#fine line rpg

[finelinerpg]

Il règne à Milton une atmosphère chaleureuse et accueillante, presque intemporelle, qui rappelle les scènes réconfortantes des films de Noël que l’on regarde en famille. Le centre communautaire est le cœur battant de la petite ville, un lieu où les habitant.e.s se retrouvent régulièrement pour partager un moment ensemble, que ce soit autour d’une tasse de café fumant, lors d’un atelier local, ou d’une réunion improvisée. Là-bas, on discute de tout et de rien : de la routine quotidienne, des événements qui animent la ville, mais aussi des nouvelles des différents quartiers qui composent Milton. Chaque quartier a sa personnalité propre, presque comme une grande famille élargie. Du calme des ruelles bordées d’arbres anciens au centre historique animé où les boutiques locales rivalisent de charme, chaque recoin de Milton a son histoire à raconter. Les habitant.e.s, presque toutes et tous soudé.e.s, prennent soin les un.e.s des autres, qu’il s’agisse de se prêter main-forte pour déneiger une allée en hiver ou d’organiser une fête de quartier au printemps. C’est cette solidarité, cette simplicité pleine d’authenticité, qui fait de Milton un endroit à part. Ici, la vie quotidienne prend des airs de convivialité sincère, et chaque échange est une occasion d’entretenir ce lien unique qui unit ses habitant.e.s.

FINE LINE est un rpg city où le contexte est simple mais où il pourra évoluer au gré des envies des joueur.se.s. Basé dans l'état du Vermont, sur la côte est des USA, le forum prend place dans la ville de Milton et les inspirations sont Stardew Valley et les jeux slice of life.

(crédit photo : gavin jones, prisdays (pinterest)

[basofy]

god this was so cringey shut up all you've ever seen regarding women has been a smelly rat in the mirror and distorted photoshopped images of women with big boobees you know nothing

[willowsfanarts]

take it as a compliment - latest artwork

[lesbianshadowheart]

How I sleep knowing Aloy is a lesbian and HZ3 will not have dating sim-like romance options

[bloodurged]

started playing [veilguard] and the role-playing element is very disappointing so far. all of the options seem to be for the generic cheery hero type. the difference between blue, purple and red is so miniscule, we might as well not be given the choice.

[rookinthecrownest]

I think the thing that Gets Me about Veilguard is just how much of an impossible task it had heaped on it from EA from the start of its inception.

It’s arguably supposed to be a soft reboot for the series while ALSO being a follow up to Inquisition. These are two fundamentally incompatible goals in my opinion. This game had to walk the most insane line of any video game in recent memory. I guess EA wanted to have their cake and eat it too.

And the more I think about it the sadder I become for the original team who worked on Joplin. From what I’ve seen of the art book, Joplin was going to be about as firm a sequel to DAI as you could get - with references to rescuing whoever was left in the Fade, having Calpernia and Imshael as companions, having to fight Solas’ agents, etc.

Then EA makes them scrap it for live service. Fine. But wait - now we’re scrapping it again. Back to single person RPG but you also kind of need to distance yourself from the previous games as much as possible while still somehow being a follow up to the previous game.

New setting, few returning companions, and new Big Bads in the form of Elgarnan and Ghilanain to get a clean slate. Any mention of what’s happening in the South (where we spent 3 whole games!) needs to be relegated to letters and codex. ** I dont have the art book yet, so I dont know if these two were supposed to appear in Joplin beside Solas - or if Solas was supposed to be the sole antagonist in that iteration of the game.

But.. I hope you see what I mean when I say this game had a monumentally, borderline impossible task ahead of it. And when I think of it that way, I think it did as good a job as it possibly could. Especially since the actual development time was closer to 3ish yrs to get what we know of as datv today even though it’s been 10 whole years since DAI.

I hope it’s successful enough to get DA5, but who know’s what’ll happen.

I wish everyone except the EA execs who meddled with this game’s development and are seemingly trying to kill dragon age a pleasant day. I have a cynical detective I need to romance 😔

[prokopetz]

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.

[bonefall]

Hi there! I know you've made posts about warriors who have lost their sight and hearing, but would you have any ideas of how losing their sense of smell could affect a cat? I have to imagine it'd be a pretty big deal for a hunter or medicine cat

You know, you'd think it would primarily affect "tracking" skills, since as humans we tend to think of following scent trails and hunting down wild game, but the truth might shock you a little;

The first thing the other cats would notice is that the warrior is getting lost a lot.

When it comes to scents, the most important use that cats have for their sense of smell is navigating their territory. Through scent, they can tell the direction towards camp, exactly where they are in a territory, and if they're getting close to a border.

Most media (including WC itself) tends to depict scent like a floating, colorful "trail." A direct line leading you to the target, like this;

But this is actually not very accurate. You'd have to be dealing with a VERY stinky animal for this to be the case, like boar or elk.

