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felassan · 4 months ago

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Edge – The Future of Interactive Entertainment magazine, issue #401 (October 2024 issue) – Dragon Age: The Veilguard story

The rest of this post is under a cut for length.

Update: this issue of this magazine is now available to buy from UK retailers today. it can be purchased online at [this link]. [Tweet from Edge Online] also, Kala found that a digital version of the magazine can be read at [this link].

This post is a word-for-word transcription of the full article on DA:TV in this issue of this magazine. DA:TV is the cover story of this issue. When transcribing, I tried to preserve as much of the formatting from the magazine as possible. Edge talked to BioWare devs for the creation of this article, so the article contains new quotes from the devs. the article is written by Jeremy Peel. There were no new screenshots or images from the game in the article. I also think that it contains a few lil bits of information that are new, like the bits on companions' availability and stumbling across the companions out and about on their own in the world e.g. finding Neve investigating an abduction case in Docktown.

tysm to @simpforsolas and their friend for kindly telling me about the article!!

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[image source]

Article introduction segment:

"[anecdote about Edge] We were reminded of this minuscule episode in Edge's history during the creation of this issue's cover story, in which we discuss the inspiration behind Dragon Age: The Veilguard with its creators at BioWare. Notably, director John Epler remembers the studio experimenting with a number of approaches during the early phase of development before eventually locking in to what the game was supposed to be all along, above all else: 'a single-player, story-focused RPG'. As you'd expect from BioWare, though, that was really just a starting point, as we discovered on p54." BioWare draws back the Veil and ushers us into a new Dragon Age

"BEHIND THE CURTAIN BioWare's first true RPG in age age is as streamlined and pacey as a dragon in flight. By Jeremy Peel Game Dragon Age: The Veilguard Developer BioWare Publisher EA Format PC, PS5, Xbox Series Origin Canada Release Autumn

The Dragon Age universe wasn't born from a big bang or the palm of an ancient god. Instead, it was created to solve a problem. BioWare was tired of battling Hasbro during the making of Baldur's Gate and Neverwinter Nights, and wanted a Dungeons & Dragons-like setting of its own. A small team was instructed to invent a new fantasy world in which the studio could continue its groundbreaking work in the field of western RPGs, free of constraints.

Well, almost free. BioWare's leaders mandated that the makers of this new world stick to Eurocentric fantasy, and include a fireball spell - since studio co-founder Ray Muzyka had a weakness for offensive magic.

Beyond that, BioWare’s storytellers were empowered to infuse Dragon Age with their own voices and influences, leaning away from D&D’s alignment chart and towards a moral grayness that left fans of A Song Of Ice And Fire feeling warm and cozy.

In the two decades since, the world of Thedas – rather infamously and amusingly, a shortening of ‘the Dragon Age setting’ that stuck – has taken on a distinct flavor. It’s something director John Epler believes is rooted in characters.

“There’s definitely some standard fantasy stuff in Dragon Age, but everything in the world, every force, is because of someone,” he says. “The idea is that every group and faction needs to be represented by a person – someone you can relate to. Big political forces are fine as background, but they don’t provide you with those interesting story moments.”

Dragon Age: The Veilguard bears out that philosophy. The long-awaited sequel was first announced with the subtitle Dreadwolf, in reference to its antagonist, Solas – an ancient elf who once stripped his people of immortality as punishment for betraying one of their own. In doing so, Solas created the Veil, the thin barrier through which wizards pull spirits and demons invade the waking world. In other words, many of Dragon Age’s defining features, from its downtrodden elves to the uneasy relationship between mages and a fearful church, can be traced right back to one character’s decision.

“The world exists as it does because of Solas,” Epler says. “He shaped the world because of the kind of character he was. That’s, to me, what makes Dragon Age so interesting. Everything can tie back to a person who to some degree thought they were doing the right thing.”

Perhaps BioWare’s greatest achievement in slowburn character development, Solas is a former companion, an unexploded bomb who sat in the starting party of Dragon Age: Inquisition, introverted and useful enough to get by without suspicion. Yet by the time credits rolled around on the Trespasser DLC, players were left in no doubt as to the threat he presented.

Determined to reverse the damage he once caused, the Dreadwolf intends to pull down the Veil, destroying Thedas as we know it in the process. The next Dragon Age game was always intended to be his story.

“We set that up at the end of Trespasser,” Epler says. “There was no world where we were ever going to say, ‘And now let’s go to something completely different.’ We wanted to pay off that promise.”

Yet almost everything else about the fourth Dragon Age appears to have been in flux at one time. In 2019, reporter Jason Schreier revealed that an early version, starring a group of spies pulling off heists in the Tevinter Imperium, had been cancelled two years prior. Most of its staff were apparently moved onto BioWare’s struggling Anthem, while a tiny team rebooted Dragon Age from scratch. That new game was said to experiment with live-service components.

“We tried a bunch of different ideas early on,” Epler says. “But the form The Veilguard has taken is, in a lot of ways, the form that we were always pushing towards. We were just trying different ways to get there. There was that moment where we really settled on, ‘This is a singleplayer, story-focused RPG – and that’s all it needs to be’”.

Epler imagines a block of marble, from which BioWare was attempting to carve an elephant – a character- and story-driven game. “We were chipping away, and sometimes it looked more like an elephant and sometimes it didn’t”, he says. “And then we eventually realized: ‘Just make an elephant’. When we got to that, it almost just took shape by itself.”

2014’s Dragon Age: Inquisition was an open-world game commonly criticized for a slow-paced starting area which distracted players from the thrust of the plot. The Veilguard, in contrast, is mission-based, constructed with tighter, bespoke environments designed around its main story and cast. “We wanted to build a crafted, curated experience for the player,” Epler says. “Pacing is important to us, and making sure that the story stays front and center.”

Epler is very proud of Inquisition, the game on which he graduated from cinematic designer to a lead role (for its DLC). “But one of the things that we ran into on that project was an absentee antagonist,” he says. “Corypheus showed up and then disappeared. You spent ten hours in the Hinterland doing sidequests, and there wasn’t that sense of urgency.”

This time, The Veilguard team wants you to constantly feel the sword of Damocles dangling above your head as you play – a sense that the end of the world is coming if you don’t act. “There’s still exploration – there’s still the ability to go into some of these larger spaces and go off the beaten path to do sidequests,” Epler says. “But there’s always something in the story propelling you and the action forward, and allowing you to make decisions with these characters where the stakes feel a lot more immediate and present. And also, honestly, more real.”

No sooner have you finished character creation than Dragon Age: The Veilguard thrusts you into a choice. As your protagonist, Rook, steps into focus on the doorstep of the seediest bar in town, you decide whether to threaten the owner for information or make a deal. Brawl or no, you’ll walk out minutes later with a lead: the location of a private investigator named Neve Gallus, who can help you track down Solas.

You proceed into Minrathous, the largest city in Thedas and capital of the Tevinter Imperium – a region only alluded to in other Dragon Age games. It’s a place built on the backs of slaves and great mages, resulting in tiered palaces and floating spires – a kind of architecture unimaginable to those in the southern nations.

“When your Dragon Age: Inquisition companion Dorian joins you in Orlais, in one of the biggest cities in Thedas, he mentions that it’s quaint and cute compared to Minrathous,” Corinne Busche, game director on The Veilguard, says. “That one bit of dialogue was our guiding principle on how to realize this city. It is sprawling. It is lived-in. Sometimes it’s grimy, sometimes it’s bougie. But it is expansive.”

Immediately, you can see the impact of BioWare’s decision to tighten its focus. Around every other corner in Minrathous is an exquisitely framed view, a level of spectacle you would never see in Inquisition, where resources were spread much more thinly. “When you know that you’re gonna be heading down a canyon or into this plaza where the buildings open up, you have those perfect spots to put a nice big temple of Andraste or a mage tower,” art director Matthew Rhodes says. “You get those opportunities to really hit that hard.”

BioWare’s intention is to make strong visual statements that deliver on decades of worldbuilding. “People who have a history with Dragon Age have thought about what Minrathous might be like,” Rhodes says. “We can never compete with their imagination, but we can aim for it like we’re shooting for the Moon.”

The people of Tevinter use magic as it if were electricity, as evidenced by the glowing sigils that adorn the dark buildings – street signs evoking Osaka’s riverfront or the LA of Blade Runner. They’re just one of the tricks BioWare’s art team uses to invite you to stop and take in the scene. “A lot of what you start to notice when you’re the artist who’s been working on these big, beautiful vistas and neat murals on the walls is how few players look up,” Rhodes says. “We design props and architecture that help lead the eyes.”

For the really dedicated shoegazers, BioWare has invested in ray-traced reflections, so that the neon signage can be appreciated in the puddles. There are also metal grates through which you can see the storm drains below. “The idea behind that is purely just to remind the player often of how stacked the city is,” Rhodes says. “Wherever you’re standing, there’s guaranteed to be more below you and above you.”

One of BioWare’s core creative principles for The Veilguard is to create a world that’s actually worth saving – somewhere you can imagine wanting to stick around in, once the crises of the main quest are over. To that end, the team has looked to ground its outlandish environments with elements of mundanity.

