the least amount of effort into trying to blend in

- And why should he?

- He’s an old, powerful being, who has seen a lot of life. He’s more authentic then any human on the board walk

- He gives the group that feeling of being unhinged, of being one step away from complete anarchy

- To the public he is a warning of how dangerous the boys are

- Everyone has heard about what this boy can and will do to his victims

- But I think to the group, they see him as a reminder of their true nature

- Vampires at heart exist outside of society, they are the strangers that everyone fears. They are chaos and beauty.

- So, whenever the boys get a tad too *horrified gasp* domestic. Marko is right there to remind them of what they are

- Chaotic, bloodthirsty, unpredictable vampires

Paul

- Life

- Paul reminds the boys that though they may be dead, there is still so much life to live

- He’s the one that is up way past sunrise singing a song he just can’t get out of his head in the most acoustic part of the cave

- He’s the one talking to the travelers on the Board walk about their adventures abroad, and what they’ve seen and done (I have a feeling that though he may be older, he hasn’t traveled outside the United States much)

- Paul is the one challenging some of the boys more outdated/old fashioned opinions

- I believe he is definitely the youngest out of all the boys, so his views are more modern

- Whenever there is a new ride on the Boardwalk he HAS TO ride it. Or a new snack or arcade game! basically whatever is NEW he must see and experience!

- He’s teaching himself how to play the guitar, and he’s not that good at it but he doesn’t stop practicing despite David’s complaints

- Paul reminds the boys that there is more to their existence then drinking blood and hunting

- He is the life of the group

Dwayne

- the handyman

- I think he would be the one responsible for fixing the bikes. He wouldn’t be responsible for like the general maintenance on all four bikes, but when Marko takes the Boardwalk stairs a tad too quick, and snaps a part of his bike, Dwayne fixes it

- Over the years he has gained a lot of experience on how to fix the bikes and stuff around the cave

- This is mainly due to living with the destructive duo that is Marko and Paul

- He generally really does like to fix things, it gives him a sense of purpose within the group

- He’s usually the muscle of the group (and he doesn’t have any complaints with this because it pats his ego) but he does like being able to tangibly provide something to his brothers

- Usually he will fix up the bikes without being asked, or trick one out as a surprise for one of his brothers

- He’s friends with the owner of a local mechanic shop, and trades work for parts on occasion

- thankfully the owner doesn’t ask many questions when he has to bring a bike in for fixing, and it’s got a few splatters of blood here and there

David

- The procurer

- David is the one constantly on the look out for the groups next meal

- Even if it looks like he is relaxing, smoking a cigarette while leaning against a board walk railing, taking in the lively scenery. He’s not. He scouting.

- They need to feed every few days at the very least, and it’s not every night they can find a bite to eat

- They don’t feed from shop owners, and they do it sparingly from the locals to not draw to much suspicion

- When David spots someone that he thinks would be a tasty meal, he spends a while observing them. And then determines which of his boys would be the best to draw the human in

- Do they look preppy and girly? Paul would be able to pull them with his rocker look and charm

- Are they stand off-ish and a little wild? Gremlin energy would be the way to go, and with Marko’s big eyes, who could resist?

- A shy beauty? Being ignored by her obnoxious friends? Oh yes, Dwayne will be able to get them stuttering and bashful with one look

- It’s almost too easy at times, but David doesn’t mind, because once off season hits the Boardwalk, hunting gets a lot, lot harder

[barelytolerabled]

Healing Speed and Soul

daniel ricciardo x fem!physiologistReader

summary: The McLaren team sought the expertise of a skilled physiotherapist, you, to tend to the physical well-being of their drivers. Little did they know, you would soon become more than just a healer, evolving into a vital source of emotional support for the drivers, especially Daniel Ricciardo.

Warnings: body shaming, ed

WC: 2k944

——————————————————————————

On your first day at McLaren, you nervously stepped into the bustling atmosphere of the team's headquarters. Team principal Zack Brown warmly welcomed you, introducing you to the dedicated mechanics, engineers, and other essential members of the McLaren family.

As you walked through the high-tech facility, you felt a mix of excitement and anticipation. The air was filled with the hum of activity.

Zack eventually led you to the heart of the team the garage. There, you found yourself face to face with the dynamic duo of McLaren, Lando Norris and Daniel Ricciardo. Lando, with his infectious enthusiasm, greeted you with a friendly smile, while Daniel, known for his trademark grin, extended a warm handshake.