Scent acts more like this;

It "collects" on solid objects the animal brushes past or intentionally marks, sometimes including the ground if they've lingered there. Newer brushes on the object have more of the scent particles present just as a matter of not having enough time for the odor to disperse. Think of it sort of like liquid; a "stale" scent is like an object that was soaked now simply being damp.

A warrior's "scent marking" is like a big stink bomb. It will make the entire area smell. Anyone who has been unfortunate enough to have an intact cat spray their house knows that it's not a dainty little spritz. It's STINKY.

To a cat though, the marks that are placed down by individuals and patrols give the entire area a sort of comforting "aroma." Because of the smell, they can perceive their home territory as if it's a map.

"Hub" areas have a stronger smell than "limnal" zones, and camp has its own unique scent. Just by combining these two things, you will always know EXACTLY where you are and how to find your way back to safety.

(Note; this is a major reason why I assert that blindness should be one of the least debilitating sensory disabilities for a warrior to have. Cats have a built in scratch-n-sniff RPG map.)

I mentioned in passing, earlier, that this is comforting. That's the second thing that would probably start to affect a warrior losing their sense of smell; it would be very common for them to start developing anxiety.

It's VERY unsettling for a cat to be in an unfamiliar place, and this is usually because nothing smells right! Providing the right pheromones is actually a way to treat anxiety, and this is the reason why you can often find a lost cat by putting one of their blankets outside. Pride aside, an elder might request more escorts outside of the camp simply as a matter of comfort once their nose isn't working so good.

For tracking itself, though-- in comparison to their Clanmates, hunters with a bad sense of smell would be bad at finding prey. Being a solitary hunter would become unfeasible.

The simple solution is that they shouldn't hunt alone. Just having one good tracker in the team to bring the party to big game could work fine. In WindClan in particular, they'd get put on lagomorph hunts very often (since 2 average-sized rabbits feeds a Clan for a day, let alone a hare).

For a Cleric, it would force them towards retirement.

Tracking down herbs is one thing; they could still be good at knowing where things grow, even with the added risk of getting lost. More importantly, MOST of a cat's health information is discerned through smelling their scent-- through their glands, their breath, and most importantly their scent marks. A Cleric who can't smell would start making inaccurate diagnoses.

And all of this doesn't even factor in how much communication is done through scent. When a cat bumps you with their head, "kisses" you with their teeth, or runs their side along you, that's them putting a mark on you. It's saying, "I want you to smell like me and I want to smell like you, because we're part of the same group!"

The important thing about that is that it is happening a dozen times a day with different Clanmates.

Rosetail demonstrates the point with some gossip: "Did you notice that Snowfur smells a lot less like Bluefur, lately? Yeah, she totally reeks like Thistleclaw. Since you smell like Thrushpelt, I feel comfortable sharing this with you; I don't think they're a good match at all... don't tell him I said that, though, even though he's my brother he would get really mad if he found out I thought that."

A warrior who can't scent will feel VERY socially isolated. There's an entire social network behind who you're marking, and being marked by.

In summary;

Scent has a massive role in navigation, for cats.

Cats who can't smell are at risk of getting lost easier.

Try not to think of scent like a "floating trail," but more like a series of odor marks on the objects the target has brushed up against.

Scent marks are STINKY, they make a whole area reek.

However, that's comforting to cats. Not being able to smell this has negative impacts on mental health.

It's the "tracking" part of prey and herb hunting that would become difficult.

Clerics who can't smell are liable to start making bad judgements.

Scent marking is part of the social fabric, and there is an important aspect to Clan dynamics that a cat who can't smell would lose out on.

[dalishious]

(I can’t believe I finished this so fast… I basically blacked out and then it was done lol… Anyway, please remember that this is all just my personal opinion, and if you feel differently, that’s fine!)

Dragon Age: The Veilguard Review

Objectively speaking, Dragon Age: The Veilguard is a fun game that the average player is going to enjoy, especially if that average player is coming in without any prior knowledge to the Dragon Age franchise. I believe this is a good jumping-in spot for people who are curious about the world of Thedas. But in contrast, I have seen a lot of criticism from other hard-core fans that I largely agree with. However, it just so happens that most of the criticism I have is not enough to prevent me from overall enjoying the game. That is to say, for pretty much everything I did not like, there was also something I thought was great… Unfortunately, that makes it a little difficult to give a review. So, I’m going to do my best to keep things as clear and concise as possible by splitting up the “good” and the “bad” aspects of DATV.

The Positive

The best thing to come out of DATV is the new cast of characters that make up your companions and supporting associates. While I do think that some of them could have benefitted from more development time to flesh things out further, just judging what we ended up with, is mostly great. I especially found Emmrich and Bellara to be stand-out examples of strong personalities to grasp onto, whose personal stories really touched me in an emotional way.

