#but it would fit the supernatural/horror lite probably?

[inflagrante-delicatessen]

For shonen, I would recommend Fullmetal Alchemist (original 2003 series+movie before the 2009/brotherhood series. Yes people will say that the 2009 series is better but that's only because it was done after the series was completed—2003 and the manga were in production at the same time, so the mangaka advised the producers. Also there's a lot more early establishing character development moments and story beats that 09/brotherhood rushes over to spend more time on later stuff. If you watched the original shaman king vs the remake, think of the fire scene from early in the series).

Oh and for supernatural stuff, YuYu Hakusho is more monster of the week serial before the major story hits hard. YYH leans more into the shonen side

Death Note is more supernatural horror and intrigue. The music is also a banger.

These are also older series but I would also recommend Loki: Ragnarok (especially if you liked Noragami) and DNAngel.

This is a bit out of the genres, but s-CRY-ed is a favorite and I'll always sing its praises

Shoujou and slice of life: Pretear, Princess Tutu, Himawari Sketch, and Silver Spoon. The first two are shoujou fantasy, Himawari Sketch is just straight slice of life. Silver Spoon is too, but it's more seinen, but it's by the same mangaka as Fullmetal Alchemist.

Summaries below

Fullmetal Alchemist: two brothers, Edward and Alphonse Elric, have committed an ultimate alchemical taboo and now seek a way to restore their bodies. Along the way, they encounter a variety of alchemy users—and victims—that complicate their views on alchemy and endanger themselves and their loved ones.

YuYu Hakusho: a troublesome 14-year-old boy dies saving a younger kid , and as far as he's concerned, it may have been the only good thing he's done while he was alive. A shinigami tries to take him to the afterworld, but he manages to strike a bargain: he can come back to life if his soul is worthy. Supernatural events ensue afterwards. (It's been ages since I watched this so apologies.)

Death Note: a student finds a notebook that allows the holder to kill anyone in almost any way they can imagine. Naturally, people don't like this and an internationally famous and anonymous detective is brought in to stop him. (The music is a banger.)

Loki: Ragnarok: A high school girl is a supernatural phenomenon geek and investigates them in her local town. Somehow, she doesn't realize that her new friends and employer are the Norse deities Loki and Jormungandr, cast out and trapped on Earth.

DNAngel: Daisuke's family is cursed: every generation, the phantom thief Dark possesses a boy after a certain birthday. Unfortunately it's Daisuke's turn and Dark doesn't make it easy for him, immediately starting to steal valuable pieces of art from another family...

s-CRY-ed: Certain people have alters: psychically linked, powerful personas that do their bidding or enhance their abilities. Some are outlaws; some are officers tasked with bringing in the outlaws. The outlaws live in a wasteland, trying to survive; the officers live as agents in the city, enjoying the luxuries. An outlaw and an officer meet, and somehow their destinies are linked.

Pretear: Seven knights appear in front of a high school girl, claiming that she's the chosen one in this world that will prevent a great evil from destroying both her world and theirs. By transforming and binding with a knight, she's able to use elemental powers to defeat monsters that keep appearing, threatening her town and loved ones. She discovers that there's more to the knights, including a dark history... (The funny thing is that this manga has a subtitle that's like. "A fantasy retelling of Snow White and the Seven Dwarves" and like. Sure?? I can see where you're coming from but??)

Princess Tutu: Duck is a very clumsy girl normally, but extremely graceful when she's dancing—usually, which often gets her into trouble at her ballet school, meaning she often embarrasses herself in front of her crush, the aloof Mytho. When strange creatures start attacking Mytho, Duck becomes Princess Tutu to banish them, completely unknown to him. However, she has a role to play...