“A guy’s normal everyday life walking down the streets of this city is more spectacular than what the queen of Orlais is seeing, at least in terms of sheer scale," Rhodes says. “One of the things we’ve tried to strike a balance with is that this is actually still a place where people have to go to the market and buy bread, raise their kids, and try to make it. It’s a grand and magical city, but how do you get your horses from one place to the next? Where do you load the barrels for the tavern? It’s really fun to think of those things simultaneously.”

Normal life in Minrathous is not yours to behold for long, however. Within a couple of minutes of your arrival, the very air is ripped open like cheap drapes, and flaming demons clatter through the merchant carts that line the city streets. A terrible magical ritual, through which Solas intends to stitch together a new reality, has begun.

“We wanted the prologue to feel like the finale of any other game we’ve done,” Busche explains. “Where it puts you right into this media-res attack on a city and gets you really invested in the action and the story right away. When I think back to Inquisition, how the sky was literally tearing open – the impact of this ritual really makes that look like a minor inconvenience.”

Our hero is confronted by a Pride demon, imposing and armored as in previous games, yet accented by exposed, bright lines that seem to burst from its ribcage. “They are a creature of raw negative emotion,” Busche says. “So we wanted to actually incorporate that into their visual design with this glowing nervous system.”

When a pack of smaller demons blocks Rook’s route to the plaza where Neve was last seen, battle breaks out, and The Veilguard’s greatest divergence from previous Dragon Age games becomes apparent. Our rogue protagonist flits between targets up close and evades individual sword swings with precision. In the chaos, he swaps back and forth between blades and a bow. He blends light and heavy attacks, and takes advantage of any gap in the melee to charge up even bigger blows.

“Responsiveness was our first-and-foremost goal with this baseline layer of the combat system,” Busche says. Unless you’re activating a high-risk, high-reward ability such as a charged attack, any action can be animation-cancelled, allowing you to abort a sword swing and dive away if an enemy lunges too close. “We very much wanted you to feel like you exist in this space, as you’re going through these really crafted, hand-touched worlds,” Busche says. “That you’re on the ground in control of every action, every block, every dodge.” Anyone who’s ever bounced off a Soulslike needn’t worry: The Veilguard’s highly customizable difficulty settings enable you to loosen up parry windows if they prove too demanding.

Gone is the overhead tactical camera which, for some players, was a crucial point of connection between Dragon Age and the Baldur’s Gate games that came before, tapping into a lineage of thoughtful, tabletop-inspired combat. Epler points out that the camera’s prior inclusion had an enormous impact on where the game’s battles took place. “We actually had a mandate on Inquisition, which was, ‘Don’t fight inside,’” he says. “The amount of extra work on getting that tactical camera to work in a lot of those internal environments, it was very challenging.”

Gone, too, is the ability to steer your comrades directly. “On the experiential side, we wanted you to feel like you are Rook – you’re in this world, you’re really focused on your actions,” Busche says. “We very much wanted the companions to feel like they, as fully realized characters, are in control of their own actions. They make their own decisions. You, as the leader of this crew, can influence and direct and command them, but they are their own people.”

It's an idea with merit, albeit one that could be read as spin. “It’s not lost on me,” Busche says. “I will admit that, on paper, if you just read that you have no ability to control your companions, it might feel like something was taken away. But in our testing and validating with players, what we find is they’re more engaged than ever.”

There may be a couple of reasons for that. One is that Dragon Age’s newly dynamic action leaves little room for seconds spent swapping between perspectives. “This is a much higher actions-per-minute game,” Busche says. “It is more technically demanding on the player. So when we tried allowing you full control of your companions as well, what we’ve found is it wasn’t actually adding to the experience. In fact, in some ways it was detrimental, given the demanding nature of just controlling your own character.”

Then there’s The Veilguard’s own tactical layer, as described by BioWare. Though the fighting might be faster and lower, like a mana-fuelled sports scar, the studio is keen to stress that the pause button remains as important to the action as ever. This is, according to Busche, where the RPG depth shines through, as you evaluate the targets you’re facing and take their buffs into account: “Matching elemental types against weaknesses and resistances is a big key to success in this game.”

You pick between rogue, warrior and mage – each role later splitting again into deeper specialisms – and draw from a class-specific resource during fights. A rogue relies on Momentum, which is built up by avoiding damage and being highly aggressive, whereas a warrior is rewarded for blocking, parrying, and mitigating damage.

Those resources are then used on the ability wheel, which pauses the game and allows you to consider your options. The bottom quadrant of the wheel belongs to your character, and is where three primary abilities will be housed. “Rook will also have access to runes, which function as an ability, and a special ultimate ability,” Busche says. “So you’re bringing five distinct abilities with you into combat.”

The sections to the left and right of the wheel, meanwhile, are dedicated to your companions. Busche points to Lace Harding, the returning rogue from Inquisition, who is currently frozen mid-jump. “She is her own realized individual in this game. She’s got her own behaviors: how she prioritizes targets, whether she gets up close and draws aggro or stays farther back at range. But you’ll be able to direct her in combat by activating her abilities from the wheel.”

These abilities are complemented by positional options at the top of the wheel, where you can instruct your companions to focus their efforts on specific targets, either together or individually. Doing so will activate the various buffs, debuffs and damage enhancements inherent in their weapons and gear. “So,” Busche explains, “as you progress through the first two hours of the game, this full ability wheel is completely populated with a variety of options and different tactics that you can then string together.”

BioWare has leaned into combos. You might tell one companion to unleash a gravity-well effect that gathers enemies together, then have another slow time. Finally, you could drop an AOE attack on your clustered and slowed opponents, dealing maximum damage. The interface will let you know when an opportunity to blend two companion abilities emerges – moments BioWare has dubbed ‘combo detonations’.

“I like to think about this strategic layer to combat as a huddle,” Busche says, “where you’re figuring out how you want to handle the situation, based on the information you have on the encounter, and how you and your companions synergize together.”

Deeper into the game, as encounters get more challenging, Epler says we’ll be spending a lot of time making “very specific and very focused tactical decisions”. The proof will be in eating the Fereldan fluffy mackerel pudding, of course, but Busche insists this shift to fast action isn’t a simplification. “What really makes the combat system and indeed the extension into the progression system work is that pause-and-play tactical element that we know our players expect.”

The autonomy of The Veilguard’s companions doesn’t end with combat. BioWare’s data shows that in previous games players tended to stick with the same two or three beloved comrades during a playthrough. This time, however, you’ll be forced to mix your squad up at regular intervals.

“We do expect that players will have favorites they typically want to adventure with,” Busche says, “but sometimes certain companions will be mandatory.” Others may not always be available – part of the studio’s effort to convince with three-dimensional characters. “They do have a life outside of Rook, the main character,” Busche says.

"They'll fall in love with people in this world. They’ve had past experiences they’ll share with you if you allow them in and get close to them.”

Being separated from your companions, rather than collecting them all in a kind of stasis at camp, allows you to stumble across them unexpectedly. Busche describes an instance in which, while exploring the Docktown section of Minrathous, you might bump into Neve as she investigates an abduction case. “If I go and interact with her, I can actually stop what I’m doing, pick up her arc and adventure with her throughout her part of the story,” Busche says. “What’s interesting is that all of the companion arcs do ultimately tie back to the themes of the main critical path, but they also have their own unique challenges and villains, and take place over the course of many different intimate moments.”

Some parts of a companion’s quest arc involve combat, while others don’t. Some are made up of large and meaningful missions – as lavish and involved as those along the critical path. “While they are optional, I would be hesitant to call them side content in this game,” Busche says. If you choose not to engage with some of these companion-centered events, they’ll resolve on their own. “And it might have interesting implications.”

The Veilguard promises plenty of change, then, even as it picks up the threads of fan-favorite characters and deepens them, honoring the decades of worldbuilding that came before it. This is perhaps the enduring and alluring paradox of Dragon Age: a beloved series which has never had a direct and immediate sequel, nor a recurring protagonist. Instead, it’s been reinvented with each new entry.

“It’s a mixed blessing to some degree,” Epler says. “The upside is always that it gives us more room to experiment and to try new things. There are parts of the series that are common to every game: it’s always an RPG, it’s always about characters, and we always want to have that strategic tactical combat where you’re forced to make challenging decisions. But at the end of the day, I think what makes Dragon Age Dragon Age is that each one feels a little bit different.”"

Q&A Matthew Rhodes Art director

Q. Early BioWare RPGs were literary, with the emotions and detail mostly happening in dialogue boxes. How have you seen the studio's approach to visual storytelling evolve? A. This has been my entire career. When I first showed up at BioWare, it was at the tail end of Jade Empire, and then I was working on Dragon Age: Origins and early Mass Effect. The games had taken that next step out of sprites and 2D models, and it was like: 'How do we say more? How do we communicate more clearly?' During those early days, a lot of games depended on words to fix everything for you. As long as your character was talking bombastically, you could lend them everything that they needed. But as time went on it also became a visual medium, and it's been this long journey of trying to establish art's seat at the table. I've worked with some great writers over the years, and art is also an essential part of the storytelling. From Dragon Age: Inquisition on, I've been trying to stress with my teams that we are a story department.