DATV also has fun with some returning characters. For example, now that Solas is no longer hiding his identity, we get to see a character that both believably honours his part in Inquisition, while also providing a new, refreshing side to him. There are also a number of characters introduced in Dragon Age: Tevinter Nights that appear in the game, like my personal favourites Teia and Viago, who are an absolute delight to interact with!

I think the three act structure is good, albeit with act three being quite short. There are a few sequences that are an absolutely phenomenal mixture of storytelling and engaging gameplay, like all of Weisshaupt! I also really enjoyed stepping out of the main story every once and a while, and into Solas’s backstory through the Crossroads memories – what ended up being extra special about these is how they mirror Rook’s struggle so well, by the end. They are a nice touch.

The locations are beautifully constructed with smooth interactions of climbing, zip-lining, and essentially parkouring your way around, making them fun to explore! They also came with such distinct flavours and character in themselves that influenced a sense of truly experiencing different parts of Thedas, with different cultures.

The mechanic of building up strength with the different factions, and that actually having a huge impact with the ultimate showdown in the end of the game, makes side quests feel far less inconsequential than in Dragon Age: Inquisition by comparison. That, and they number far less.

I like that the story mode actually feels like a story mode; there were only a couple instances where I really had to worry about death, and even then, I was able to just toggle off the death with the customizable gameplay mechanics and continue on.

Finally, it would be remiss not to say that the character creator for DATV is the best BioWare has ever put out. I’d go as far as saying it’s one of the best in any RPG I’ve ever personally experienced. From the flexibility in morphing a character’s head and body between custom shapes, to the little details like sclera colour, vitiligo, and top surgery scars, makes it a shining example of what RPG’s should strive for. (My only critique here is that it would have been nice to have more skin colours.)

The Neutral

I hated the combat for pretty much the entire first act of the game. I found it too hard to keep up with, and too much like Mass Effect bullshit. I can’t say that it’s completely grown on me yet, but I don’t hate it anymore. It’s fine. So, I’m giving this a special little spot before I get into what I didn’t like all the way to the end.

The Negative

As mentioned above, I do think that there is more that could be done with some of the characters to really achieve their full potential. Davrin and Lucanis—while to be clear I still really enjoy as they are—come to mind first, in terms of those who would have benefited from more development time. Most of Davrin’s screen time just revolves around Assan rather than Davrin himself, and Lucanis is so restrained that it takes a while to really crack him open. Both of these characters have intentional personalities that make them harder to get to know, I understand that, but I feel that it would have been all the more rewarding to have more time dedicated to their company after earning their trust and possibly endearment. Instead, it feels like their romance and friendship with Rook are only half-complete, and then rushed to finish.

There are some companion interactions that are just… cringe. There is no other word for it. Now, this is nothing new for BioWare games, but I feel like the “pulling a Bharv” scene for example, was hitting an entirely new low. (If someone misgendered me and then just started doing push-ups instead of just saying “hey sorry about that, I’ll try to do better” I’d be annoyed, not satisfied.) I also felt like most of the temporary rivalries between companions were artificial in nature, rather than organically part of their characters that actually served a purpose. We already knew Emmrich likes books and Harding likes nature; we did not need a whole cutscene with them bickering about camping. (The exception to this is Davrin and Lucanis, who genuinely had room to grow as people out of their multiple confrontations, not just a one-off scene.)

The music in DATV is, for the most part, forgettable and bland. There is one piece that really stands out, and that’s “Where the Dead Must Go”, which is a real banger. I am not a fan of Hans Zimmer’s OST otherwise; I think it is phoned in, just like most of his work. I deeply wish BioWare would have just stuck with Trevor Morris. The best parts musically in this game are just Morris’s work re-used from Dragon Age: Inquisition.

There are certain parts of disjointedness that separates DATV from the past games that are just… bizarre. This is especially the case when it comes to elven lore. For example, Bellara saying she is afraid that elves will be harshly judged for the Evanrus, or Harding saying that elves are “thriving”… as if modern elves are not deeply persecuted across most of Thedas. It made me question more than once if there just was not time in development to do a proper canon-compliancy check with everything, perhaps?

I want finish this part by bringing up again that the biggest flaw in DATV is that it feels very corporate. To repeat what I said in this post: It is as if a computer ran through the game’s script and got rid of anything with “too much” political substance, in an overcorrection to be “safe”. But now that the edges have been so smoothed down to make a block into a ball, it can no longer support anything.

Conclusion

It’s easy to see a lot of creativity went into the creation of this game… but it is also easy to make assumptions on how that creativity was constrained by development hell and corporate oversight. In the end though, Dragon Age: The Veilguard succeeded in being an overall good time, one that I will no doubt be putting just as many countless hours into as the previous installments in the franchise. 7/10.