Himawari Sketch: Art high school students live in Himawari Apartments and bond in and out of class. (This one I haven't finished yet 😭)

Silver Spoon: A city-slicker college kid doesn't know what he wants to do with his life, so he applies to an agricultural college on a whim. While there, he learns that there's more to agriculture, farmers, and rural life than he thought, and he gains an appreciation for things—and people—he took for granted. (Hiromu Arakawa, the mangaka for this and FMA, grew up on a farm in Hokkaido, so she takes it as a point of pride. That is also why there's a lot of milk in FMA.)

Hey weebs that follow me, I've been out of anime and manga circles for some time and outside of a few titles I'm starting to run low on things to try. If I give examples of what I've liked in the past, can you give suggestions on other things that are out there?

What I've liked over the years seems to be:

Samurai genre (Kenshin, Kurogane, Sword of the Stranger)

Supernatural/Horror-lite (Descendants of Darkness, Noragami, Beyond the Boundary, Inuyasha, Yu Yu Hakusho, xxxHolic, Jujutsu Kaisen, Shaman King, Shounen Omnyouji) (preferred genre I love this shit)

Fun Shounen Things (My Hero Academy, Pokémon, Haruko no Go)

Cute Shoujo slice of life things (His and Her Circumstances, Free!, Super Gals!, Land of the Blindfolded)

[opbackgrounds]

so I was doing some research after watching movie 6...

...and apparently it was originally written as a comedy

Yeah, I was surprised, too

Baron Omatsuri is not my favorite One Piece movie—Film Z has too many of my favorite tropes to be usurped from that position—but I do think it is the most daring. Of all the supplemental material I’ve seen and read, it feels the least...One Piece-ish. 

Yes, that includes the noodle commercials. 

If you haven’t seen the movie and can stomach a little spookiness, do yourself a favor and give it a watch. Unlike movies like Strong World or Z that have the look and feel of a manga arc, Movie 6 transplants the Straw Hat Pirates into a world that doesn’t feel like a One Piece story, taking risks and exploring themes that would never fit in the manga proper. 

In addition to the obvious changes in art and animation style, there are supernatural elements that don’t make sense within the One Piece world. None of the Straw Hats win a fight—Luffy included, although he is heavily implied to have killed the big bad at the end. The moral of the movie, if it can be said to have a moral, is if you lose the people closest to you, the answer is to forget about them and make new friends. The story ends with many questions left unanswered and the main drama between the crew unresolved.

And, if you allow me to get philosophical for a moment, I wish there were more movies like it. As I wrote in my review of Novel A, I don’t go to supplemental material or side stories looking for a repeat of what’s in the manga. Oda has written 1000 chapters of One Piece—why not spice things up a little and try something different for a change?

I know the answer isn’t that simple, and by their very nature not all risks will pan out. There will be people who don’t like this movie because it’s different, both in look and tone. But there’s something to be said about a creator putting their heart and soul into a work and having it show in the final product. 

Which brings us back to the original premise. How does a movie go from a light-hearted comedy based on a variety show theme to...this

Baron Omatsuri was directed by Mamoru Hosoda and came out in 2005. To put that into perspective, the movie was in production when the Luffy vs Usopp fight was first seen in the manga. Manga!Luffy had not yet faced the challenge of an inter-crew disputes when the story was being written and boarded, nor did the creative team have the events of Sabaody and Marineford to see how Luffy would react to the loss of his loved ones. They were working without a full understanding of Luffy’s character, and to a lessor extent the character of the Straw Hat Pirates, and it seems like Oda was much less involved In production than has been in movies since Strong World and beyond. 

Likewise, Hosoda had just left a tumultuous situation at Studio Ghibli while working on Howl’s Moving Castle, and if this interview is anything to go by (https://instrangeaeonsblog.wordpress.com/2016/04/24/mamoru-hosoda-on-omatsuri-danshaku-animestyle-interview-part-1/) was going through a lot of personal shit when he was brought on as director. The script he was given was originally written like a variety show—something that was carried over into the various trials seen in the final movie—and meant to be a lighthearted affair after the relatively serious Movie 5 (which I have not seen am thus unable to compare tone). 