Q. Is part of that also letting writers know that your storytelling assistance is available, to help them show rather than tell? A. On The Veilguard, that principle has been operating the best I've seen it. Where you would need a paragraph of dialogue in one of those exposition moments where a character just talks to you, we could sell that with a broken statue or a skeleton overgrown with vines. We've had more opportunities to do that on The Veilguard than most of the projects I've ever worked on combined.

To a hammer, every problem looks like a nail, and so in every department, writing will try to solve it with more words, and art will try to solve it with more art. I've bumped up against moments where it's like, 'As much as we could keep hammering on this design, I think this is actually an audio solution.' And then you take it to audio, and you don't get that overcooked feeling where each team is just trying to solve it in their silo. It's a really creatively charged kind of environment.

[main body of article ends here]

Additional from throughout the article --

Image caption: “Spotlights shine down from the city guards’ base as they pursue you through the streets of Minrathous.”

Image caption: “While most of your companions can be sorted into comfortingly familiar RPG classes, The Veilguard introduces two new varieties: a Veil Jumper and a private investigator.”"

Image caption [on this Solas ritual concept art specifically]: “The name previously given to the game – Dreadwolf – was a direct reference to Solas. Your former companion, now on his own destructive mission, still features, despite the name change.”

Text in a side box:

"RATIONAL ANTHEM The hard lesson BioWare drew from Anthem was to play to its strengths. “We’re a studio that has always been built around digging deep on storytelling and roleplaying,” Epler says. “I’m proud of a lot of things on Anthem – I was on that project for a year and a half. But at the end of the day we were building a game focused on something we were not necessarily as proficient at. For me and for the team, the biggest lesson was to know what you’re good at and then double down on it. Don’t spread yourselves too thin. Don’t try to do a bunch of different things you don’t have the expertise to do. A lot of the people on this team came here to build a story-focused, singleplayer RPG."

Image caption: “In combat you no longer control your companions directly – this is a faster-paced form of fighting – but you are able to direct them in combat, and can even blend their abilities in ‘combo detonations’.”

Image caption: “You’ll be exploring new regions across Tevinter and beyond – Rivain is a certainty, and that’s only accessible via Antiva travelling overland.”

Image caption: “There are three specializations per character class; on the way to unlocking them you’ll acquire a range of abilities.”

Text in a side box:

"MEET YOUR MAKER “Full disclosure: Dragon Age has traditionally not done skin tones well, especially for people of color,” Busche says. “We wanted to do a make-good here.” In The Veilguard’s character creator, you can adjust the amount of melanin that comes through in the skin, as well as test various lighting scenarios to ensure your protagonist looks exactly as you intend in cutscenes. “Speaking of our first creative principle – be who you want to be – we really feel these are the kinds of features that unlock that for our players,” Busche says. “We want everyone to be able to see themselves in this game.” For the first time in the series, your body type is fully customizable too, with animations, armor and even romantic scenes reflecting your choices."

Image caption: “Your companions are a mix of old and new – Lace Harding is a familiar face. Veil Jumper Bellara is new, with a new occupation, while Davrin is a new face with a familiar profession – he’s a Warden.”

Image caption: "Arlathan Forest is home to the ruined city of the elves, now a place of wild magic, Veil Jumpers and (allegedly) spirits".

Image caption: "Bellara is driven by a desire to learn more about the elves, rediscovering the shattered history and magic of her people."

[source: Edge – The Future of Interactive Entertainment magazine, issue #401 (October 2024 issue) - it can be purchased online at [this link].]

#dragon age: the veilguard #dragon age the veilguard spoilers #dragon age: dreadwolf #dragon age 4 #the dread wolf rises #da4 #dragon age #bioware #solas #video games #longpost #long post #simpforsolas #anthem #jade empire #mass effect #obsessed with the idea of helping neve solve cases...

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bits-and-babs · 2 years ago

Note

Your fics are amazing! Would you ever write about König?

𝐂𝐑𝐘𝐏𝐓𝐈𝐃 — 𝐊𝐎𝐍𝐈𝐆

synopsis : rumours of an elite soldier have the base reeling. murmurings of 'monster' and 'freak'. what happens when you come face to face with the beast, only to find he's nothing like the whispers cautioned?

pairing : könig x f!reader

warnings : 18+ mdni. war, violence, graphic gory imagery, self-conscious könig baby, little bit of hand kink, basic bitch smut, p in v sex, unprotected sex, size kink, tight fit, sugar-sweet teeth rotting smut. this feels so basic… but I was struggling. please note, kilgore is a name previously linked to könig. I have used it as a codename 🙂

könig masterlist ୨୧ main masterlist ୨୧ join taglist ୨୧ ask

Warfare training preps for the inevitable—those moments you need to fire a weapon and how to camouflage and navigate enemy territory without detection. These inescapable horrors are 'another day in the office' by the time you enter the field, the prickling chill of fear driven out of your system. Whistling RPGs are not dissimilar to the scream of your Drill Sergeant's commands, the cold, hard ground of a dilapidated building no more uncomfortable than the standard-issue barracks mattress you would ease your wearing bones into after training.

Fear, beaten out of each man and woman that slipped on the uniform, held no commonplace in the military. Weapons, the call to war, brutality and sirens did little to raise the blood pressure.

Whispers held far more weight and struck unease into the hearts of even the most desensitised of fighters.

It was inarguable that each military in every country, at any time, had its own 'boogeyman'. Notorious fighters with absurdly large kill counts consisting of three digits that inevitably earned a bounty for their head, funded by the enemy—elite warriors who acquired a legendary reputation that ultimately became horror stories. The Ghost of Kyiv, The American Sniper Chris Kyle. These military cryptids kept their enemies awake at night, baying for blood and begging for the piles of bodies they left behind to stop growing.

After years in the SAS, you were beginning to think that there was no such thing. Each soldier was prolific, brutally efficient and inarguably the best of the elite forces. It was only upon entering Task Force 141, a genuinely mean feat, that you began to hear the unshunnable, hushed whispers of Kilgore.

“Did you hear about Berlin?”

“Kilgore? Yeah, heard he blew away a whole Al-Qatala cell.”

“Twelve of ‘em. The hostages were traumatised.”

These mumblings had persisted for months, consistently updated with crazy tales of whole garrisons blown to smitheries by this massacre-happy hulking mass of pure military precision. You, like the rest of 141, elected to ignore the gossip. This was a battlefield, filled with elite soldiers, not a school playground.

✰

Austrian mud splatters your camo-clad shins as you sprint through the forest terrain, your heart lurching in your chest as your rain-soaked fingers almost fumble your gun to the sodden ground. It’s freezing cold, the gush of rain edging on a flurry of sleet as lightning cracks above your head. Clothes soaked through, the moisture and icy wind form something of a ‘Pact of Steel’, working together to deep freeze the marrow of your bones.

As you slip in the mud again, heel skidding across the slick soil, you realise how dire the situation truly is. Separated from 141 during the firefight, you’d navigated north. You continued running for the safe house once discovering your coms had been dispatched by a stray bullet— that certainly would have ripped through your heart and dispatched you instantly if not for the layers of plastic settled over it.

Thunder rumbles in the clouds above, the boom reminiscent of a distant air strike. Slurried earth gives way beneath your feet as you push on. Exhaustion gnaws at your joints as you scramble for safety, bested only by the adrenaline that buzzed in your ear like a vicious drill sergeant. “Move it! Do you wanna die?! Well fucking move!”

You can hear their boots in the mud, the advancing Al-Qatala mercenaries chasing after you and shooting blindly at your heels, competing with the distance and dense foliage. You’re like an injured fox, feverish bloodhounds nipping at the end of your tail— what could they do with an SAS hostage? How much leverage would it buy?

Bullets whistle by your feet, the proximity of some enough to set your hair on end. They’re closing in, jowls dripping with slobber as they attempt to close their teeth around you. Just a little mor—

Crack.

Chaos erupts behind you, the thump of a body and a flurry of shouts. Panicked voices overlay each other in different languages, Urzik and Persian. You scramble for cover behind a treetrunk, the bark cutting at your palms as you brace for incoming fire.

"Kilgore!" Someone shouts, and your blood runs cold, eyes wide as they dart around the foliage for the legendary soldier. The whizzing of high-powered bullets persists, dropping Al-Qatala mercenaries into the mud beneath them. You hear the yelled orders, Urzik fighters urged to retreat.

You're unsure if one fails to hear the directive over the din of warfare, but you hear the advancing feet of the mercenary advancing on your position—the squelch of the mud beneath the rubber sole of his combat boots. You scramble with your weapon, checking the gun's safety and readying for a one-shot shoot-out.

When a bullet shreds through a victim's head, the sound is reminiscent of a watermelon being cracked open. It's a sickening crunch. A wet spray of warm blood cuts through the downpour of rain, splattering across your face. Some of it is solid, brain matter and shards of cranium.

It's not silent by any means. The rain continues to beat against the floor, pattering in the puddles that had formed in sole-shaped prints in the soaked earth. Cracks of thunder sound in the distance, and the droplets drum against the leaves in the forest's canopy. However, the sounds of the firefight cease.