[actualbird]

this line luke says (internally) in the dragonbreath invitation is very funny to me because like. sir, you are THEEEEE self-professed Gamer Boy Extraordinaire, it's fine, relax, you can admit you had fun playing an RPG where you were a big cool tough knight taking the hits and protecting your friends. like come on, have some whimsy, my man

or...maybe he just felt shy hearing all the other nxx boys be like "UUUUUGGHHHH THIS IS SOOOO EMBARRASSING" and luke bites his tongue like "y-yeah. totally embarrassing. i absolutely did NOT have an awesome time all throughout haha"

poor boy...

[felassan]

Shinobi602 comments on ResetEra:

"If Anthem was a runaway success, you'd be seeing a very different BioWare right now who'd be all in on the live service model. They're running uphill because they've got goodwill they need to earn back after the fact, but its failure (plus Fallen Order's success) is what allowed them to pivot right back to what they're good at: single player character driven RPGs. Silver lining but still." [source]

User: "I don't think its unreasonable to have hoped that a Dragon Age game would have similar gameplay to previous Dragon Age games." Shinobi: "Veilguard does have similar gameplay though, just not the exact same gameplay." [source]

"Open world doesn't automatically mean better. Inquisition's open world zones were basically Bioware's response to Skyrim and anticipating that's what players wanted. The big zones were cool but they were also bloated and full of uninteresting quests. Andromeda also took Mass Effect to huge open world zones and they had the same result. It was ass and the game benefited nothing from it. It's better for Bioware to stick to what they do best which is tighter, more structured play spaces." [source]

"they'll do what they think they're good at. Inquisition was highly rated, but the big open areas were also flawed. If they felt that's not what they'll excel at, that's fine. There ARE larger open areas in Veilguard though. If that's your very strict definition on what will make the game good apparently." [source]

"If you're sole definition of a Dragon Age game is that you can take direct control of companions and a tac-cam, it's understandable. But I think it's completely false that this is somehow unrecognizable as a Dragon Age game. There are tons of different aspects that define the series outside of that." [source]

"It's been evolving and changing for over a decade." [source]

"They did say there are some "killer cameos" they're keeping secret. My mind's going to several different possibilities..." [source]

User: "Yeah, they need to wrap up this story in this game. I'm already a little annoyed that we are getting another "the veil is torn and demons are wrecking havoc" story. They cannot stretch that to a third game." Shinobi: "It's a lot more than that. It's not a repeat of Inquisition or anything." [source]

"This might genuinely be the most in depth CC in a mainstream RPG that I've seen." [source]

"Yeah this is more like Inquisition, though you could still change out companion helmets in that one." [source]

"They did confirm tavern songs are back so that's good news, and The Swan (Minrathous tavern) has a bunch." [source]

"Yeah there's a good amount of veterans working on Veilguard. Though I always find that to be such a weird qualifier, and it seemingly always comes up with Bioware in particular. As if there aren't tons of talented non-Bioware devs from across the industry who could join the team and still write and design a great game. Like nah, it can't be a good game unless it's got people who've been there for 20 years! 😄" [source]

"There are also rune items you can equip that provide different effects and act as their own abilities basically, plus ultimate attacks for each class specialization (so 9 total), plus finisher moves and things like elemental combo detonations for extra damage." [source]

"there are definitely 'open areas' you can explore around in. It's not more linear than ME2." [source]

User: "Is my reading of "mission-based" it being like ME2/3 correct?" Shinobi: "Yeah, in that regard, it's more structured like Mass Effect, which I think is to its benefit. DAI just suffered way too much from open world bloat. I think the tighter, handcrafted structure works a lot better." [source]

User: "How big are the areas? Like the first game where you open the map and pick a location?" Shinobi: "Don't know exactly. But that's what I was told. There are several open ended areas that are explorable in the story. Plus a hub area." [source]

"I think if fans have been yearning for a quality Bioware game like they were used to before, this is that. Tight design, great character models, environments, animations have gone next level, combat fluidity, etc...it's all here. I compare it to the jump from ME1->ME2. [re: the jump in quality/fidelity/presentation.] This isn't a spoiler, as Game Informer said, it's a full on action RPG, and you can still pause and issue commands. But this is not DAO. Preferences put aside, Bioware's moved on from that ages ago. This isn't BG3 at all. But they've put a huge emphasis on making combat feel good to play. As in engaging the player, more real-time, more Mass Effect. It's a meaty, single player RPG with lots of systems going on inside. Also, like they said, this is the prologue, the beginning of the game. Keep that in mind if you don't see everyone's powers unlocked or intense pause and play. If you keep all that in mind, I think you'll really like this." [source]

"But it's a big jump for Bioware. [re: animations]" [source]

"[rogues are] flashy, jump around a lot, etc." [source]

"Party members can definitely get knocked out in battle" [source]