With that backstory in mind, it’s easy to see how the bickering and backbiting between the Straw Hats early in the movie is a metaphor for Hosoda’s time at Ghibli, which is something he admits to in the interview. Movie 6 feels different than any other One Piece movie because it’s the project of a man who has had to endure the loss of those who he was close with, at least in a professional capacity. 

There are moments in Movie 6 where Luffy doesn’t feel like Luffy. More than once a member of the Straw Hats ask him to intervene during arguments, moments Luffy either ignores or doesn’t notice. It’s a version of Water 7 where instead of fighting Usopp, Luffy ignores the underlying differences within his crew, and as a result loses everybody. 

The structure of the three trials follows a clear path of deterioration within the crew, the initial goldfish scooping game showing the Straw Hats at their best and inciting the jealousy of the Baron, the ring toss sowing discord among the crew even as they snatch a narrow victory, only for them to be utterly crushed in the third and final challenge as they’re unable help one another survive. 

It is somewhat implied that the Breaking of the Fellowship(TM) is magical in nature—that like the One Ring, the Lily Carnation was able to influence the Straw Hat’s thoughts and actions, but this is never stated outright and I prefer the more mundane interpretation: That without strong leadership the Straw Hats fell victim to the manipulative machinations of the Baron, and simply self-destructed as a result.  In the end, it’s up to the interpretation of the viewer. 

And speaking of things up to interpretation, I love how the Lily Carnation isn’t explained in the slightest. The plant that initially absorbs the Straw Hats looks more like the stem of a devil fruit than a flower, it for some reason rings like a gong when hit, and somehow is able to turn pieces of itself into facsimile of the Baron’s old crew who can somehow move around despite being plans. It’s weird, it’s wonderful, and the element of the unknown works so well in the horror-lite setting. 

My personal theory is the island somehow managed to eat a devil fruit which manifests itself as the Lily Carnation (which due to the L/R conflation in Japanese, is pronounced ‘reincarnation’, which I think is a nice touch of foreshadowing that may or may not have been intentional).

(Also, I can’t decide if little chewing animation it makes when it’s eating people or the weird bullseyes it makes when shit gets real are the most terrifying thing in the movie.)

Hmmm, tasty.

Anyway, this is getting long, so here are some final thoughts:

1) This movie has some low key fantastic outfits. The Straw Hats all look very cool without being over designed like a lot of recent movies. Big hat Robin is of course a fave, and makes me really want to see her in a Carmen Sandiego getup.

2) Screenshots do not do the animation of the movie justice. It’s very fluid and has a lot of excellent expressions/poses, although I admit the 3D is jarring at times. Do not let the art put you off if you haven’t seen it 

3) Also, I don’t think there’s any shading? Like at all? The movie does a lot of cool stuff with color instead. For example, the scene where Luffy initially loses to the Baron his skin goes all grey, and I thought it was because he was fighting at night, but it stays grey even in the better lighting of the underground tunnels and stays that way until he finds out the Straw Hats are still alive, where it returns to his normal color

4) There’s an extended Benny Hill-type gag when Luffy first chases after the little mustache pirate that’s perfectly timed to the music, and ends when Luffy just uses his power to grab him. The comedic timing is amazing and it’s probably my favorite funny moment in the movie, of which there are several despite the overall darker tone

5) The extended jungle shot from Nami’s POV? Very cool

6) I love how from the earliest scenes nothing is as it seems. The opening text is Robin reading the map, but the storm that’s seen on screen is the one that sank the Baron’s crew. Likewise the whole fancy city is shown to be fake panels early on, the goldfish catching game is a trap, etc., etc. It does a good job clueing the viewer in early that’s something’s very wrong on the island, even if they don’t realize it at first

7) I don’t think this type of movie would work in modern One Piece without somehow nerfing Luffy. Horror works best when the protagonist is weak and vulnerable, and that fits best with a pre-Gear 2/3 Luffy (same with the rest of the crew, tbh. I was waiting for Nami to use her lightning stick during the games, forgetting it hadn’t been boosted yet). 