"Hey there! Welcome to the team," Lando exclaimed, his energy contagious.

Daniel, with a twinkle in his eye, added, "Great to have you on board. We've heard you work wonders, hope you're ready for the challenge!"

You, feeling the warmth of their welcome, couldn't help but reciprocate the positive energy. Little did you know that beyond the world of physiotherapy, you were about to embark on a journey that would intertwine your life with the adrenaline-fueled existence of the McLaren drivers.

A few days into your tenure at McLaren, the intense rhythm of Formula One life began to settle around you. As the physiotherapist, you observed the drivers, Lando and Daniel, pushing themselves to the limits during practice sessions and briefings.

Recognizing the importance of maintaining their peak physical condition, you decided it was time for a comprehensive medical checkup. You approached Lando and Daniel with a plan to ensure their bodies were in optimal shape for the upcoming races.

"Lando, Daniel, I'd like to conduct a thorough medical checkup to ensure you're both physically prepared for the challenges ahead. It's crucial to address any potential issues before they escalate," you explained.

Lando, always eager to improve, nodded in agreement, "Sure thing, doc. Anything to stay at the top of our game!"

Daniel, with a playful grin, added, "I trust you've got the magic touch. Let's do it."

The medical examinations unfolded in the state-of-the-art McLaren facilities, with you meticulously assessing their fitness, flexibility, and overall health. As you worked, conversations flowed, revealing not only physical aspects but also providing insights into the drivers' mindset and emotional well-being.

In those moments, you realized the delicate balance between physical prowess and emotional resilience required in their life. Little did you know that your role would extend beyond the realm of physiotherapy, becoming a crucial pillar of support for Lando and Daniel as they faced the relentless challenges of the racing season.

In the quiet confines of your small office, it became evident during Daniel's medical checkup that he was neglecting his nutritional needs. You, observing the signs of under-eating, decided to address the issue directly.

"Daniel, I've noticed you might be skimping on meals. Nutrition is a crucial part of staying at your peak, especially in this demanding sport," you gently pointed out.

Daniel, usually vibrant, seemed quieter than usual. After a moment of contemplation, he simply nodded in acknowledgment.

Sighing, you grabbed your coat. "Come on, Ricciardo. We're going to fix this. I'm taking you for a proper meal, no excuses."

Leading the way, you and Daniel left the confines of the McLaren headquarters, embarking on a journey to ensure the Australian driver's well, being extended beyond the racetrack. Little did you know that this impromptu outing would mark the beginning of a unique bond, intertwining your role as a physiotherapist with a deeper connection to the personal lives of the McLaren driver.

Navigating the streets in the fading daylight, you led Daniel to your apartment. The confusion on his face was evident as he questioned, "Your place? Why are we here?"

Turning to him with a determined look, you explained, "Daniel, it's not just about making you eat; it's about making sure you eat right. I'll be cooking for you. Trust me, it's time for some proper nourishment."

Once inside your cozy apartment, you set about preparing a wholesome meal, the aroma wafting through the air. Daniel, still a bit perplexed, watched as you skillfully moved around the kitchen.

"You're really going all out. I appreciate it," Daniel admitted, a hint of gratitude in his eyes.

As you sat down to eat, you shared a smile. "Sometimes, a good meal can make all the difference, especially when the pressures of racing start taking a toll. Consider it part of my job to keep you fueled and ready for the season ahead."

As you shared the meal in your apartment, a comfortable silence enveloped you. Suddenly, breaking the quietude, you looked at Daniel and asked, "Who?"

Daniel, with a mouthful of food, raised an eyebrow, "Who what?"

Softly, you persisted, "Who made you think you shouldn't eat? There's something deeper here, Daniel. I can see it."

Caught off guard by the unexpected question, Daniel hesitated for a moment. A mix of surprise and vulnerability flickered in his eyes before he finally spoke, "Well, it's just... the constant pressure, expectations, you know? Sometimes, it feels like I don't deserve a break, even for a decent meal."

You nodded in understanding, recognizing the weight of the expectations that came with Formula One. "It's crucial to remember that taking care of yourself isn't a sign of weakness. If anything, it's a strength. You're not alone in this, Daniel. We're a team, on and off the track."

You, sensing there was more to Daniel's struggle, looked at him with a discerning gaze. "Are you sure you're telling me everything about that? Because Norris doesn't seem to have this issue."

