#i kind of...like it? kind of like the sort of more fantasy vibes?

[vigilskeep]

various and sundry artbook tidbits i found interesting (SPOILERS AHEAD FOR THE VEILGUARD ARTBOOK. obviously)

faction & location stuff:

a sketch page from the very early days exploring shape languages for factions like elves, dwarves, wardens, the necropolis, tevinter, and rivain, also includes concepts for the mages’ college and the ben-hassrath

early rivain concept arts have npcs with a similar armour patterning to duncan’s, suggesting it’s a mark of his rivaini heritage like i always thought!

the depiction of the ““creation story”” suggests elves were mimicking the bodies of dwarves when they formed their own, not humans like i think mythal says in game flashbacks, which would make more sense timeline wise

there’s concept art of the city of ventus, which i believe is of particular relevance to mercar players? it’s right on the border of arlathan forest, and surrounded by magical statues holding out raised hands forming a ward along the tree line to keep it from encroaching

the home base was going to be a lovable fixer-upper of a ship given to us by isabela, named the dumat. this didn’t fit the spy theme they were originally going for, so they tried really really hard to make it a submarine without feeling anachronistic by making it sort of sea monster shaped. there are a lot of cutaways and schematics. they were going to give it a mystery engine that you would get light fetch quests to feed random objects: “ten dried lavender flowers, five quail’s eggs, three brass belt buckles, etc.....” the submarine then turned into an undersea mansion on the back of some giant shambling sea creature you would never get a good look at

later on there were some funny takes on the lighthouse specifically, like bringing back the sea creature theme to put it on the back of an interdimensional veil whale, or having it be the true location of the black emporium with a collection of eluvians that xenon the antiquarian lets you use

there’s a tiny concept art for a “high-speed aravel chase” in a canyon like a western

tevinter gladiators are mentioned a couple times. we WEREEE going to get to see the minrathous proving grounds :( there’s also a dwarven embassy concept art somebody take me out back and shoot me

there are a lot of ghilan’nain creature designs that didn’t make it into the game which is a shame but i can see why they would have been resource heavy

the antiva concept arts are so gorgeous. a lot of it got through! and definitely the overall Vibe made it. at some point it seems to have been antiva city itself; they don’t call it treviso and they mention the circle of magi as a major landmark

“The entrance to the Necropolis is like an inverted Tower of Babel. They seek knowledge in the grave instead of heaven.” <- this just rules as a line

for arlathan: “To differentiate it from previous forest and jungle locations in Dragon Age, we went with an autumnal colour palette. It has the benefit to feeling ominously like the end.”

the veil jumpers have a “skull halla” symbol that “implies their willingness to risk death”. did that end up in the game?

“With each faction, we explored a range of aspirational fantasies. For the Wardens, this ranged from knights in shining armour to butal tanks to a Nietzche quote: ‘Beware that, when fighting monsters, you yourself do not become a monster.’”

there’s this concept among the warden armours for an insane orlesian noblewoman look with the winter palace morrigan corset and a piled high wig, but the skirts torn knee length and a serrated fan in hand. i’m kind of obsessed

“To bring more life to the world, we thought about what industries would keep the Anderfels afloat. We took the prominent Warden blue colour and envisioned an industry harvesting flowers, creating dye, and then weaving copious amounts of blue fabric.” this is probably where the flower quests in the hossberg wetlands started off conceptually? v cute

character stuff:

in completely different early versions of the game, solas had a “bad cop” right hand woman called reva

imshael the desire demon/choice spirit from the masked empire and inquisition was going to be a two-handed weapon warrior companion, and also sexualised now while in largely feminine form, which would have been a Choice. there is one art of him in masculine form, also sexy but still not showing as much skin as the feminine one

as i said, neve was going to be calpernia

taash was a rogue. (they’re still a light-armoured dual wielder so that checks out.) it seems like davrin was briefly a mage. at some points harding seems to have inherited bianca

saarbrak, another qunari companion, seems to have lastest the longest of the abandoned concepts. he’s the only non-canon one who got as far as having a place for him sketched into designs of the lighthouse: “saarbrak’s planning room”. mentions and sightings of what might be him are sporadic and i think you only see his name on that sketch, but i’m connecting it to the description “a potential qunari companion evolved from saarebas to dapper qunari spy, offering a deeper look into qunari culture”

the embroidery on harding’s clothes is how she passes the time while “waiting for days in a sniper perch” on missions. i just thought that was cute