8) I like how there are four captains on the island representing different levels of loss—the Baron has lost his crew and wants to destroy all others because of it, mustache pirate lost his crew and is willing to put it behind him to make new friends, Luffy has freshly lost his crew and hasn’t decided what path he will go, and coward dad hasn’t lost his crew yet but is at risk if he doesn’t change his cowardly ways

9) I think the reason why Chopper was the first Straw Hat to disappear is he’s the most likely to play the part of peacemaker. He’s also the only crew member needing rescuing at the end of the goldfish scoop game, when Luffy foolishly puts his life at risk trying to save him from drowning, just like he recklessly charges the Baron at the end of the movie. Except that time there was no Sanji to save him, leaving Luffy to get his ass thoroughly kicked

10) This is a very good Halloween movie, and I’m glad I watched it in October

[titleknown]

Advice on Making Good Creepypasta OCs

So, as it’s about to be the start of the Spookiest Time Of The Year, by which I mean the Halloween season, by which I mean the beginning of August…

Boy does Halloween season start earlier and earlier every year, and yet nobody ever complains about it like they do Christmas. I suppose that a holiday about self-expression and weirdness is probably more welcome exposure-wise than a holiday about conformity and tradition, but that’s for another post.

Anyhoo, since it’s Almost Time, I figured I might as well do an advice guide on how to make some good Creepypasta OCs. Because, when created from scratch as characters rather than emerging from a “main” creepypasta, most of them tend to be Usual Deviantart Characters + Warmed Over Slasher Movie Cliches. And while that has its charm, I think we can do better.

So, what is my advice? Follow me after the break!

One of the main problems I see is, again, there’sso much aesthetic interbreeding, hence why you see so many Deviantart-lite pasta OCs, because so many of them come from Deviantart and copy the “pattern” they see from other Pasta OCs.

Well, first off, draw directly from the source for Creepypasta inspiration. Because, despite is use widening, the term Creepypasta does bring up what I would call a “house feel,” but a lot of people don’t know where that comes from so they end up not quite understanding the core of why it feels unique.

The long and short of it is, Creepypasta draws from forteana + weird fiction. So, for the former, look at the various testimonies of IRL-type supernatural or generally strange stuff, cryptids like Mothman or the Hopkinsville Goblins; bizarre natural phenomenae like strange rains or bizarre locations; or IRL terrifying cults like the Solar Temple or the Ripping Crew, and so-on.

For the latter, Lovecraft’s always a good place to start; because despite his notoriously bad (Like, even for its day) racism, the man was always good at setting a scene and creating an atmosphere and very specific feel. And check out his contemporaries too, like William Hope Hodgson; Robert Chambers or the excellent story The Night Wire, or modern weird fiction like the manga Fourteen or the works of Junji Ito. Or check out some of the more odd horror films that fit under the lable of “weird fiction,” which I will likely eventually make their own post on, but I’ll give Phantasm; Videodrome, Tourist Trap and Suspiria as a few very good examples.

But, a lot of people draw only from fiction, so my next piece of advice would be draw from yourself. Every creator brings their particular fears and aesthetic interests to the table, it’s what makes them unique, so one might ask, “What are yours?”

To talk of other Creepypasta characters, Harmburger comes from Jonathan Wojcic’s fascination with juxtposing cartoonish whimsy with absolute nightmare with hints of social satire, and Candle Cove comes from Kris Straub’s fascination with the slippery nature of memory. Find what sorts of looks you like, but also what subject terrifies and fascinates you. Even if that results in; like; a Homestuck Troll who jumps out of toilets to grab you or a buff guy with a Jojo stand that uses illegal wrestling moves, it’s still more interesting than the usual warmed-over kinda thing.

Of course, that’s only half the battle, inspiration. The rest is thinking of the character as an isolated character, able to exist independently of a work (Which a lot of Creepypasta antagonists aren’t).