"It's important to note that what was shown was completely level 1 combat, and likely on easy mode for demo purposes. There is way more to it in more advanced battles. When it opens up with way more abilities, unique momentum attacks, ultimates, and other...things they haven't shared yet, on higher difficulties, it will look and feel way different." [source]

"It'll be rated M. It's got its share of nudity lol." [source]

User: "should we expect a comparable level of dialogue role playing as we had in Inquisition? I don't mind the changes to combat but there seemed to be more auto dialogue here than I remember from Inquisition or Tresspasser." Shinobi: "Yeah. That was just the intro. They just like to keep the pace going for a big start to the game." [source]

"This isn't accurate at all though, and it keeps getting perpetuated. Yes, there's been departures like Casey Hudson, Aaryn Flynn, Mike Laidlaw, etc, but I could easily list dozens of people at Bioware right now that have been there for 10-20+ years, some even longer. Do they just...not count for some reason? The entire core team building Mass Effect right now were OG leads on ME1-3, been there for over 20 years. And even outside of that, like, does this really matter? Do you know one of the game's premier VFX/lighting designers worked for ILM? Or one of the cinematic leads is an alum from Blizzard? Or one of the creature animators was a senior creature animator on Horizon Forbidden West? Talent is talent. And if we look at the industry through that lens too, sure, tons of studios are just "X, Y, Z studio in name", in many ways. There's no studio in the industry that holds on to their entire team for 30-40 years." [source]

"They do have that data. And I think even this thread would be shocked at how tiny of a % of players took direct control of other companions. Or went into tac-cam. Not just Inquisition but the whole series." [source]

[welcometothejianghu]

Welcome to another round of W2 Tells You What You Should See, where W2 (me) tries to sell you (you) on something you should be watching. Today's choice: 琅琊榜/Nirvana in Fire.

Nirvana in Fire is a 2015 historical series best described as either a complicated succession drama set in the premodern Chinese imperial palace, or the story of a man who didn't die a decade ago and has decided to make it everyone else's problem.

And really, I almost feel silly giving my glib little summary, because Nirvana in Fire is so well-known of a property. It's a classic for a reason, and that reason is that it's legitimately very good. This show is what happens when you adapt a solid story, get a bunch of very talented actors, and throw a huge amount of money at it. It's incredibly popular and highly acclaimed, and it earned all of the hype.

Still, while I bet there are few people adjacent to c-drama stuff who've never heard of Nirvana in Fire, I'm sure there are plenty who haven't watched it. After all, it looks like one of those slow, serious shows with a lot of ponderous talking and no joy. If that's the impression you've been given, I could imagine looking at the 54-episode commitment and saying, I don't need that in my life.

I am here to tell you you're wrong. It is a banger of a show. It's tense. It's funny. It's heartbreaking. It’s exceptionally clever. It’s jaw-droppingly stupid. It’s romantic. It’s tragic. It has smart plots and bizarre subplots. And that's not even touching the thing with the yeti.

So in case you're one of those people who's heard of Nirvana in Fire, but has put off watching it for one reason or another, I'm here with five reasons I think you should try it.

1. Epic Shit

Did you like the Lord of the Rings? More specifically, did you really like the second Peter Jackson film? Great, then you're all set for this.

I guess I could have called this Game of Thrones without the dragons, but that's not actually the vibe at all. Game of Thrones is much more sensational and salacious, with all the blood and butts and what-not. The Tolkien comparison is more apt, I think, because Nirvana in Fire is equally about as wholesome as you can get in a property where dudes are still getting stabbed all the time.

This is a show about vengeance. And yeah, justice for the fallen, sure, that's fine too. But mostly it's about a bunch of good people joining forces to make sure the bastards who did wrong pay, with their lives as necesary.

The problem, though, is that these bastards are incredibly powerful, which means that a pure brute-force approach isn't going to work. Accordingly, this quickly becomes a story about the power of smart teamwork to exact retribution on some people who can (and did!) legally get away with murder -- and our heroes are some of the people with their necks most on the line if anything goes wrong.

Don't let the Middle Earth comparison fool you into thinking this is all epic swordfights. It's not. (I mean, for one thing, as well-funded as this project is, it doesn't have Peter Jackson Money.) The vast majority of the tension in the show comes from dialogue and slow, terrible realizations. The fight scenes are almost a relief from the nail-biting intensity of intimate conversations about getting a letter from somebody's ex-wife or returning a book.

All told, the show has that incredible almost-RPG vibe of going through all the little subquests and cutscenes you find along the way to defeat the final boss. The plot carefully unravels a multi-tendriled mystery told to you by people in incredible costumes. It doesn't get much more epic than that.

(Nirvana in Fire is also a cautionary tale about how you should be very careful with who gets invited to your birthday party.)

2. A chronically ill protagonist

Okay, right in the first episode, it is established that the main character has three whole completely different names and an old nickname. I'm going to call him Mei Changsu for the duration of this rec post, but let the record show that I could just have easily gone with one of the other three.