[note-boom]

I should probably have something to say about ep 2 again but honestly 24 seconds into ep 3 and I'm like, "wait...it WASN'T the dark of night when Dazai asked Aku to be the ADA's guardian purgatory spirit?" That place looks like the entrance to the fae realm or something

I mean I have vol 20 and this is very cool but also threw me off

[aroaessidhe]

2024 reads / storygraph

The Saint of Bright Doors

a surreal Sri Lankan fantasy about colonialism, revolution, mixing fantasy with the modern world

follows a man raised by his mother to kill his father, a god-like cult leader

but as an adult he puts aside his life of violence and moves to the city for a quiet life

he becomes fascinated with ‘bright doors’ around the city that never open and have no other side, and joins a group studying them to find out more

and a support group for those with divine heritage that becomes increasingly revolutionary, until the task he was made for reemerges and his life upends

[coolspacequips]

I gotta give black sails it's flowers for having multiple bisexual poly relationships, mmf AND ffm at that lol

The first was such a delightful and unexpected twist that really puts a new light onto the entire thesis of the show, and then the second was literally one of my fav dynamics in the entire series, they were my favs and all got together??? Usually this only happens in indulgent fic, but not this time!!

(also something high-key funny (in a sad way) that it kinda starts as 'I'm so co-dependant I need you to hold my hand while I hook up with someone else that I was dubiously cheating on u with 🥺' and then they became a power throuple)

[kittykatinabag]

The Saint's Magic Power is Omnipotent is pure hopeless romantic delusional fantasy to me and I wouldn't want it any other way.

[arodrwho]

the best way to write is however ur little heart desires obviously but personally subjectively pettily i think that most of the time people would be better off just writing how they talk

[legendaryvermin]

So my home ttrpg group is between longform games right now, and I have been planning to bring a bunch of games to them this weekend as options for what we might play next. However, I have been trying to figure out how to talk about the games in a way that doesn't rely as much on me explaining the vibes to them.

I know that people have a bunch of qualitative categories for how they explain games, but I find the idea of saying things like Dark Fantasy OSR, or Lesbian Goofball PBTA less helpful when talking about how games actually play, especially when two games in the same category are like, wildly different in the way they use their frameworks.

So I invented a 6 axis, 1 to 5 star rating scale for TTRPGs that you are free to borrow when talking to groups, or whatever.

TTRPG 5 Star Rating Matrix

Width

What is the scope of this game? Is it narrowly about one thing or does it encompass many types of play? (Credit to friend of the blog @ostermad-blog for this one, they came up with it from my draft)

Weight

How much cognitive load does the player need to bear? Do rules often need to be referenced verbatim? Can those rules fit on a handout?

Wargame

Is the player expected to apply tactical acumen? Is movement tracked tightly or loosely? Does a bad build punish a player?

Writers Room

How much are players expected to make narrative choices and drive the story without the rules scaffolding them? Does this game fall apart without excellent improvisational storytellers?

(Prep)Work

Does this game require a lot of pre-planning by the facilitator? Are there intricate systems to attend to outside of table play? Can I put in the same amount of time as other players and still have everyone leave happy? 

Whimsy

Expected tone of the game. Does this game have difficult thematic elements baked in? Is the core subject or role in the game high or low risk?

Here are some games I know well and how I calibrated them:

I have breakdowns of what each star rating means below the cut if you're curious. Happy Gaming!

Width

⭐ - As written, the game has basically one mode of play, or one thematic core that it meditates on. May have phases, but textural difference is minimal.

⭐⭐ - As written, there are at least two modes of play, but the scope of that play is highly thematically focused or highly dependent on using the game’s own lore. Might have only one kind of character (e.g. Mech Pilot) that it supports. Has limited tools outside of the primary mode of play.

⭐⭐⭐ - Has a variety of modes of play, but may be rigid in their execution. Might encompass multiple kinds of characters (e.g. Doctor, Lawyer, fighter) or character options. The narratives that this game tells within its setting are narrowed, a three word description tells you what kind of stories it can tell with consistency.

⭐⭐⭐⭐ - Loose framework, but with some kind of thematic grounding. Describing the framework in 3 words doesn’t tell you the kind of stories that the game tells (e.g. Dark Fantasy, Star Wars Romp). 