"You can come out," a voice calls to you. Accented; Germanic. You hesitate for a moment, once again strengthening your grip on the gun you'd clung to. Your lungs strain with the sudden intake of breath, ribs crushed beneath your tac-vest. "Ghost sent me."

Easing your head out from behind the tree trunk, you marvel, somewhat horrified, at the gigantic, hulking build of the man who stood in the clearing. Fallen enemy combatants surround him, a blanket of corpses draped across the turbid forest floor. A black veil covers his face, and his equipment litters his tac-vest.

You'd be lying if you said you were unperturbed by the sight. Instead, fear lurches in the pit of your stomach, and you freeze in place. It's only when your eyes catch the crystal white slicing through crimson on the patch sewn into his shoulder that the airy voice, which certainly doesn't match his enormous frame, brings you a sense of safety.

"The safe house is ahead. We could get you warm–– clean you up?"

✰

Staring into the bubbling pan of water settled over the small fire, you relish in the warmth that creeps across your chilled body. Still, you're soaked, the damp clinging to the threads of your clothes. The scent of iron still assaults your nose, the water that you pick off the fire cautiously heated enough to scrub the blood from your face.

Kilgore, who informed you upon entering the safehouse preferred to be called by his name König, had seated himself in the corner of the large, relatively empty room. He looked ridiculous like this, attempting to compact his body into the crevice. You don't doubt it's an attempt to ease the nervous energy bleeding through your pores, your hands trembling as you attempt to dip the rag he had gifted you into the hot water.

"Did..." You swallow thickly, glancing up at the Austrian, "Did you tell the Lieutenant where we are?"

"Mhm-hm," he nods slowly, his jade eyes watching you from beneath the face veil. They're sharp and bright, contrasting so strongly against his uniform's muted and inky shades. "He's planning evac."

You scrub the gore from your face, wincing as you feel the shards of bone scrape across your face. König's eyes bore into you from the other side of the room, watching you struggle to remove what was left of the grime the rain had failed to wash away.

"I've-... Heard a lot about you," you speak to him, attempting to cross the vast space he had consciously put between you. His green eyes gaze at you, unblinking as he watches your expression. König is trying to read you, trying to comprehend how you feel. He's cautious, trying not to push you outside of your comfort zone.

"About Berlin?" He asks, and his voice is so soft that it reminds you of a child attempting to speak after being reprimanded by their parents–– wary of a second bout of raised voices.

"Yes," you mumble, dipping the crimson rag into the water before laying it across your skin again, "About Berlin."

König hums softly, casting his eyes to the aged, wooden floorboards. The woodlice have chewed through them, moss growing in some parts. You can see he appears uncomfortable, his knuckles white from the fists that form in his lap.

"I didn't mean to scare anyone," König admits in a whisper, catching you off guard. His shoulders sag slightly, and you see him pick at loose threads in the knees of his camo trousers.

"N-No... I meant to say how courageous it was," you point out, watching his fidgeting hands still suddenly, "You risked your life for those hostages... saved them singlehandedly. No one else would have done that."

Hesitant silence settles between you both, König considering your words carefully as he stares at his lap. You can't see his face, the veil concealing all but his eyes, though you're almost sure he's stunned by your comment. It takes him a moment to discern his next step, but he finally lifts his body from the wooden chair he'd pulled into the corner. It creaks with the shift in weight distribution, floorboards straining as he walks across the space towards you.

"You also saved me," you point out, watching him kneel before you, "Faced a whole cell..."

König steals your words from your mouth when his huge hand settles around the bloodied rag in your palm. He doesn't speak at; first, silence hanging between you once again as he dips the cloth into the water. Then, he soaks it until it drips, droplets pinging off the surface, and wrings it out. His dorsal muscles ripple beneath the backs of his palm, veins a ballpoint colour and standing out against his pale skin.

"Ghost asked me to," he mumbles, carefully holding the damp fabric and slowly reaching for your face. He gives you time to pull away–– you don't.

"You could have ignored him," you whisper, suddenly breathless with this proximity. He still towers over you, even balanced on his knees, head and shoulders slumped over you. You can see the ocean green of his eyes clearly, the halo of brown flecks that cover the circumference of his pupil. His eyelashes flutter when he blinks, so pretty and oddly feminine.

The pressure of the cloth against your skull is so delicate. König appears to be afraid of hurting you, gently brushing away the flecks of blood in your hairline. He shakes his head gently, considering your kind words. "What kind of man would I be, Leibchen?" his voice is airy, tone flimsy.

Those stunning eyes take a moment to gaze into yours, searching for your answer. Instead, all you manage is a weak shrug.

"Were... Are they afraid of you?" You whisper to him, struggling to find the words to broach a topic that appears to affect König so profoundly. It's his turn to answer wordlessly, offering an equally frail nod.

König takes your chin ever so gently in his hand, his palm almost eclipsing the lower half of your face, and turns your head in search of further blood-spatter. He sweeps the makeshift face-cloth over your skin, focusing on removing the grime altogether.

You'd heard the cruel rumours, the whispers of 'monster' and 'freak'. This König you'd met couldn't possibly be the same they uttered about maliciously. He held a child-like kindness, the brutality of the job seemingly doing little to chip away at his humanity. The same couldn't be said about the others.

"König," you whisper his name softly, watching as he continues to focus on clearing up your skin. His soothing touch smoothes across your temple now, removing some mud speckles. "Don't listen to them."

You can see his eyes soften, once again turning to yours as you reach to fiddle with the edge of his veil. Upon tracing the border between the pads of your thumb and forefinger, you find that it's t-shirt material, the zigzag seam stitching rough against your touch like barbed wire. "They haven't seen you like I have."

Those eyes gleam with amusement, little crows-feet creases forming in the corners. He's smiling, and your heart stutters against your chest.

"That right, Leibchen? I've had a mask on this whole time."

The gentle teasing lilt to his tone makes you lightheaded, urging you forward with your frankly ridiculous plan. You begin to lift the edge of his veil upwards. You take it slowly, his pupils dancing across the bare skin of your face as you reveal the point of his chin. His skin is equally as pale there, barely exposed to sunlight.

König doesn't stop you as you continue to lift the fabric from his face, exposing the curve of his lower lip. The skin there is soft and plush, little creases in the flesh making your heart thud awkwardly against your ribs. Finally, you stop at his cupid's bow, so soft and subtle it's barely there at all.

You can feel his gaze warming your skin as you trace his lips with your eyes. Hesitation holds you still, uncertain about the final step of this stupid plan. König, as ever, doesn't push you. Doesn't even breathe. When you lean forward, the tip of your nose brushing his own that still lay beneath the cloth, you hear a sharp yet gentle inhalation. It triggers goosebumps across your forearms, butterflies battering the pit of your stomach.

Soft. His lips are so soft when you mould your own to their shape. König's veil tickles the skin of your face when you kiss him, and you feel his gigantic hands settle on either side of your neck as he begins to return your affections. They swallow you, and your pulse leaps against his palm.

König smiles, and the kiss turns toothy and a little lopsided. You can't help but giggle nervously, his thumb tracing the curve of your jaw as he presses gentle pecks to the edge of your mouth. Despite his massive, intimidating frame, each action is deliberate and soft.

"... Are your clothes still wet, Schatz?" He's breathless despite his seemingly put-together appearance, his nose bumping yours as he interrupts your answer for another fragile kiss. "We could get you out of them."

✰

Your standard-issue military t-shirt slips and falls from the cot's mattress as König gently pulls your hips towards the edge. His fingerprints have already bruised into your thighs despite his attempts to be gentle. When he'd begun to panic, you told him not to worry–– he'd already bruised up your neck with his teeth and lips; what was a couple more?

Butterflying your legs out for him, König groans softly as you expose your glistening cunt for him. You're shy, covering your face with your hands as his fingers massage the soft, malleable flesh of the inside of your thighs.

"Schatz," he whispers, and you peer through the gaps of your fingers. König gazes down between your legs, green eyes gleaming as he positions his cock between your folds. "So beautiful."

It's ridiculous, you think, staring down between your legs. König is huge in every sense, the shaft of his cock thick and veiny and drowning out the seam of your sex as König shifts his hips forward to swipe the length of him across your weeping cunt. You can't help your mind running away with itself–– surely he needed a weapons license to carry that thing-?

A weak chuckle sounds above you, and you crane your neck to catch his eye. "I will take it slow, Schatz, I promise you."

You believe him. He had been so delicate with you this whole time, laying you down gently on the bed, careful when removing your gear and your clothes not to let the material snag on your nose or chin.

König's hand disappears beneath the face veil, spitting into his palm before he smoothes it over the head of his cock. He groans, eyelids fluttering beneath the mask as he drags his hand over the length. It's a pretty sight, you think, such a colossal man shuddering in bliss. When he sweeps his cock through your folds again, he carefully taps the tip of his dick against your clit to illicit a whimper.

"Mhmm, gentle. I promise you," he repeats, inching the tip of his cock down until it settles at your entrance. The soles of your feet find purchase on König's hips, and he massages your calves gently as he begins to inch into you at your nod of approval.

Oh, Christ.