What you learn in that same first episode is that Mei Changsu used to be a palace insider, the cocky son of a noble family, only now nearly everyone he used to know thinks he's dead. Also, he's not far off from being actually dead -- he has an unspecified terminal condition that's mostly managed, provided he stays in his little mountain hideaway with his handsome doctor bestie and doesn't return to his old stomping ground and start kicking over hornets' nests.

So guess what he's about to do.

I have to make a note of how brilliant the casting is here: Hu Ge is an action actor! He is a kickpuncher of a man! And I think it's great that you can sort of see his frustration, as well as Mei Changsu's, at having to spend the whole series wrapped in countless layers of fabric and/or lying in bed while everyone around him gets to be the badass action heroes.

Mei Changsu's not faking it, either -- he's actually dying. He expends his energy where he thinks it's necessary, and sometimes that means he has to spend the following week in bed. He's constantly frustrated with himself for what he can't do anymore. He's racing a clock, and that clock is his own failing body. If he dies, the only hope anyone here has for justice dies with him.

He gets two love interests that the show treats pretty much equally. One's a lady general who wasn't even a love interest in the book. The other's the handsome prince who was initially going to be his textual romantic partner in same book, until the author hopped genres from danmei to general historical drama. I can't even call this a love triangle, because there's no competition. He just gets a wife and a husband -- in that he gets neither, because circumstances and his own illness keep him distant from them. He lies to both of then about his condition (among other things). He wants to be with them both and knows he can't be with either. And they in turn have to learn to accept what of him they can and can't have.

(Also, Nihuang (her) and Jingyan (him) are both incredibly gorgeous, which is exactly what bisexual genius Mei Changsu deserves.)

Obviously this isn't a perfect representation of life with chronic illness, largely because Mei Changsu is an incredily wealthy man who lives in a universe with what's basically magic medicine. However, I've seen the story's treatment of him and his condition resonate with a lot of chronically ill viewers, so even with the fantasy layer on it, there's definitely something there.

3. Dave

I have already told the story of how Meng Zhi became "Dave," but long story short, he's such a Dave that I legitimately forget his character's real name. He embodies Daveness. He's The Ultimate Dave.

Dave is an excellent fighter, a loyal friend -- and a terrible liar. He's possbly the only straightforward character in the entire show. When he's asked to be duplicitous, he's comically bad at it. Dave will never do a heel turn. I was misled at first by his semi-evil facial hair, but I have seen the error of my ways. Dave is pure lawful good.

And the reason I list Dave as such a selling point is that having a Dave means you always know what's going on. This is because Dave never knows what's going on, and he has no ego about that, so he asks questions, and other characters have to explain to him what just happened, and that is how you figure out what's going on.

It's an incredibly smart move on the drama's part, because some of the (very fun) schemes are so complicated that there's no way for you, the viewer, to understand them just by watching. Without the internal monologues and omniscent narration of a book, the machinations are opaque. You need things explained -- but why would the schemers explain their schemes? Well, Dave needs some exposition, so here you go.

So if you're worried that you might be left feeling stupid by a show where so many sneaky people are hatching so many complex plans, worry not! Like the good man he is, Dave has your back.

4. A Million Amazing Antagonists

If you like bad guys, this is a show for you. This show has brilliant bad guys all the way down. It has bad guys at every turn. It has bad guys for every taste. Welcome to Big Liang's Big Bad Guy Emporium, where we guarantee you'll walk out of here with a bad guy you like, or your money back!

(And yes, this set of pictures is also to say that their costume budget was entirely well-spent.)

Without getting too far into spoilers, I will say that the basic situation underlying the whole series is this: The emperor has done a lot of bad things, and he has enlisted a bunch of people's help in hiding those bad things, so much so that many of those other people have done even more bad things the emperor didn't even know about -- and then everyone has gone to great lengths to cover those up as well. Our protagonists spend the whole series unraveling this colossal shitshow and bringing people to task for their crimes.

So really, if you're going to spend 54 episodes taking down the baddies, they've got to be baddies you love to see taken down. And these are -- in part because all of them have crystal-clear, rock-solid motivations for their actions. Nobody here is a moustache-twirling comic-book-villain baddie. They're all bad for reasons that are very understandable in their individual contexts. And not a single one of them is going to go down without a fight.

5. World's Best Mom

(Sidebar: The fact that four out of five of my reasons to watch the show are individual or groups of characters should be your strongest indicator that this is an intensely character-driven story.)

This is not a Dead Mom Show. Okay, some moms are dead, but mostly this is a Moms Are Alive And Often Cause Problems Show, which is a lot of what makes the palace drama so delicious. But there is one Good Mom who stands out above all the rest: Consort Jing.