Daniel hesitated for a few moments, glancing away before finally admitting, "Well, some people think I should be careful with food, that my weight isn't the best for racing. But yeah, little norris isn’t a problem like me for them."

A dry chuckle escaped your lips. "What a load of nonsense. Your performance on the track speaks for itself. You don't need to conform to anyone's unrealistic standards. It's about being healthy and fit, not fitting into someone else's idea of what a racer should look like."

Clearing the plates from the table, you took a decisive stance. "From now on, I'll bring you lunch, Daniel."

Daniel, trying to be polite, protested, "No, no, you don't have to do that, really."

You turned to him with a determined look, "Daniel, my role is to take care of you. Of course, I'm doing it, and you have no choice."

Concern crept into Daniel's expression, "But Zack makes me follow a strict regime. He can't know."

A disbelieving shake of the head, you retorted, "Zack agreed to this nonsense? Well, then it'll be our secret. Meet me in my office at lunch tomorrow. We'll eat together."

As the weeks passed, you continued your routine of preparing and bringing lunches for Daniel, meeting him in your office during race weekends. The aroma of home-cooked meals became a familiar presence, and whispers of camaraderie between you and Daniel began to circulate.

People couldn't help but notice the positive changes in Daniel, he seemed healthier, more energized, and perhaps even a bit happier. The bond that had formed between you and him extended beyond professional duties, creating a ripple effect in the team dynamics.

Colleagues started to see the genuine care and support you provided, not just in terms of physical well-being but also as a source of emotional strength for Daniel.

In the bustling atmosphere of the McLaren team lunch area, Daniel found himself with no choice but to join his teammates while eating the lunch you had prepared for him. Sitting across from Lando Norris, one of the team members jokingly teased, "Didn't know you knew how to cook, Daniel."

Daniel, taking a bite, replied honestly, "I'm not the one making it."

The teasing took an unexpected turn when the team member quipped, "What, you got a wife at home or something making you these?"

Daniel chuckled dryly, playing along, "Something like that, actually, yeah."

The laughter subsided when Lando, with a curious expression, raised an eyebrow, "And you think I could ask your 'wife' for one too? I've got a appointment with her this afternoon, pain in my back you know."

Daniel's eyes widened, a mix of surprise and realization dawning on him. "How do you know who's making me those lunchboxes?"

Lando leaned in, a knowing smile on his face. "She has the exact same lunchbox, mate. But don't worry, your and your "wifey" secret is safe with me. I'm aware of how tough the team can be on you."

Arriving home late, you were taken aback to find Daniel in your apartment, busy preparing dinner. "Daniel, what are you doing?" you asked, a mix of surprise and gratitude.

He gently helped you off with your shoes and coat, replying with a smile, "You've been doing so much for me, so I wanted to return the favor. Not promising a meal as good as yours, though." He chuckled and guided you to the dining table, ensuring you were comfortably seated.

"Daniel, it's actually my job to take care of you," you reminded him.

He sighed, placing your plates on the table, and took a seat in front of you. "And as your friend, it's my job too. Let's forget work, mmh?"

You smiled at him, grateful for the unexpected gesture. "Thank you, Daniel. This means a lot."

Mid-dinner, Daniel suddenly got up, exclaiming, "I almost forgot." He returned to the table with two glasses and a bottle of wine.

"Daniel, we work tomorrow," you reminded him.

He playfully interrupted, "Ah ah ah, what did I say? We forget work tonight, okay?"

You sighed, smiling, "Anything you want, Daniel."

With that, you clicked your glasses. The shared laughter and genuine connection over dinner marked a brief escape from the intense world you navigated together.

Relaxing on the couch after dinner, you and Daniel found yourselves immersed in easy conversation about anything and everything. As the night unfolded, Daniel slyly mentioned, "You know, I may have indirectly told the guys it was my 'wife' who prepared my lunchbox."

You raised an eyebrow with a playful grin. "Oh, is that so, Daniel? Well, get ready. I'll start leaving lovey notes on those lunchboxes of yours. Always dreamt of being a good wife to my husband."

They both burst into laughter, the shared humor lightening the atmosphere. In that moment, amidst the jokes and banter, you and Daniel found solace in each other's company.