⭐⭐⭐⭐⭐- As written, this game is designed in such a way that it doesn’t put specific limits on what sorts of stories that it is meant to tell. It might ask players to define abilities or stats for themselves. The Facilitator is going to pitch a thematic grounding on top of the rules set.

One Star Examples: For the Queen, Dialect, Honey Heist Five Star Examples: Fate Core, Savage Worlds, GURPS

Weight

⭐ - It is reasonable for a player to be able to recite the rules from memory. The game may be prompt based, or driven by a flow of rules that are read aloud as played.

⭐⭐ - Players can hold most of the most important information about the game in their heads, with a page or less of rules reference needed to play smoothly. This reference could all fit neatly on the character sheet if one is present.

⭐⭐⭐ - Everything a player needs to know about the game is visible on less than 3 sheets of reference. Players are more or less expected to know exactly how their own abilities work in precise detail, and are unlikely to make a mistake in executing them.

⭐⭐⭐⭐ - Players make extensive use of multiple reference sheets to keep rules moving smoothly. No external tools are needed, but players memorizing the details of all of their abilities is taxing. 

⭐⭐⭐⭐⭐- Players and facilitators will prefer to make extensive use of external tools or reference to keep play moving smoothly. Expecting a player to have the exact details of their abilities memorized is not reasonable.

One Star Examples: For the Queen, Stewpot, Mobile Frame Zero: Firebrands Five Star Examples: Dungeons and Dragons 3-5e, Lancer, Edge of the Empire

Wargame

⭐ - As written, this game does not treat combat as mechanically different from any other aspect of play, or does not include narrative violence at all.

⭐⭐ - While players may engage in combat, it is minimally different from regular play. There may be tools or abilities for players to use to conduct a fight, but the texture of those fights is thematic, not mechanical. Narrative and consequence drive the action, not hit points.

⭐⭐⭐ - As written, combat has its own set of rules. This game may have some elements of buildcrafting, but either it is difficult to build something that doesn’t work, or the player may meaningfully invest in other modes of play and still find a commensurate level of satisfaction. If combat occurs, spacing is kept in mind, but is tracked in relative terms (range bands) or highly simplified (zone based combat).

⭐⭐⭐⭐ - This game has buildcrafting that is somewhat mandatory if players wish to survive a fight, but there is still a meaningful choice in choosing a non-combat role. It may use a grid or a spacing system to help players visualize the combat. Fights are driven by mechanics, not by narrative.

⭐⭐⭐⭐⭐- To enjoy this game, players must spend time buildcrafting. If a player’s build is suboptimal, there may be significant parts of the intended experience that will either feel tedious, or that the player will not have meaningful access to. This game is played on a grid.

One Star Examples: Wanderhome, Dialect, Belonging Outside Belonging Five Star Examples: Lancer, Dungeons and Dragons 3-5e, Valor

Writers Room

⭐ - Players in this game are not expected to provide much in the way of narrative substance. Story is something that is driven by external input or tools, and players are there to imagine and react. The player need not separate the self from the character they play in any meaningful way.

⭐⭐ - The mechanics of this game drive most of the narrative, or else the narrative is set for the players by an external source or player. Players are encouraged to play optimally rather than dramatically, but do have room for expressing the identity of their character within the game’s mechanical frameworks.

⭐⭐⭐ - While the game does provide strong scaffolding to tell a story, the players present are expected to drive the story within those frameworks. The game’s systems create and resolve conflict on their own, but works best when the players are willing to choose the dramatically interesting option even if it mechanically non-optimal.

⭐⭐⭐⭐ - The game provides some mechanical tools that create and resolve drama, but there is a significant expectation that the players are buying into and driving the game’s thematic concepts. Players are the ones deciding what the scenes should be and when to end them, but mechanics still help determine outcomes.

⭐⭐⭐⭐⭐- The players are expected to drive the narrative at all times. Tools for deciding what scenes to do and when to end them are limited, optional, or vague. There is no meaningful scaffolding that creates conflict or resolution, it is incumbent on those present to manifest those things.

One Star Examples: Alice is Missing, Ribbon Drive, For the Queen Five Star Examples: Wanderhome, Systemless RP

(Prep)Work

⭐ - Facilitators are not expected to do work outside the time at the table. All rules can be read while the game is played. No memorization is needed.

⭐⭐ - This game expects the facilitator to have read the rules in advance, but the rules are so few that they can be run from a single reference sheet. At times, the facilitator must think about and potentially advance and adjust the narrative of the game behind the scenes. Prep is qualitative; answering questions about where the narrative is going to go, who will be there etc. The game can be run smoothly predominantly as improv.