So, the advice becomes think about what makes your character different from others, rather than similar. And I’m not just talking about “Mine has a bow on it!” Look at Slender Man, Harmburger, RED, the Rake, ect. They’re all wildly different, even in terms of shillouette, so go for distinct first.

If you want a quick starting point for uniqueness, try going non-humanoid with your concept; because I’m shocked at how few non-humanoids there are as Creepypasta Ocs even though they make up a good proportion of the Iconic Creepypasta Foes. Or go even weirder and make them an abstract force; like Uzumaki’s Spirals or the eponymous “show” of Candle Cove. Tho this stretches the definition of “OC,” you’d be surprised...

And, that’s another thing, add personality; not lore. Because, a horror creature gets less scary the more is revealed about it, but that doesn’t mean that; despite what Highbrow Horror People like @afloweroutofstone say; good horror can’t come from them as characters. In fact, I’d argue that great antagonists/monsters are one of the things that makes horror great; and an area incredibly neglected by that branch of Serious Analysts who don’t love monsters, but that’s for another post.

You can give an idea of how they’d act; what they’d do in a certain situation; what their motives and possible origins are; but never fully tip your hand. Always leave a “space” in the ideas behind them to perhaps fill out later; but usually to keep a perpetual mystery. Always keep ‘em guessing, but also be sure that what they do see and what is revealed is interesting and fascinating in the way the best characters are.

And, that leads to my last idea, know what stories can be told with them. Because, as much as I love characters-as-worldbuilding-elements, when it comes to rubber hitting the road; the best way to make a character compelling is to tell the dang story with them, and given they’re meant to presumably exist in multiple stories the way the most recurring Creepypasta characters are; or heck even the most recurring characters in general like Conan or Sherelock Holmes; you need to figure out what sorts of stories they appear in and what they do in those stories.

Relevant to the point before this; there always should be enough mysterious threads that you don’t quite reveal the ends to; but in every story you use them in; the reader should have enough information to understand what’s going on in the A Plot, even if the larger world has aspects left a mystery. That’s the difference between Alien and Prometheus, and that’s one of the big differences between a good Creepypasta and a bad one...

I’ll probably be adding to this article in the future, given I’m kinda writing this in a rush via reasons of irresponsibility, so feel free to let me know what I could add or how I could do better.

And, if you want to support me, feel free to join my Patreon, where you get previews and, at the higher tiers, even polls on what you want me to do next and art commissions. I

n fact, that’s how I chose this article idea. Huzzah!

[theresattrpgforthat]

THEME: Lesbian/Sapphic TTRPGS

I can't not contribute to this! Let me throw a bunch in the ring! I don't know if all of these are specifically toxic yuri or violent, but they are undeniably queer!

we burn together, by Shouting Crow.

WE BURN TOGETHER is a rules-lite tabletop roleplaying game that has swords, skeletons, and drama. What else do you want, really?

It is inspired by the Locked Tomb series written by the incredibly talented Tamsyn Muir. You don't need to know anything about the books to play, though. All you need to know is that it has necromancers and people swinging blades around and if a caster and a duelist work together, they might become something more (but they'll probably lose something profound in the process).

You'll need a twenty sided die and at least two people to enjoy this compact little game. The current version is text-dense because it was designed to fit on 20 A6 size pages. It's black and white and dead all over. 

I’m submitting this one as a Lesbian game even though it’s not necessarily specific about the gender of the characters, because so much of its source material is considered fairly iconic and queer. It’s about relationships that create something new while taking something away from both parties to it. If you want unhealthy attachments and metaphors all about forbidden relationships, you want this game. In the words of the creator: “Print it, play it, tell your friends about your big feelings and die terribly. They can wear your finger-bones on a little silver chain around their neck and think fondly of you or something.”

Toxic Sword Lesbians, by Carly Smallbird.