König stretches you the moment he sinks inside. There's a delicious burn, one that has you lifting your hips with a whimper as you equally try to escape and dive into it. He's wheezing, eyes glued to where your bodies meet as he watches you flutter around his size.

"Ha-So tight, Schatz," he groans loudly, stopping when you firmly grip the bedsheets. He notes your expression of slight pain, the tears welling in your eyes as your body attempts to accommodate the intrusion. König seemingly can't help the flurry of apologies that fall from his mouth as he leans over you, settling his thumb against your clit in an attempt to ease you open. "Here. I want you to feel good, Engel."

The tremors in your thighs rattle against his hips as he circles your clit slowly. It's blissful, the sticky, warm arousal that blooms through your abdomen as he teases at the sensitive nerves. You arch your back against the mattress, moaning out his name breathlessly as he continues to inch his cock further into you. You barely notice when he finally settles the rest of him inside, wailing softly when it twitches and knocks something earthshattering inside you.

"O-Oh fuck––" you choke on your curse when König shifts his hips forward, jutting into your cervix and winding you suddenly. You probably look ridiculous, eyes rolling back into your skull as you claw at the vast expanse of his chest. You drag pink lines down the pale skin, drawing blood to the surface, but it does little to phase König this far along.

"Good, Liebling?" He murmurs, continuing to assault your clit. You can barely form a coherent sentence in response, drooling around a string of 'yes, yes, yes'. It's all he needs to find comfort in advancing, easing the length of him out of your weeping cunt before driving it back in at an achingly slow pace.

You want to slam your fist against his pectorals and insist he go faster, but you're not sure you're ready for it when he slides into you balls deep. It's as though he's settling among your lungs, filling you so good that you're seeing static in your line of vision.

The sound of a desperate groan from above barely brings you back down to earth, noting how he's staring at your face. His pupils are blown wide, almost devouring the green of his irises. It takes you a moment to realise you're drooling, his slow and steady pace already pushing you to a mindless edge.

"Oh-" you moan, digging your nails into his abs. They ripple beneath your touch with each deliberate thrust, and König hisses at the sharp sting and the crescent moon indents they leave behind. "F-Fuck, König- Too much-!"

"It's too much?" He wheezes, eyes searching your face. You desperately shake your head, terrified he'll pull away from you despite the inching arousal building at the base of your spine. Wrapping your legs around his hips, your heels press into the small of his back and hook him in place despite your protests.

It sparks something feral in the hulking man, his hips surging forwards and jolting you up the mattress. Your breath escapes you in a squeak, arousal soaring and buzzing thickly in your abdomen as König mumbles in German, his soft voice coming out all gritty under the strain of his exertions and bliss.

"Mhmmm- fuck-" you babble, eyes rolling again as you lift your hips to meet his. He sinks impossibly deeper, and your breath stutters as you feel the telltale tug of your orgasm. "Oh God- König, I'm-"

"Tell me," König whispers, rutting up inside you. He doesn't bother to inch out of you now, repeatedly battering so deep inside you that you struggle to inhale as your orgasm approaches fast.

"Hngngg- hah-ah- I'mgonna- c-cum-" you choke with each sudden thrust, his thumb quickening its pace against your arcing clit. Perhaps he shifts his hips slightly or reaches even deeper than before, but he brushes against something utterly debilitating, and you cum with a loud shriek of his name.

It bursts through you with blistering heat, your fingernails sinking deep into the curves of his bicep as you brace against the waves of bliss that crash over you. König keeps fucking into you, your walls squeezing tight around him as his thumb persists in its assault on your throbbing clit. Tears stream down your face, and König can't hold on much longer as you strangle his cock.

"Hah-Shit-" he slurs, his voice barely reaching your ears as he buries himself as deep as you can take him. He cums with a haggard moan, body trembling as his cock spurts inside of you. There's so much of it, too, leaking out of you before he even manages to move.

Both of you take a moment, both stunned by the overwhelming ecstasy. König doesn't bother withdrawing from your heat as he slumps beside you, turning you on your side to face him. He offers no words, burying his face into the crook of your neck and holding you tightly.

Your chest heaves as you suck in oxygen, skin prickling with heat as König encases you in his massive arms. You don't need the sheets, his body-heat burning hot beside you as you press your skin to his.

No words need to be said, you think. König had offered his feelings in the form of his reverent touches and delivered his thanks for your kindness in the delicate kisses he'd pressed to your lips as he carried you into the bedroom.

As you lay in the dark, settled into König's side, you trace your fingers over the curved scars, the bulletholes that have healed over against his ribs. They rise and fall beneath your touch, lungs expanding and deflating with each breath. It's a sobering moment, the thrumming of his pulse against your palm reminding you of his humanity despite the whispers at the base that had insisted upon his bestiality.

You realise those who speak cruelly of him and ruin his self-worth don't understand their impact. To them, he's a cryptid–– his very existence called into question. They hadn't seen him with their own eyes, only heard the mind-boggling tales of his startlingly impressive missions and monstrous size.

They hadn't felt his heart, the way it fluttered against your touch when you'd offered compliments. Hadn't experienced the soft plush of his lips pressing into your own in heartbreakingly sweet kisses. He was no monster.

And when Lieutenant Riley came for you the following day, choosing to ignore the marks left on your skin and the way you hesitated before climbing into the helicopter to offer the Austrian a gentle wave and a promise that you would return, you began the mission to rewrite his story. To change hearts and minds.

It didn't take long at all.

"Did you hear about Kilgore?"

"I did! He saved a member of 141. Incredibly brave–– I heard the situation was dire."

"She spoke very highly of him. Said we could count on him."

"I certainly wouldn't mind fighting alongside someone so dependable and courageous."

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sayruq · 1 year ago

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Every few weeks, Israeli officials say that Hamas is 'starting to break' or 'starting to lose control over Gaza.'

Meanwhile Hamas released a very slick trailer unveiling a new missile type, the M-90, that it used on Tel Aviv

Al Qassam Brigades released a video showing their operation and it's the most intense one yet. Tw: explosions, gunshots, no blood or gore

Al Qassam has also released a video related to the tweets below and it's grizzly. Some of the special forces team and the POW were killed in the attempted rescue (though you only see the POW's body)

[CONT] eastern axis of Khan Yunis.

It's not just Al Qassam Brigades, the Al Quds Brigades has also released a video showing their fighters carrying out attacks against the IDF. It included a moment where one of the fighters shoots an RPG at a tank and then leaps for joy shouting ' It's on fire! It's on fire!'

Same TW as the Al Qassam video

The Mujahideen Brigades also posted an update

[CONT] aircraft intervened to bomb the soldier, and our fighters returned to their bases safely

Nasser Salah al-Din Brigades has spoken about one of their military operations in Gaza

[CONT] certain injuries among them. One of the martyrdom fighters rose in the operation, and two of the heroes withdrew safely

It's actually really hard to keep up with everything that is happening in Gaza.

It has also been very intense in the other fronts too - namely Hezbollah at the Lebanon border and militia groups in Iraq and Syria

Btw a bill meant to withdraw 900 US troops from Syria failed to pass to expect more operations like this as long as Gaza is being destroyed.

#yemen #jerusalem #tel aviv #current events #palestine #free palestine #gaza #free gaza #news on gaza #palestine news #news update #war news #war on gaza

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welcometothejianghu · 1 year ago

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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.

#nirvana in fire #lang ya bang #琅琊榜 #i made this #rec post

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promofireforce · 1 year ago

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[ GERAÇÕES ]

Os seres humanos que despertam as habilidades de segunda ou terceira geração, sem se tornarem indivíduos de fogo geralmente tornam-se bombeiros (não sendo uma regra). Ademais, há três gerações de combustão, sendo elas:

O1. A Primeira Geração também chamada de Indivíduos do Fogo (ou infernais) são vítimas da combustão fazendo com que seu corpo inflame espontaneamente e os transformem em demônios destruidores. O processo até que se chegue a um Indivíduo do Fogo é doloroso para a vítima. São considerados um perigo iminente para a vida humana e para o mundo. Os bombeiros ficaram encarregados de extinguir esse mal e purificar suas almas. Esses indivíduos transparecem de uma forma negra envoltos de chamas perdendo qualquer característica humana anterior. Sendo mais difícil de acontecer mas não impossível caso alguma pessoa tenha um um forte apego à vida ou uma grande força de vontade, eles podem manter a sua autoconsciência, no entanto, o nível de consciência difere entre os indivíduos. Eles podem lançar bolas de fogo e controlar as chamas de seus próprios corpos, mas também ganham um notável aumento de força e agilidade após a sua transformação. A intensidade dos seus poderem variam, podendo absorver e redirecionar as chamas em torno deles. A única maneira conhecida de matar um Indivíduo de Fogo é empalar seu núcleo, localizada em seu peito, que é um método indolor de devolvê-los ao fogo incontrolável.