⭐⭐⭐ - This game expects the facilitator to not only know the rules, but to imagine scenarios where the group must play. However, the scope of the scenario design is limited and qualitative. It takes a bit of pondering and perhaps a sketch and a few words of notes. Alternatively, the facilitator must design simple foes or track a simple background system. The work is trivial, and can be done with a bit of time before session.

⭐⭐⭐⭐ - The facilitator of this game is expected to have run systems between games, or created usable maps or scenarios. Generally, games at this level have some reduced wargaming component. The facilitator might need to engage in enemy design, but the work is limited or imminently reusable. The work is non-trivial, and failing to do it will somewhat impact the quality of play.

⭐⭐⭐⭐⭐- The facilitator of this game puts in significant time between sessions engaging in game design activities. They are expected to plan narratives, write NPCs, draw maps, run significant background systems, and design enemies and combat encounters. The work is significant outside of play, and failing to do it beforehand will result in a worse table experience.

One Star Examples: For the Queen, Alley-Oop, Lasers and Feelings Five Star Examples: Lancer, D&D 3-5e, Stars Without Number, Edge of the Empire

Whimsy

⭐ - This game’s thematic core is considered dark, taboo, or difficult, and separating the game’s mechanical features from this subject matter is next to impossible. Games with horror elements almost certainly fit within this category. These games encourage extensive pre-play safety talks.

⭐⭐ - This game is designed to look at dark subject matter, but doesn’t expect the player to spend all of their time there. Players explore difficult topics, but may get to choose what topics to explore, or when to explore them. Games with political messaging/commentary tend to fit this category. These games encourage pre-play safety talks.

⭐⭐⭐ - This game may have dark aesthetics, but doesn’t enforce them mechanically. Alternatively, there are mechanics that address difficult topics in broad strokes, but players are given leeway in the rules with how any difficult topics are approached. These games may encourage safety talks. 

⭐⭐⭐⭐ - This game may have the option to explore dark topics, but none of the mechanics are tied to such topics. This game may have violence in its aesthetics, but players may choose to adjust the aesthetics at the table to suit their comfort. These games tend not to talk about safety in their text.

⭐⭐⭐⭐⭐- This game is designed to focus on thematic material that is considered to be relatively safe. The game is unlikely to tread into violence or trauma without effort.

One Star Examples: Trophy Dark, Dungeon Bitches, Vampire the Masquerade Five Star Examples: Honey Heist, Princess World, Beach Episode

The system here isn't about what's good or bad, to be clear. I think there are good and bad games at every level of these categories, but when I think about what my game group is good at and comfy with, I don't think we go in for things at like the 5 end of the Writers Room scale. It's too much work, and most of them aren't pro improvisers.

Similarly, if we play another game that is a 4 or 5 on the PrepWork category, I don't have time to run it these days. So this helps me make practical choices about our next game.

[in-case-of-grace]

Alternatives to "GM" in TTRPGs

Spurred by a recent post from @imsobadatnicknames2 that found its way into my feed by way of @anim-ttrpgs' addition (this post got too big to be a reblog sorry), I've been thinking about the influence of the terms we use for the host-and-narrator role in a TTRPG. Each tends to carry some connotations and implications as to what the role might entail, and these can influence how people play your game.

At best, this may enforce your intended roles for the game, alongside its themeing. At worst, your chosen term for this role may create false assumptions, and lead to people approaching it in a way that makes it unfun for them.

There's also an aesthetic component to consider! Having a term that matches your genre and vibe can go a long way! It's gonna be a balancing act— does the term change how people interact with your game enough to become a problem? Does it match and enforce your themes and aesthetics strongly enough to balance some of those problems out?

Below, I'm gonna go over a couple common (and uncommon) terms for this role and what I think their connotations, implications, and best usecases are here. These are gonna be beholden to my own biases, of course— and you may see different connotations entirely! Maybe it'll help folk think more about what terms they want to use!

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"Game Master" is very gamey. It implies that this person is setting up a bunch of specific, pre-made mechanical challenges-- like an obstacle course. I will admit that it does have the weakest connotations of all the commonly used terms I'm aware of, though-- simply by virtue of it having become so commonplace across all sorts of games.

I think it works best with chunkier, mechanically heavy games. Due to it having a weak connotation, though, it won't hurt your game if you use it elsewhere, it is kind of the baseline these days, after all.