Toxic Sword Lesbians fight their shared enemies when they’re not fighting each other. They know they shouldn’t say something hurtful or give in to escape over responsibility, but they do. They lash out over disagreements on ideals and on expectations. They give in to their worst self-destructive impulses. And then they pick themselves up off the ground and go help their loved ones, because that’s the right thing to do.

Toxic Sword Lesbians is a game for telling stories about the most awful women you can make up to love, which is to say: it's a hack for telling spicier, more emotionally fraught stories in Thirsty Sword Lesbians. In it, you'll find tools for Making Her (Your Character) Worse!

Yeah, I know you said that you wanted to see what was out there other than Thirsty Sword Lesbians - well Toxic Sword Lesbians is a hack of TSL! It includes updated sex and intimacy moves, more evil Truths of Heart and Blade, and custom mechanics for body horror, monstrous hunger, and more. If you want to make your lesbians obsessed, over-thinking danger-addicts who jump to the worst conclusions and dig into their self-destructive habits all of the time, you want Toxic Sword Lesbians.

No Love’s Land, by Adira Slattery.

DESIGNED FOR WAR YOU ARE ON OPPOSITE SIDES YOU HAVE FALLEN IN LOVE You are a killer robot stationed on the moon of Ahava, covered in a dense radiation field. The only way you have to get a message to your secret girlfriend and fellow killer robot is to send them a message inscribed on a missile. Time to fire… LOVE CONQUERS ALL AND YOU WERE MADE TO CONQUER

No Love’s Land feels somewhat like a larp; you have to physically create a space that feels like a bunker, and then toss notes to each-other rather than speaking out loud. You can send messages, but as soon as the two of you embrace, the game ends.

I love how much this game just dives headfirst into tragedy. With each not, the two of you can get closer and closer together, symbolizing the way you are able to bypass subroutines and infiltrate your mech’s code. I think it would make such a fun date night with a loved one, a chance to create a big personal mess that culminates in a cathartic emotional moment.

Supernatural Sapphics, by Transcendent Tapir.

Supernatural Sapphics is a role playing game for 2 or more players, one player taking the role of the Top, who runs the game and plays the Dolls (important NPCS), Extras (unimportant NPCS), and Obstacles (nonsentient beings, environmental hazards, or any other non-person barrier preventing progress). The rest of the players take the role of Bottoms, which are characters in the game. This Distortion Dice game is about the messy queer relationships between beings of the veil (vampires, fae, ghosts, cryptids, etc) and the humans fascinated by them. To play this game you will need several sets of polyhedral dice and optionally tokens to represent Drive.

The designer is fairly up-front about the messy relationships that can show up in this game, including PvP rules for handling inter party conflict.Your characters are collections of vibes, skills, pet peeves and insecurities, constantly reevaluating their relationships every time they get overwhelmed. From what I can tell, the theme of being supernatural cryptids is more of a flavour than being something intrinsically baked-in, so you could likely replace that aspect with a different setting or flavour and still explore those messy relationships.

Tension, by Adira Slattery

Tension is a Tarot based roleplaying game for telling stories like Killing Eve and Hannibal, letting you explore queer experiences in the cat and mouse genre.

Play as an investigator and a killer as they get entangled in each other. You will pursue after another back and forth while everyone in your orbit drops like flies. But it’ll all be worth it, because you’ll be in love. Or dead. Or both maybe? How exciting!

Another game by Adira Slattery, I don’t know if Tension is explicitly lesbian, but it’s definitely queer. Rather than play a single character, you and up to two friends created a cast of characters, using the Major Arcana of a tarot deck. The bulk of the story, however, follows a killer and an investigator, both who know who the other is, but still experience an inexplicable attraction. The other characters are pawns, victims, and various other minor characters that help raise the stakes.The story is meant to weave a complicated web that likely implicates both of them - great for a high-stakes, intense game.

And They Were Dortermates, by unseeliejess.