#gerações #fire force #promo fire force #rpg br #rp br #indivíduos de fogo #infernais #fire force rpg #rpg #rpg brasil #rp #fantasy rp #primeira geração #1G

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satellitebroadcast · 1 month ago

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Al-Qassam Brigades ambush a zionist military engineering force in al-Saftawi neighborhood, west of Jabalia Camp with tandem-charge RPGs and highly explosive IEDs, flipping a tank on its back and destroying a military bulldozer, that remained on fire till the next day

#palestine #gaza #al qassam brigades #glory to the resistance

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gothhabiba · 1 year ago

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From the Palestinian Red Crescent's twitter, 13 November 2023:

🔴 Al-Quds Hospital still under intense gunfire.

🔴 The IDF claims to be attacking a "Hamas terrorist" who is firing a rocket-propelled grenade launcher from Al-Quds.

🔴 The main power generator at Al-Amal Hospital stopped working. The hospital is currently relying on a very small generator to supply electricity only to the maternity ward and emergency lighting. Remaining fuel is expected to run out within the next 24 hours.

11:01 AM:

"🚨 The vicinity of Al-Quds Hospital 🏥 is still witnessing intense gunfire, with the presence of Israeli military vehicles. Our staff are trapped with patients and the wounded, without electricity, water, or food. We hope for their safety. 🙏"

1:10 PM, in response to this tweet from @IDF:

[ID: Tweet by Israel Defense Forces (@IDF) at 3:22pm on November 13 reading: "What could these Hamas terrorists possibly be doing with an RPG at the Quds Hospital?" Attached is a 20-second drone video of the hospital with overlaid text reading "Enemy fire from the entrance of the 'Al-Quds' Hospital towards IDF troops: terrorist with RPG launcher."

The PRCS issued a statement reading:

🚨 The Palestine RCS strongly condemns the false claims by the occupying forces about armed individuals launching projectiles from inside Al-Quds Hospital. The PRCS sees these claims as a blatant attempt to incite further targeting and besieging of the hospital, constituting a clear violation of international humanitarian law. ❌ PRCS rejects these baseless allegations, as the published video clearly shows that the armed individuals approached from the street while the occupation tanks were stationed in front of and shielded by the hospital, endangering the lives of medical teams and patients. The PRCS confirms that there are no armed individuals inside the hospital, and no shots have been fired from within. Everyone within the hospital are patients, their families, and the medical staff. 📣 PRCS calls on the international community to intervene immediately to protect its teams besieged inside the hospital, facing imminent danger with each passing moment.

4:22 PM:

"🛑 Today's attempt to evacuate Al-Quds Hospital failed after the IOF decided to return the designated evacuation convoy to the association's branch in Khan Younis, despite receiving prior approval.

"🚨 The decision was rationalized by referring to a security incident in the vicinity, despite the convoy undergoing thorough inspection. It is noteworthy that yesterday, displaced individuals were allowed to exit through a route specified by the occupation forces, under specific and challenging conditions.

"🧑‍⚕ Our medical teams, patients,and the wounded, along with their companions, remain trapped inside the hospital without food, water, or electricity, and their is 300 person."

4:49 PM:

"🚨 ⚠️ Today, the sole power generator at Al-Amal Hospital, affiliated with the PRCS in Khan Younis, stopped working. This threatens the lives of 90 patients receiving treatment, including 25 in the medical rehabilitation section who now face the risk of death at any moment. Additionally, around 9,000 displaced individuals have sought refuge in the PRCS premises and the hospital.

" 🏥 The hospital is currently relying on a very small generator to supply electricity only to the maternity ward and emergency lighting. It's important to note that the remaining fuel is expected to run out within the next 24 hours.

"🛑 The power generator's failure is impacting the operations of both the PRCS headquarters and Al-Amal Hospital, which includes the emergency operations room for the Gaza Strip. This has resulted in a loss of communication with the operation rooms scattered across the Gaza sector and the cessation of VHF communication services."

#Palestine #Gaza #PRCS #al quds hospital #al amal hospital

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matan4il · 7 months ago

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How to write this update post on Israel's Holocaust Memorial Day. Where to even start. It feels unreal to make a post about so many killed because of an antisemitic, genocidal terrorist organization, on the day we repeat the promise, "Never again."

We have found out that Dror Or, who was thought to have been kidnapped, was actually murdered on Oct 7, and it's his body that's being held hostage in Gaza.

We've also been informed that another presumed hostage, who I've written about before, Elyakim Libman, has actually been murdered on Oct 7. They'd found indications that Elyakim, who worked at the Nova music festival as a security guard, was in the "death ambulance" after he had brought there one of his wounded colleagues, Shani Gabai, and staying with her to help. Hamas terrorists noticed the ambulance aiding the wounded, and fired RPGs at it. The vehicle became a fire death trap, and not only were all the people inside murdered, it was also very difficult to distinguish the bodies from each other. This is what happened to Shani Gabai, they discovered that what little of her remained, was difficult to separate from another body and they ended up being buried together. Once indications were found that Elyakim was in the same ambulance, suspicion rose that maybe what happened to him was similar to Shani's fate, so they started opening graves and checking whether his remains might have accidentally been buried with someone else. They eventually found him in the grave of Victoria Gorlov, who also worked with her bf, Alexander Samoilov, as a security guard at the party (both had been murdered by the terrorists).

Elyakim Libman:

Victoria Gorlov and Alexander Samailov:

Shani Gabai:

This brings the number of hostages, both living and dead, held in Gaza, down to 132, with at least 37 confirmed to have been killed, so it's their bodies that Hamas is refusing to return, and with more suspected of being hostage corpses, too. There is still one Israeli woman missing, whose fate (whether murdered or kidnapped) is unknown. This is the uncertainty of an indiscriminate massacre and mass kidnapping campaign, it's been almost 7 months, and we're still searching for and collecting pieces of our dead.

Yesterday, Hamas fired mortars from Rafah at the Israeli soldiers overseeing the Kerem Shalom crossing. It takes mortars just 8 seconds from when they're shot until they hit, which means the people targeted don't even have time to react and take cover. Iron Dome, which can fail on occasion like all technology, didn't intercept the mortars. I wanna emphasize: this crossing doesn't bring anything into Israel, Israelis aren't getting anything out of it, it was closed after Hamas' massacre, we opened it and have been keeping it running purely to allow humanitarian aid in, from Israel into Gaza, and thousands of humanitarian aid trucks have crossed through it during the war. Every soldier operating it, is a part of Israel's humanitarian effort on behalf of Gazans. What do you think Israelis feel and think when they hear Hamas fired at the Kerem Shalom crossing? But the mortars also hit the nearby civilian community of kibbutz Kerem Shalom. Bottom line, Palestinian Hamas terrorists murdered (as of now, at least one more person is still in critical state) 4 young Israeli soldiers at the humanitarian crossing and wounded at least 10 people inside Israel (at least one civilian house was reported as hit). The attack forced the IDF to close the crossing. Where are all the social justice warriors, crying for more humanitarian aid, to denounce Hamas depriving Gazans of precisely that? But also, the terrorists chose to fire out of Rafah, making sure that even if Israel wanted to stay out, Hamas has proven they use the city and the civilians in there as a basis for murderous actions against Israelis. Where are all the people opposed to an IDF ground operation in Rafah, why are they not denouncing the terrorists' choice, which is forcing Israel's hand? Unsurprisingly, as Hamas has been stalling its response to the latest Egyptian-proposed hostage deal, and with this murder of our people, today the IDF has ordered the start of civilian evacuation from eastern Rafah. You can thank your local friendly murderous terrorists, Hamas-loving college kids.

The murdered soldiers (left to right): Michael Ruzal (18 years old), Ruben Marc Mordechai Assouline (19 years old), Ido Testa (19 years old), Tal Shavit (21 years old).

Yesterday, we also experienced shooting from Hezbollah at Israel's northern communities, with some direct hits. This is what it looked like from inside a Kiryat Shmona home that was impacted:

And today there was another attack by Hezbollah, this time with several waves of suicide drones, leading to 2 people having been seriously injured (another drone attack from Iran-funded militias in Iraq, plus rocket attacks from Syria, were intercepted overnight):

After we've had a Hamas computer server center discovered by the under an UNRWA location, now the IDF has also operated against a Hamas center inside UNRWA's headquarters in Gaza. But I'm sure once more UNRWA heads will claim they "didn't know." How much more linkage between Hamas and this UN agency do people need, to get that when you fund UNRWA, you fund terrorism? When you support UNRWA, you support the death of innocent civilians, both Israelis, and Gazans used as human shields. Is this the right time to talk about all the countries that were quick to re-instate their funding of URWA, without waiting for any real change? (You can find a list of which countries reinstated the funding and when, plus which are the few heroes still freezing it on UN Watch's site, kudos to US, UK, the Netherlands, Switzerland, Romania, Estonia, Italy, New Zealand and Austria for proving that countries can have a backbone on this matter) Here's the shame list for the countries funding UNRWA, despite its symbiosis with Hamas: France, Spain (never suspended its funding), Finland, Germany, Iceland, Japan, Norway (never suspended its funding), Canada, Denmark, Sweden, Australia and the European Union. True champions of human rights. /sarcasm

Last Tuesday, a 34 years old Turkish supposedly-tourist, who had entered Israel through Jordan, chose to commit a terrorist attack, stabbing an Israeli policeman at the Old City of Jerusalem with a knife he bought in one of the local shops. The policeman is recovering, the terrorist has been neutralized. But since this is all supposedly about the occupation, I would love to hear which part of Turkey Israel is occupying...