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"Storyteller" implies that this person is sitting everyone down and telling them a story. Like putting on a play. There's an implication that they are going to be controlling most of the narrative here-- and that the players don't have as much say in it.

It's also technically incorrect, given that...well, the players are storytellers too! The point of these games is to tell a story together!

It can work for more narratively focused games, it has some lighthearted, cutesy vibes that can be a good fit for some-- but its connotations can lead to this person taking more control than you may actually intend for them to have in your game.

It's one that I don't think accurately fits a lot of games, and is chosen more for its aesthetics and vibes. (Something I have done before, and with time it bothers me more and more.)

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"Narrator" is the opposite of Storyteller-- it implies, to me, that this person has less say in the narrative than the players. They are there to impartially narrate and describe the world's reactions to what the players do, little else. A passive observer, almost.

I think it can still work fine for plenty of games-- especially those with contemporary settings. It's the sort that, to me, feels more suited to sandboxy games that are more focused on providing a bunch of simulationist tools for players to poke and prod the world with, rather than on telling a structured narrative.

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"Dungeon Master" is particularly genre-limited. It carries a lot of the same implications that GM does, but for fantasy games in specific-- especially dungeon crawlers.

Only making a special note of it here since it is tied to A Particularly Big Game in the community. Its connotations are much stronger than GM's, though, and it feels out of place in rules light games— unless they are specifically set in a dungeon.

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"Director" is one that can have drastically different implications depending on the background of who reads it. If they're a film buff, they'll think it implies that this role has final say on everything, and retains high levels of control that the players do not share. Very much akin to Storyteller.

However if the person reading it is more familiar with video games, and the Left 4 Dead series (and games inspired it) in particular, they'll see the Director role as something more reactive and behind the scenes. They may think this person is responsible for improvising and presenting the players with challenges and scenarios that match their current situation— be it narrative or mechanical.

There may have been a specific plan made ahead of time, but it is filled with a ton of contingencies, with an expectation that improv will fill in the gaps.

Though like Narrator, the L4D type of Director implies a somewhat passive, observer role that isn't meant to have a say in the story.

I think most people will see it with film connotations rather than the Left 4 Dead connotations— which is unfortunate, considering that the L4D type of Director is actually really well suited for certain types of TTRPGs. I think "Game Director" vs "Director" may help alleviate this somewhat, but I'm unsure how effective it'd be as I don't think most people share the L4D brain association I do.

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"Referee," "Arbiter," "Judge," and "Moderator" all share the same problem as Narrator-- but 10 times worse. These are all heavily laced in passive connotations-- and imply that this person is there simply to determine the outcomes of mechanical situations, but has no say in the narrative.

They can work nicely with like, sports or competition TTRPGs in specific, though.

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"Master of Ceremonies (MC)" implies that you're not playing a game, but that this person is about to lead you through an awards ceremony, drop some bars, or host some stuffy 500 year old regal event called "the Ceremony of the Ballet Fish" or something.

I don't think this one fits in TTRPGs like, at all, frankly. I just cannot imagine someone in that role being referred to as an "MC" unless we're talking about a game that is specifically about a ceremony, or rap.

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"Caretaker" implies that this person's role is to maintain and care for the world, game, and story. It implies that they not only facilitate the garden you're all playing in, but that they also trim or rearrange it to suit everyone's needs-- including their own.

I actually think this one is very nice. It doesn't imply that they're an absolute monarch, nor does it imply that they're a passive observer. It also manages to encapsulate the amount of background work the role can often require, without taking away their say in the resulting narrative.

A Caretaker has agency in the story, while remaining cognizant and receptive of the players' agency, too.

This works really well for games focused on telling collaborative narratives, but I think it can also work fairly well for mechanically focused ones as well. It feels pretty versatile!

This one is new to me and I honestly might start using it for my games going forward, unless someone knows of a common connotation I'm unaware of!

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"Facilitator," and "Host" both imply that this person provides the space and tools for the game, and nothing else. They handed the players the keys, told them to lock up after they're done, and left to go do sick flips in their motorcycle or something nerds do.

To me, the term by itself implies this person has very little to do with the actual game. I don't think these work any better than, say, GM, without a thematic justification.

Host could be amazing for some sort of bio-horror game— or for a game show RPG. Facilitator feels DoA to me. Both, however, could work if your game really is set up so the Facilitator/Host just provides tools to the players and does little else.