Days later, on a day when you couldn't eat with Daniel, you slipped a small note into his lunchbox. It read: "Fuel for the race, but don't forget to savor the moments off the track too. You've got this! - Your wifey."

When Daniel opened his lunchbox and discovered the note, a wide grin spread across his face. During the team's lunch break, Lando noticed Daniel's amused expression and couldn't resist asking, "What's got you all smiles, mate?"

Daniel, holding up the note, chuckled, "Looks like I've got a secret admirer, leaving lovey notes in my lunchbox."

Lando leaned in, feigning surprise. "Oh, a secret admirer, huh? Got any idea who it might be?"

Daniel playfully rolled his eyes, "Come on, Lando, you know exactly who it is. She's making sure I eat well and stay in high spirits."

Lando, joining in the light-hearted banter, teased, "Well, aren't you lucky to have your 'wife' looking out for you? I hope she leaves some notes for me too."

Daniel, with a smirk, responded to Lando's teasing, "Keep dreaming, mate. It's my 'wife' making them laugh." The banter continued, and laughter echoed through the lunch area.

However, as Daniel glanced at your note and the warmth it brought, a subtle longing lingered. A part of him wished the playful joke about a secret admirer and a lunch-making 'wife' could transcend the realm of humor. Little did he realize that within the confines of the jokes, a deeper connection was slowly taking root, sparking emotions that stretched beyond the boundaries of mere camaraderie.

The 'wifey' joke continued to weave itself into the fabric of Daniel and your dynamic. Whenever Daniel passed by your office, he'd playfully inquire, "How's wifey doing?" Lando, ever the instigator, joined in, making insinuations that left the two of them chuckling.

Before crucial races, their banter took a unique turn. Daniel, often discussing strategy with Lando, would hear remarks like, "If I win, your wife better make me that famous lunchbox for me too." The playful commentary even spilled into interviews, with Lando winking at Daniel when asked about their favorite meals.

In one interview, when the interviewer queried about the drivers' preferred dishes, Lando slyly responded, "Well, it depends on who's making it, right, mate?" He wiggled his brows at Daniel, leaving the audience in stitches.

During a casual night in with your friends at your place, you packed two lunchboxes of the same meal you had prepared. Observing your actions, one friend raised an eyebrow, teasing, "Two? Planning to feed a small army or something?"

You chuckled shyly, "It's just for one of my patients."

Another friend, noticing the little notes signed 'wifey,' couldn't resist poking fun. "And those little notes signed 'wifey' are also for your patient?"

Laughing, you playfully scolded, "Hey! Put that down!" The room erupted in laughter, the friends enjoying the playful banter. Your lunchbox antics had become a source of amusement not just within the Mclaren garage but also among your close circle of friends.

——————————————————————————

Searching for Daniel in the garage, you found him with Lando. "Wifey," they both cooed simultaneously, earning a punch in the shoulder from Daniel to Lando. "Not you," Daniel clarified, prompting laughter.

"Be gentle, Daniel," you teased, handing him his lunchbox with a little note as usual. "Need to be taking care of an engineer during lunch, sorry." You side-hugged Daniel before turning to Lando, "Pole position, right, little Norris?"

"Yes, ma'am," Lando replied with a smirk.

You chuckled and handed him a lunchbox, saying, "Well earned. Keep going like that, Lando. I'm proud of you." Lando happily hugged you, expressing his gratitude. He then turned to Daniel with a mischievous grin, "Guess I also got a wife now, loser."

"Hell no, you don't, little mosquito," you laughed, playfully shutting down Lando's claim. With a quick exchange, you got back to work, leaving the two drivers with smiles on their faces.

——————————————————————————

The usual lunch hour arrived, but Daniel didn't show up at your office. Growing worried, you decided to search for him in the garage. Passing by Zack's office, you overheard Zack's cold reprimand, focusing on Daniel's weight.

Unable to bear it, you entered the office with determination. "It's my fault," Daniel began, looking at you with concern. "No, no, it's not her fault," he continued, addressing Zack, "You're right, Zack. I haven't been careful recently, and I'll change that."

You, however, halted Daniel with a stern gaze. "No, you won't."

Turning to Zack, you asserted, "Zack, as Daniel's physiologist, I took the liberty to ensure he's properly nourished because apparently he hasn't been before my arrival here. His well-being is my responsibility, and I won't let him compromise that for any unrealistic standards."

Zack's anger flared as he confronted you, "You knew about his strict regime, and you went against my orders!"