Played with perfect grace and devastating politeness by the stunning Liu Mintao, Consort Jing is a skilled doctor and excellent baker who starts the show with a low-level status among the women of the palace. She swallows down all kinds of mistreatment because she's not in a place to oppose it -- and when she can retaliate, it must only be through soft power. She loves her jock son with all her heart, but because of both their relatively poor positions in the hierarchy, she doesn't get to see him all that much. She wants to be an asset to him, while all the time she has to fear becoming a liability.

She is also the smartest person in any room that she's in, unless she's in a room with Mei Changsu, and even then it may be a tie.

There are lots of great characters in the show that I could have highlighted here, and plenty of them are women, but Consort Jing in particular never ceases to impress me. She is trapped in a gilded cage, married to a man who [lengthy list of spoilers that are traumatic to her in particular], and held hostage by how every time she even looks like she's out of line, it puts both her and her boy in danger. She's the most vulnerable of any of our good guys. Kind of like Wang Zhi, she's got to be clever or she's dead.

Consort Jing is not part of Mei Changsu's original plan. She figures out his plan and makes herself part of it -- and entirely remotely, as she and he aren't even in the same room until episode 40 or so. She puts herself in great danger to make sure he succeeds, not because it will necessarily do her any good, but because Jingyan needs him. This woman has been captain of the Mei Changsu/Jingyan ship for like twenty years already.

Oh, and did I mention her outfits?

I love you, Consort Mom.

Are you ready to watch it yet?

Get it on Viki! Get it on YouTube! Get it on YouTube but in a different playlist! (And also maybe get it on Amazon? Not in my region, but maybe in yours.)

I will warn you that it does take off running -- I think I saw someone say it introduces nineteen characters in the first episode? I was worried that I'd be too innundated by situations and flashbacks and names to be able to follow. By the second or third episode, though, I was rolling with it. So if you feel like you're struggling at the beginning, stick with it a bit. See if you don't feel it start to click.

...Man, reading over this post has left me going, oh, but I missed that! and that! and that guy! And yeah, the truth is that there are just so many great things about the show that limiting myself to only five (and being limited to only thirty images) was tough. I'm sure that people reblogging will add their own must-see elements.

Truly, this is a show that deserves its reputation. It may not be for everyone, but if this is the kind of thing that you like, it is a shining example of that thing.

Besides, you have to love a production where everyone was clearly having just a whole lot of fun being big ol' costumed dorks.

[samirant]

Dungeon Crawler Carl & You

*taps microphone*

Okay, so I've been going off about Dungeon Crawler Carl for months now and I do not see it stopping at any point, so let's see if I can entice one or two of you to join in my madness.

DCC is Lit RPG and written like a video game come to life, from the point of view of the contestants trapped within the game. There are levels to conquer and loot boxes and quests and an AI running things that has a very tenuous hold on stability to begin with and doesn't keep it for very long.

Carl is just... a guy. He's just a guy with a traumatic backstory that he's squished deep down inside himself because he doesn't like drama and he thinks he's doing just fine because it's done, you know? It's in the past, can't change it, can't hurt him anymore.

(It can hurt him. It does hurt him.)

The world as we know it is destroyed in a split second, Carl surviving by mere happenstance and the only reason he goes into the dungeon is that he will literally freeze to death otherwise. At no point is this guy searching for glory or thinking he's a savior, he's just trying to survive another day. That Carl happens to have his ex-girlfriend's prize-winning tortie Persian cat with him is a coincidence - and it turns out to be his major lifeline in the entire series. Princess Donut is his partner in crime, his bestie for life and if he ever loses her, he will lose everything. Goodbye to the last vestiges of his sanity.

The first couple levels are pretty contained, Carl & Donut learning the ropes and how to survive every encounter with increasingly powerful enemies who want nothing more than to see them dead, the eyes of the universe and the corporations running the shitshow ever focusing on them and trying to eke out as much profit as possible at the same time.

Then they meet other survivors - both good and misled - and the beauty of humanity comes out, the sacrifices they are willing to make for one another, the knowledge that they aren't likely to survive, but they make the right choices anyway because dying might be bad, but letting each other down is worse.

The secondary characters grow in complexity with every level. Where it was once just Carl & Donut, it becomes dozens of characters, from all over the world, all of them gifted in their own way, all of them fighting as best they can, some of them betrayed, some of them dying, some of them choosing to go out on their own terms. Men and women and animal alike, they are individual and committed to the greater good.

Matt Dinniman has written a series that takes an emotional toll on its readers: pain, loss, horror, humor, desperation, walking through life with an unrelenting grief. There are dick jokes and drug-dealing, lava-spitting llamas and riffs on Wonderwall and lines like: Trauma does that, I thought. It's an explosion with your heart at the center. It changes everything all at once.

Also, there are velociraptors.

And a decapitated, talking sex doll head that wants to kill everyone's mothers.

It's a LOT of stuff going on, all right?