I've mentioned Hamas robbing humanitarian aid to Gaza multiple times during this war, but did you know that they don't stop there, and last month, Palestinian terrorists have actually robbed about 70 million dollars from a Gazan bank? "Free Gaza from Hamas" is not just an empty slogan. No one should live under the rule of a group capable of intentionally creating this nightmare reality for its people.

Yesterday, the 2024 Eurovision had its opening ceremony with the "turquois carpet." Israel did not participate because it was the eve of Yom Ha'Shoah, our Holocaust Memorial Day. Instead, the Israeli representative, Eden Golan, participated in a Yom Ha'Shoah ceremony held by the Jewish community in Malmo, while wearing the hostage pin. I recently came across a magazine interview with Eden about the hardships she'd experienced growing up abroad, and how returning to Israel gave her back her faith in humanity. It made her participation as Israel's representative even more meaningful. Eden at the ceremony:

(for all of my updates and ask replies regarding Israel, click here)

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theoutcastrogue · 10 months ago

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Cold Iron in folklore, fiction, and RPGs

'Gold is for the mistress—silver for the maid! Copper for the craftsman cunning at his trade.' 'Good!' said the Baron, sitting in his hall, 'But Iron—Cold Iron—is master of them all!' — Rudyard Kipling, “Cold Iron”

Folklore

Drudenmesser, or "witch-knife", an apotropaic folding knife from Germany

The notion that iron (or steel) can ward against evil spirits, witches, fairies, etc is very widespread in folklore. You hang a horseshoe over your threshold to deny entry to evil spirits, you carry an iron tool with you to make sure devils won't assault you, you place a small knife under the baby's crib to ward it from witches, and so on. Iron is apotropaic in many many cultures.

In English, we often come across passages that refer to apotropaic cold iron (or cold steel). "All uncouth, unknown Wights are terrifyed by nothing earthly so much as by cold Iron", says Robert Kirk in 1691, which I believe is the earliest example. "Evil spirits cannot bear the touch of cold steel. Iron, or preferably steel, in any form is a protection", says John Gregorson Campbell in 1901.

Words

So what is cold iron? In this context, it’s just iron. The “cold” part is poetic, especially – but not only – if we’re talking about either blades (or swords, weapons, the force of arms) or manacles and the like. It just sounds more ominous. There are “cold yron chaines” in The Fairie Queene (1596), and a 1638 book of travels tells us that a Georgian general (in the Caucasus) vowed “to make the Turk to eat cold iron”.

Green’s Dictionary of Slang defines “cold iron” as a sword, and dates the term to 1698. From 1725 it appears in Cant dictionaries (could this sense be thieves’ cant, originally? why not, plenty of words and expressions started as underworld slang and then entered the mainstream), and from ~1750 its use becomes much more common.

NGram Viewer diagram for 1600-2019.

In other contexts, cold iron is (surprise!) iron that’s not hot. So let’s talk a bit about metallurgy.

Metals

In nature, we can find only one kind of iron that’s pure enough to work with: meteoritic iron. It has to literally fall from the sky. Barring that very rare occurrence, people have to mine the earth for iron ore, which is not workable as is. To separate the iron from the ore we have to smelt it, and for that we need heat, in the form of hot charcoals. Throwing the ore on the coals won’t do much of anything, it’s not hot enough. But if we enclose the coals in a little tower built of clay, leaving holes for air flow, the temperature rises enough to smelt the ore. That’s called a bloomery.

clay bloomery / medieval bloomery / beating the bloom to get rid of the slag

What comes out of the bloomery is a bloom: a porous, malleable mass of iron (that we need) and slag (byproducts that we don’t need). But now we can get rid of the slag and turn the porous mass to something solid, by hammering the hot bloom over and over. And once the slag is off, by the same process we can give it a desired shape in the forge, reheating it as needed. This is called “working” the iron, hence “wrought iron” objects, i.e. forged.

a blacksmith in his forge, with bellows, fire, and anvil (English woodcut, 1603)

This is the lowest-tech version, possibly going back to ~2000 BCE in Nigeria. If we add bellows, the improved air flow will raise the temperature. So smelting happens faster and more efficiently in the bloomery, and so does heating the iron in the forge, making it easier to work with. And that’s the standard process from the Iron Age all through the middle ages and beyond (although in China they may have skipped this stage and gone straight to the next one).

If we make the bloomery bigger and bigger, with stronger and stronger bellows, we end up with a blast furnace, a construction so efficient that the temperature outright melts the iron, and it’s liquified enough to be poured into a mould and acquire the desired shape when it cools off. This is “cast iron”.

a blast furnace

So in all of this, what’s cold iron? Well, it’s iron that went though the heat and cooled off. (No heat = no iron, all you got is ore.) If it came out of a bloomery, or if it wasn’t cast, it’s by definition worked, hammered, beaten, wrought, and that happened while it was still hot.

Is there such a thing as “cold-wrought” iron? No. In fact, “working cold iron” was a simile for something foolish or pointless. A smith who beats cold iron instead of putting it in the fire shows folly, says a 1694 book on religion, so you too should choose your best tools, piety and good decorum, to educate your children and servants, instead of beating them. When Don Quixote (1605) declares he’ll go knight-erranting again, Sancho Panza tries to dissuade him, but it’s like “preaching in the desert and hammering on cold iron” (a direct translation of martillar en hierro frío).

Minor work can be done on cold iron. A 1710 dictionary of technical terms tells us that a rivetting-hammer is “chiefly used for rivetting or setting straight cold iron, or for crooking of small work; but ’tis seldom used at the forge”. Fully fashioning an object out of cold iron is not a real process – though a 1659 History of the World would claim that in Arabia it’s so hot that “smiths work nails and horseshoes out of cold iron, softened only by the vigorous heat of the sun, and the hard hammering of hands on the anvil”. [I declare myself unqualified to judge the veracity of this statement, let's just say I have doubts.] And there is of course such a thing as “cold wrought-iron”, as in wrought iron after it’s cooled off.

Either way, in the context of pre-20th century English texts which refer to apotropaic “cold iron”, it’s definitely not “cold-wrought”, or meteoritic, or a special alloy of any kind. It’s just iron.

Fiction

The old superstition kept coming up in fantasy fiction. In 1910 Rudyard Kipling wrote the very influential short story “Cold Iron” (in the collection Rewards and Fairies), where he explains invents the details of the fairies’ aversion to iron. They can’t bewitch a child wearing boots, because the boots have nails in the soles. They can’t pass under a doorway guarded by a horseshoe, but they can slip through the backdoor that people neglected to guard. Mortals live “on the near side of Cold Iron”, because there’s iron in every house, while fairies live “on the far side of Cold Iron”, and want nothing to do with it. And changelings brought up by fairies will go back to the world of mortals as soon they touch cold iron for the first time.

In Poul Anderson’s The Broken Sword (1954), we read:

“Let me tell you, boy, that you humans, weak and short-lived and unwitting, are nonetheless more strong than elves and trolls, aye, than giants and gods. And that you can touch cold iron is only one reason.”

In Peter S. Beagle’s The Last Unicorn (1968) the unicorn is imprisoned in an iron cage:

“She turned and turned in her prison, her body shrinking from the touch of the iron bars all around her. No creature of man’s night loves cold iron, and while the unicorn could endure its presence, the murderous smell of it seemed to turn her bones to sand and her blood to rain.”

Poul Anderson would come back to that idea in Operation Chaos (1971), where the worldbuilding’s premise is that magic and magical creatures have been reintroduced into the modern world, because a scientist “discovered he could degauss the effects of cold iron and release the goetic forces”. And that until then, they had been steadily declining, ever since the Iron Age came along.

There are a million examples, I’m just focusing on those that would have had a more direct influence on roleplaying games. However, I should note that all these say “cold iron” but mean “iron”. Yes, the fey call it cold, but they are a poetic bunch. You can’t expect Robin Goodfellow’s words to be pedestrian, now can you?

RPGs

And from there, fantasy roleplaying systems got the idea that Cold Iron is a special material that fey are vulnerable to. The term had been floating around since the early D&D days, but inconsistently, scattered in random sourcebooks, and not necessarily meaning anything else than iron. In 1st Edition’s Monster Manual (1977) it’s ghasts and quasits who are vulnerable to it, not any fey creature. Devils and/or fiends might dislike iron, powdered cold iron is a component in Magic Circle Against Evil, and “cold-wrought iron” makes a couple of appearances. For example, in AD&D it can strike Fool’s Gold and turn it back to its natural state, revealing the illusion.