"Yeah, I did! I did, and if I had to, I'll do it again," you asserted, standing your ground.

Zack, visibly angered, sat up. "You know what you'll do? Pack your things, you're fired."

Daniel, attempting to mediate, approached Zack, "Zack, it's not her fault. She didn't mean to—"

Stopping Daniel with a raised hand, you interjected, "Stop, Daniel. I don't want to work for someone like him anymore anyway."

With those words, you turned away and headed to your office to pack your things. The air in the room hung heavy with tension, marking the end of your tenure at McLaren.

While you were packing, your focus interrupted by the sound of the door, you instinctively responded, "My office is closed, sorry."

"It's me," Daniel's voice cut through, and you turned around to see him standing there.

"Oh," you uttered, and without a word, Daniel opened his arms. You hurriedly approached, burying your head in his chest. "I'm so sorry wifey," he whispered.

"It's not your fault, Daniel," you mumbled into his embrace, finding solace in the midst of the tumultuous situation.

“What am I supposed to do without you at the garage now?" Daniel thought out loud, his worry palpable.

You chuckled sadly, "You could always still come to mine for lunch."

He couldn't believe it. Pushing you away a bit, Daniel questioned, "You just lost your job because of me, but you continue. Who are you?"

"Honestly? Just a girl who grew too close to her patient," you admitted.

Raising an eyebrow in confusion, Daniel looked at you with wide eyes as if connecting the dots. "You're too important for me to let people treat you like shit, especially when it's putting your health in danger," you explained.

His eyes widened, and it seemed like realization struck him. "Do you mean that—"

"Yeah, I love you, Daniel," you confessed.

For a moment, silence hung in the air, and doubt crept into your mind. Yet, before you could dwell on it, Daniel stopped your doubts. "Then it's good you got fired, else I couldn't have been able to do this."

He grabbed your face and kissed you. "Would your dreams be fulfilled with me as your husband?"

[ot3]

What Is ORV?

The number one question I get asked on this blog, now answered better than ever. Today I am going to formally introduce you to Omniscient Reader's Viewpoint

To start off this recommendation: ORV might very well be my favorite thing I've read. Ever. If I could only reread one thing for the rest of my life it'd be this webnovel.

My elevator pitch is this: something with the cosmic-scale goofy video game nonsense and intricate setting comparable to Homestuck in its prime, paired with the deft emotional poignancy and emotionally-driven fights of Mob Psycho 100, topped off with the sort of compassionate and heartwrenching metanarrative of Undertale.

ORV is a love letter to it's own readers. ORV revels in the joy of losing yourself in fiction, even when it's the kind of fiction that tends to be considered lowbrow or worthless. It's something that dances the delicate line between recognizing the difficult nature of using media as escapism without condemning it. I've rarely seen anything else that accomplishes everything it sets out to do in its narrative with such remarkable precision. Frankly if you're reading a tumblr media recommendation post in 2023, I can almost guarantee ORV has the kind of meat you're looking for in a narrative, whatever that may be.

The story follow the antics of protagonist Kim Dokja, a 28 year old office worker on an expiring contract, whose only real joy in life is reading his favorite massively long and massively boring webnovel. One day, the novel’s events - worldwide deathmatches aired for the entertainment of mysterious higher beings called ‘constellations’ - begin playing out in reality in a sort of reverse-isekai. Kim Dokja, the only longterm reader of this webnovel, finds himself uniquely poised to succeed based on the advantages given to him by his knowledge of future events, but the webnovel’s actual protagonist, Yoo Jonghyuk, is a violent monster who will stop at absolutely nothing to complete his goals, no matter the cost to anyone else. Kim Dokja finds himself in a delicate dance of guiding the events of the story to play out more favorably than the version he read while trying to avoid being massacred in the fallout, all while trying to see it through to the story’s end. 

Below the cut I'll go into a more in-depth (but non-spoilery) explanation of what exactly makes ORV so unique and worthwhile, and what you're in for if you choose to read it.

Clocking in at 550 chapters, and over 1.3 million words in English, ORV may seem incredibly daunting to dip your toes into, but I assure you it's worth every moment. I would read 1.3 million more words if they had them for me. Here are some things about ORV I consider to be selling points, not necessarily in any particular order:

The tone. Its funny, for starters. It is extremely funny, which is very high up on my media priority list. In ORV, there will be incredibly grim things that make you laugh, and incredibly cringe and silly anime bullshit that will hurt you as heavily as any other media you’ve seen. I always love this kind of tonal whiplash when it's well executed, and ORV probably executes it better than anything else I've seen to date.