And just as you think the story can't get any better, enter Jeff Hays. Our audiobook narrator, our man of a hundred distinct voices. Good god, he's phenomenal. I've listened to so many books and while there are some very talented narrators out there, Jeff Hays leaves them in the motherfucking dust. I honest to god thought he was using an app to manipulate his voice for different characters until I saw him narrating in real time and I was utterly blown away by his talent.

The combination of this story by Matt Dinniman and narration by Jeff Hays has me going back, time and time again. I recommend the experience wholeheartedly and hope you'll give it a chance.

[6-and-7]

My Fearsonas Day 13: Web You're pretty sure your DM is evil. They're not evil in the way of most RPG horror stories, though. They're cheerful, polite, and walk that fine line between letting players do what they want without letting them derail the campaign. Really, on paper, they're practically perfect. They weave brilliant plots, they encourage everyone to participate, and they don't have any patience for creeps. There was one guy at the first session who kept making people uncomfortable, but the DM took them aside and you've never seen him since. Nor has anyone else, actually...

The thing is, they're never caught off-guard. Nothing any of you players have done have surprised them, and you've done some batshit stuff. They just smile and weave your actions into the story as though they'd planned it all along. It never feels like they're railroading you. Either they're a genius at improv or they can see the future. Or... well... there have been a few times where you've spoken or rolled where just for a second, your body felt numb, like that feeling you get when you've been underwater too long and your limbs feel like they're stuffed with cotton. And then you're fine again. You're not sure why you just did what you did, but everyone seems to be going with it, so you do the same.

If it was just that, then that would be fine. You play pretty late at night. Sometimes you feel a little weird. But now it's started happening in the real world, too. When you talk your boss into giving you a raise after getting a crit on a Persuasion check with a king the night before, or beat your buddies at basketball when you just made a killer Athletics check. When one of your fellow players got a side job tutoring after multiclassing as a wizard. When a different player got hospitalized for a nasty electric shock after nearly dying to an adult blue dragon. When your boyfriend cheated on you after an important NPC betrayed the party.

You could leave. You should leave. There's something so wrong with this smiling DM and their game, and you need to leave it before something irreparable happens to your character. But the story is so compelling, and you've got so many friends there, and in more than a year of playing, not one person has missed a session. Not even the one that got electrocuted. You know that your will isn't strong enough to leave the table until the game is over, whatever that might entail.

Oh, well. At least the arbiter of your collective fates can be bribed with pizza. Better get extra-cheesy garlic bread, just to be safe.

[probablybadrpgideas]

This isn't technically a bad RPG idea, but I'm having a bad time with my RPG. My DM (first time running a game) has 6 brand new players and I'm confused on how persuasion works. He lets us roll persuasion to make a shopkeep sell us goods at severe discounts, or talk a guard into not doing his job and letting us in places, or convince people to help us when they didn't want to help, but every time our bard tries to flirt with an NPC he calls it nonconsensual. He says persuasion doesn't override free will.... but it did for the guard and the shopkeep? I don't understand, and our bard is feeling like the DM just doesn't like them at this point. How does persuasion actually work?

Persuasion is literally just how persuasive you are. He could set the AC higher (potentially to the point where it's actually impossible to succeed) or just say "it won't work", but flirting with persuasion is...fine? It's mechanically just "hey (insert pick up line of choice) let's have sex" and then rolling to see if they want to ie if they will consent. I don't see your DM's arguement at all? - Paper

[kithj]

i've been playing veilguard lately and i have to say the dialogue in this game is some of the most frustrating i think i've ever seen in a choice RPG like this. Rook is locked as a friendlier character, which isn't a problem, but this lock out has resulted in a lot of the dialogue lacking in variation.

i chose the "Block it out" option here only for my Rook to say "Block it out. You're safe" but "You're safe" was already its own separate option-- this isn't how you write dialogue choices. again, i don't have an issue with Rook being friendly, but you shouldn't railroad players into certain dialogue.

if they wanted "You're safe" to be the common/reconvening dialogue, then it shouldn't have been made a choice at all. the wheel could have been something like this:

nice: "I'm right here with you."

aggressive: "Block it out."

panicked/confused: "Shit. Talk to me. Please."

-> all reconvene at "You're safe."

and this is a repeated problem. i've favored the aggressive options this entire time (which aren't really aggressive to begin with) but Rook will almost always still wind up saying the nice option instead. another example is early on:

again i chose the more aggressive "Maybe you should have" choice only for Rook to say something along the lines of "Maybe you should have [...] But we have to support each other now." (it's been a minute since i played this part so it may not be exactly word for word but i remember even then at the start of the game being annoyed that she still worked her way back around to saying option 1)

it's not that Rook is friendly, it's that she's literally saying dialogue options that i did not pick. it's fine for there to be a common dialogue repeated across choices/flavor texts, but not when it's the literal choice text itself. it feels like i'm being railroaded with every dialogue.