From matins to compline, every day has been the same. Free from worldly concerns, your days have been spent in song and prayer, in needlework and gardening, in feeding the hungry and teaching the young. You have heard rumors of revolution from pius petitioners expressing fear for you and all the faithful. There are only a few months until your way of life is completely overturned. You may not survive the upcoming terror. You will never lose your faith, but you may lose…her.  

And They Were Dortermates is a GM-less game for one or more players. Players are cloistered nuns in a medieval convent in a time shortly before a dissolution or suppression of monasteries and convents. They are also secretly in love with the other character(s). 

A classic story of love that cannot be, And They Were Dortermates uses a block tower and a deck of playing cards. Similar to Dread & Star-Crossed, the block tower is used to represent a big event that will change your life permanently - and if it falls too early, you may not be able to confess your love. Each turn, you draw a card from the deck, follow the prompt, and pull a block from the table. A classic will-they-won’t they with a Catholic flavour!

Underlie Jess has a number of lesbian-themed games for you to check out out, including Just Gals Being Comrades, as well as the core We Love In Whispers System, a GM-less, diceless game of romance and politics.

Sapphic Slumber Party, by deecity.

Be brave. Be beautiful. Fall in love, just for a moment. And really just nail a beautiful girl with a pillow. 

Sapphic Slumber Party is a short zine game for 2-5 about a pillow fight at a slumber party, and all the joyful, melancholy, amorous, and vulnerable feelings that come out when you're playing in your PJs. Brief and lyrical, Sapphic Slumber Party is GMless and plays in 30-45 minutes. Rather than a sweeping epic or a high-stakes romance, Sapphic Slumber Party focuses on a single, rather mundane night. Over the course of a single pillow fight, your characters will attack each-other with pillows and attempt to pile Vulnerability upon each-other. It’s a subtle game of pushing your crushes closer and closer to something a bit more intimate, a bit more risky than a pillow fight, a chance to get closer and closer - until a button pops, a bra strap slips, or some other symbolic representation of getting more and more vulnerable with each-other.

What you do at the end of the pillow fight depends on how much Vulnerability you get, and who got vulnerable first.

Deecity also has a Locked Tomb hack for Ten Candles, this time called Tomb Candles!

I (and others) have also recommended…

Dungeon Bitches, by Dungeon Bitches.

The Girlfriend of my Girlfriend is My Friend, by stargazersasha.

Deadly Weapons, by Adira Slattery (honestly, a champion for lesbians).

The Rain Still Falls In My Heart, by Roz.

Breakup on Re-Entry, by Riverhouse Games.

Doll.Bod, by @ribstongrowback

Lesbians Built This Farm, by che.

Gay Crime, Sapphics Against Capital, by Evey Lockhart.

You can also give me a tip by donating to my Ko-fi!

i remember you writing a list of something in some fucking context (i remember nothing), and on that list there was a lesbian ttrpg that really stuck out to me that i didn't save. It was a real edgy one about being lesbian violent and mean (i think), which isn't really much to go off. Where i'm going to is, would you be interested in just listing every lesbain indie ttrpg you know of? Its fine if you dont wanna, of course.

You're probably thinking of this thread here, though you're quite correct that "mean violent lesbians" isn't sufficient to pick out a specific entry – several of the titles plugged in that thread would easily qualify!

As for "listing every lesbian indie ttrpg [i] know of", that's a trickier demarcation problem than you might imagine. What is a lesbian tabletop RPG? Is it one where the player characters are obligatorily lesbians? (If so, we end up excluding games which are explicitly about the lesbian experience, but feature some other type of character.) Is it one written, at least in part, by lesbians? (If so, we bump into the problem that not all indie tabletop RPGs are autobiographical, the maunderings of certain self-appointed critics notwithstanding.) Is it one where the game itself is a lesbian? (Not an impossible brief, but now we're catering exclusively to folks who are into meta bullshit.)

Ultimately I'm going to pass the problem down the line and just ask folks in the notes to name the first game that comes to mind when they think of the phrase "lesbian indie ttrpg". Let's see what sort of consensus evolves.