It’s got fun and fascinating worldbuilding mechanics. the core concept being ‘reality now operates on the rules of a shitty novel’ means that the worldbuilding doesn’t have to function logically, it functions thematically. It’s explicitly stated in ORV canon that some of the internal rules governing this new reality are objectively really stupid and illogical, but they just have to roll with it because that’s what was in the book, and i think it’s a really enjoyable way to do it. This may at first sound like a copout to excuse bad worldbuilding, but I promise it isn’t. The worldbuilding is actually incredibly deeply thought out, but it doesn’t exist for the sake of rational function, it exists for the sake of furthering orv’s thematic arcs. The rules by which this universe operate do a magnificent job of strengthening the core concepts the authors are exploring.

It plays with the trappings of isekai/litrpg in a really thoughtful way. These are genres I'm not super familiar with, so I can't comment on this point too heavily, but with my limited knowledge ORV feels a lot less of a deconstruction of it's genre and more of a celebration/interrogation of it. Despite that, it's still accessible to readers such as myself who are not super familiar with these genre conventions.

It deals with morality in a really wonderful and nuanced way. there are almost no characters in ORV’s extremely large cast who are just explicitly morally condemnable, and almost every conflict allows you to understand exactly why the antagonists believe they’re in the right by opposing the actions of our protagonists. The central conflicts are never pure right and pure wrong; they’re always about contrasting goals, conflicting worldviews, and different priorities between ends and means. this makes the conflicts all feel so much more dynamic and engaging than those where the only stakes are physical harm.

The characters interpersonal relationships are some of the most interesting I've ever seen. ORV is very slow burn and it takes a long time for a lot of these to come out of the woodwork, by design, but by god once they do they fucking hit. Similar to the plot conflicts, the interpersonal conflicts also almost never occur where there’s one side clearly in the wrong. The characters are almost all genuinely attempting to do their best by each other, and the tension comes from the ways in which human communication is fundamentally imperfect and part of our feelings and intentions get lost in translation. it’s very heartwrenching and heartwarming to see unfold, in equal measure.

Following from that, it’s a narrative that really meaningfully prioritizes non-romantic relationships over romantic ones as the central focus. Orv is about love, but not about romance. Obviously there’s shipbait and the ot3 is real and good and my friend but if you’re looking for deep complex platonic, (found or otherwise) familial, and antagonistic relationships that never get ruined with forced romantic arcs, we got em baby!

The pacing is unlike anything i’ve ever seen before. from a purely technical standpoint, it is genuinely a fascinating case study in how to execute a narrative that is almost constantly escalating without exception. there is very little downtime or breathing room in orv, which is insane for something that clocks in at over a million words, and somehow, it still works. i’ve never felt more like a frog in a pot of slowly boiling water than i did when i was reading orv and i can’t believe they pulled it off. it’s so interesting to read something like that.

It is a tragedy without resorting to cynicism and a very adult narrative that’s really steeped in childlike wonder. I’m a big fan of cartoons made for children. Cartoons made for children are some of my favorite things to watch, but of course children’s media will always be simplified and not very relatable to an adult audience. ORV is very much a serious and heavy adult narrative, and a deeply tragic one at that, but it never delves into torture porn. It’s a very compassionate piece of media overall, that holds a lot of reverence and sympathy for the ‘naive’ optimism of children that gets stripped down over time. if you, like me, feel more like a grown up child than an adult some days, I think it’ll hit for you.

It is extremely cathartic and meaningful. I am not exaggerating at all when I say that reading it gave me the closest thing I have ever felt to any sort of spiritual breakthrough. It helped unfuck my head a ton during some very grim times and i think the perspective it offers on the value of human life and our relationship to storytelling is a really really good one.

And if my word isn't enough, here's some reviews from satisfied customers. With that, I'll leave the rest to you, and hope you one day reach the end of the story.

[anim-ttrpgs]

Disabilities and Monsters in Eureka: Investigative Urban Fantasy

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

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

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

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

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

Disabilities are Disabling

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

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

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

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

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

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

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

Monsters Essay

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Beta Copies through the Patreon

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

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

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

Other Stuff

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

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