Then Changeling: The Dreaming came along and made it a big deal, a fundamental rule, and an anathema to all fae:

Cold iron is the ultimate sign of Banality to changelings. ... Its presence makes changelings ill at ease, and cold iron weapons cause horrible, smoking wounds that rob changelings of Glamour and threaten their very existence.... The best way to think about cold iron is not as a thing, but as a process, a very low-tech process. It must be produced from iron ore over a charcoal fire. The resulting lump of black-gray material can then be forged (hammered) into useful shapes. — Changeling: The Dreaming (2nd Edition, 1997)

So now that we know how iron works, does that description make sense? Well, if we assume that the iron ore is unceremoniously dumped on coals, it does not. You can’t smelt iron like that. If we assume that a bloomery is involved even though it’s not mentioned, then yes, this is broadly speaking how iron’s been made since the Iron Age, and until blast furnaces came into the picture. But the World of Darkness isn’t a pseudo-medieval setting, it’s modern urban fantasy. So the implication here is that “cold iron” is iron made the old way: you can’t buy it in the store, someone has to replicate ye olde process and do the whole thing by hand. Now, this is NOT how the term “cold iron” has been used in real life or fiction thus far, but hey, fantasy games are allowed to invent things.

Regardless, 3.5 borrowed the idea, and for the first time D&D made this a core rule. Now most fey creatures had damage reduction and took less damage from weapons and natural attacks, unless the weapon was made of Cold Iron:

“This iron, mined deep underground, known for its effectiveness against fey creatures, is forged at a lower temperature to preserve its delicate properties.” — Player’s Handbook (3.5 Edition, 2003)

Pathfinder kept the rule, though 5e did not. And unlike Changeling, this definition left it somewhat ambiguous if we’re talking about a material with special composition (i.e. not iron) or made with a special process (i.e. iron but). The community was divided, threads were locked over this!

So until someone points me to new evidence, I’ll assume that the invention of cold iron as a special material, distinct from plain iron, should be attributed to TTRPGs.

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makapatag · 11 months ago

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On Posture In Gubat Banwa

So the sixth version of Gubat Banwa's First Edition "returns" to the ideal that HP as a pacing mechanic, an Action Economy limiter, and a resource pressure. As always, in Tactical Combat games, resource management is a major aspect of the gameplay. Management of action economy, management of distance, management of other currency (such as Class-specific Resources). Most of a Tactical Combat Grid game revolves around the manipulation of these mechanics: reducing, regaining, adding, changing, force multiplication/division of these resources, and more. In Tomian Design (that is, Tom of LANCER RPG and ICON RPG), costing.

For the first 5 versions of Gubat Banwa's design, we worked with lower HP values (across the board) and with Dice Pools. The idea was that each dice in a dice pool was an attack launched, or a moment of concentration. Every die in the defense pool was a parry or evasion attempted. While the fantasy of that worked pretty great, the maths on the other hand did not. It worked almost counter-intuitively against the high-flying martial arts x deliberate tactical combat that I was trying to strike a balance for. My white elephant, my Shambhala, was to strike a good balance between that.

The Change

In 1.6, while the Dice Pool didn't entirely go away--much of the game is built around getting tactically advantageous positions so that you can get more dice and a higher chance of dealing greater damage on the target--it went for a more linearly scaling game with the result on the die reducing the target's Health.

It was a hit, mostly, among the inner circle (that is to say, my friends that I run the newer version for). There was an immediate sense of "we know how this game works" now.

On Tactical Video Games

It was more transparent--this information was crucial to making a tactical game work and sing. This is why in video games, almost every tactical game has the "Combat Forecast", like in Fire Emblem and Final Fantasy Tactics, that showcased the expected Hit Rate and the Damage Output.

This is absolutely integral: tactical games are decision point games. Without the proper information (doesn't need to be complete information), no decision can be done satisfyingly. This isn't to say that dice pools can't be used for a tactical game of course--I've done it. But it requires a different kind of design principle and design goal that Gubat Banwa wasn't going for. That sense of martial progression, of spiritual strength and eventual enlightenment.

From HP to POS

During the initial playtests, we were still working with HP. Hit Pearls. The idea was that every hit "shattered" a Hit Pearl. This worked with the Dice Pools, because the fiction was that every attack could be parried with Defense Dice.

What was the problem with this? Firstly, the math of this was inherently fraught, unfortunately: on higher levels, Defense Dice were either horribly impenetrable or did absolutely nothing to defend you. It became a binary thing. That was not the goal: for the martial fantasy to come to life, much of the decisions should not binary but rather, on a gradient spectrum.

To me, the destroyer of tactical grid games is when there's a single best strategy that shatters the tension of the game. My favorite parts of Final Fantasy Tactics and Tactics Ogre were early game moments where the output randomness could make every fight go completely different, even if you redid the same stage more than once.

Secondly, when the outcome of an action is that, really, nothing happened, you used an attack (even worse, the attack was buffed by yourself, an ally, and tactical modifiers) and then the target was able to parry all your hits. The fiction is exciting for a second, but then when you return to the battle grid, nothing changed. The mechanics fed into the fiction, but the fiction didn't feed into the mechanics.

With the math change, the fiction of the Hit Pearls wasn't working because HP values were higher to compensate for the changed math. 12 Hit Pearls could feasibly be visualized as Link's Hearts, for example. But at 48 HP, that didn't work anymore.

Hearkening to the Ancients

So I actually went on a trip to older versions of Gubat Banwa, and found I'd solved that particular problem. Older versions of Gubat Banwa had HP as "Mettle", their ability to stay in the fight. Turning to the game's current version, I realized the Physical Defense stat was perfect: POSTURE. The stance, the guard, the ability to keep fighting, the ability to turn mortal wounds into grazing hits, the ability to ignore the effects of bleeding wounds, of burning pyres, of seeping poison.

Every attack was inflicting damage by chipping away at the target's guard, or forcing their stance into more compromised positions so that they would be open to an actual mortally wounding strike. They were still real hits that the defender was actively still guarding against. And with every attack defended, their guard wore down.

This hit me after watching Donnie Yen's SAKRA (2023) the other day. Reaching back into the high-flying wuxia roots, Donnie Yen's character doesn't even take real hits until after he's overwhelmed because he is such a martial superior against the rest of the Beggar Clan. Because his Posture was so high.

Ten Thousand Earth Shattering Blows

It worked great. Not to mention that it's a great reference to Sekiro, another huge inspiration to the games's intended fiction, which also had a Posture break. Now Staggered for half Posture or lower made sense: your guard is brittle! You court death! Now the Wide Open affliction felt more in genre: your guard is wide open, so you're suffering more!

The Physical Defense stat was renamed into PARRY, while the Magical Defense stat was kept as RESILIENCE (itself a reference to Final Fantasy Tactics A2!) The defenses were there to keep the mechanical bite of an Attack vs Defense interaction, to provide an avenue for another mechanical design space, as well as to shoe in the fact that when an attack targets your Parry you're physically blocking while an attack against your Resilience requires your fortitude and concentration to block against: when your Posture is reduced, when you guard is worn down by these attacks, you know how you were defending.

When enemies hit 0 POS, that attack is the one that gets through their Defenses and kills them outright. When a Kadungganan falls to 0 POS they're not dead, but they suffer a WOUND, which only heals on Downtime (as opposed to POS healing on Repose, ie., short rest).

On Defeat and Victory

While you're Defeated, you suffer the same effects of Stun, but you can still act and do things, even make attacks at full power: you're Kadungganan after all. But every attack against you, despite your PARRY or your RESILIENCE is not met with a stance ready to block. Thus, every instance of damage you suffer, no matter how much, inflicts another Wound. When you eat 5 Wounds, you can pull on your Conviction to stay alive. Otherwise, you are tossed back into the cycle of reincarnation, or into the river to Sulad, or to Lunar Heaven, or to whatever next life your Kadungganan has chosen to ascribe to.

Status Effects

Statuses such as Poisoned, Bleeding, or Aflame, don't break you yet because they must eat through your bodily resistance. But they are still real: an aflame Kadungganan fights on even as flames swathe their body.

They can die later, when they feel the effects of the burn when their POS falls to 0. They can die later, when the Poison finally seeps through and enervates them and destroys their defensive capability. They can die later, when the bleeding takes its toll and they can no longer keep their stance up.

Martial Glossolalia

With a simple terminology change, the fiction changed entirely. Now everyone knew it was their defenses wearing down. Swords didn't cut off their fingers, flames didn't burn through their skin. They know that defenses are a holistic thing: your stamina, your constitution, your composure, your reactive ability, your dexterity, your presence of mind, your focus.

"It's not realistic!" The game is not meant to be realistic, and realism is not an inherent ontological good nor is it a goal for most TTRPGs, you will notice. Experiences, feelings. The fiction Gubat Banwa draws upon--SEAsian Folk Epics, Asian Martial Arts Cinema--is filled to the brim with the CLANG CLANG CLANG of sword-on-sword action. Often these clangs happen so quickly that you cannot process them, they are abstracted to you when it resolves in your brain--so is it abstracted by Gubat Banwa. Posture going down is the CLANG CLANG CLANG that resonates across a fight scene. It's not realistic because it's not meant to be, and even then, we must argue what your conception of reality is!

I could be argued that much of Tabletop RPGs (and, I would argue, most of games in general) is an exercise of language. Exploiting its vagaries, its ability to connect. When you go into Gubat Banwa, learning the mechanics of the game is learning a new language. And what is language but the foundation of culture?

#gubat banwa #ttrpg #filipino #fantasy #writing #rpg #gamedev #dnd #southeast asia

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