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"Guide" implies that this person takes on a fairly hand-holdy role in leading the players through the game and its narrative. Maybe not quite railroading, but they definitely do a lot to keep the players on track.

This one, I feel, carries some "teacher" connotation— as if this person is responsible for teaching the players the rules. It's on them, not the players, to read and remember the actual rules.

I feel that this connotation largely ruins what good this term could do.

But, it can still work well in certain cases. If your game really is meant to have a focused, linear narrative, it can work quite well. The same goes for specific genres or settings— such as anything dealing with camping, national parks, or tourism.

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"Overseer" taken at face value, actually could be pretty apt. They'd be someone who oversees the game and does what they can to keep things fun.

Unfortunately, due to the word's use in workplace environments and dystopian fiction— it has some pretty heavy cultural connotations that turn it more into a dictator role. They have complete and total control over the game and its narrative, even if the players disagree with their choices.

I think it can work well for games that deal with dystopian or corporate settings, where this person might actually be meant to have more control, or simply for the flavor— but not a ton else.

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"Producer" is vaguely similar to the film-style Director-- in the sense that it comes from film. However, unlike the Director, a Producer coordinates and works together with the players to tell their story. It's a more collaborative role that shares power and agency more evenly with the table.

This also somewhat accurately implies the amount of work that goes into the role, much like the Caretaker.

However, given its origins, it doesn't imply they're playing a game— I can't entirely explain why, but it feels similar to MC in this sense. The term is very heavily entrenched in its origins, and carries strong film connotations— even though, yes, video games have producers too!

I think it'd be rad to see games using this, though. In time the strong film connotations may shake off! Like Caretaker, I think it's fairly versatile and could be well suited for a wide variety of games.

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Niche terms such as keeper, warden, overlord, president, deity, and fixer are always worth considering, too! These tend to just be one-offs used in a specific TTRPG, that suit their setting and tone in particular.

Now, each can and does have its own implications and connotations to consider— weigh those against how well it serves the vibes of your game before you lock in!

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"Host and Narrator (HAN)" implies the same things that these terms do separately-- but combines them to offset (some of) their downsides. This implies that they host and provide the tools needed for playing the game, yes, but also that they actually stick around to narrate and respond to the players.

When Narrator is combined with Host here, I think this also transforms into something a little closer to the Caretaker— as the Host and Narrator both, they have more of an active role in maintaining the space (and story) they've provided.

It feels similarly versatile, as a result. I just made this one up and don't know if there are any games that use it already, it could have legs— it is a little dry and flavorless, though. This may give it a potential leg up on Caretaker, which does have a lil bit of a lighthearted vibe that may feel off in, say, a horror game.

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Honorable mentions - Scenestress - Conductor - SOUP (Story Overseer United (with) Players) - Their Majesty - MOMMY (Mediator Over Making Mythic Yarns) - JOE (Joe Ojoe Ejoe) - Representative (REP) - Doormat

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Again, these are all just according to the implications and connotations I find in these terms— you may find others! What you pick is going to depend on you, your game, and your intended audience!

I don't know if perfect terms exist, and it's wise to explain whichever you use within your rulebooks— just to ensure that someone else's biases and assumptions don't lead to them misinterpreting things.

Is there anything I missed? Any terms you like to use? Do you have a vastly different set of assumptions for one of these terms? Please share!

[punksocks]

Placements For Romantic Archetypes Pt.2: The Siren (18+ Only)

*Adults only! Minors dni

*just based on my experiences, only take what resonates

She’s absolutely hypnotic and the only thing she did was walk into the room. Someone with a magnetic air, that always catches attention from the people around them. Seen as sensual and mysterious, some people think they’ve got to be paid to look that good. In a lot of people’s fantasies, even if it’s only for a moment. Gives off maneater energy and brings out some sort of obsessive tendency in others.(Can apply to all genders but is often seen in the form of femmes that have a lot of mascs run after them.)

***

-Scorpio rising/Pluto in 1st: Classic placement for this vibe lol. I’ve been working on understanding exactly why this placement tends to catch so much obsession (and bruh I don’t know). I have a few theories, but for this one I’ll focus on s*x appeal and power. Scorpio rising gives the native a naturally heavy aura, the kind of energy that can’t be ignored when they walk into the room. Everyone immediately has a reaction to energy like this, and typically it’s either disgust or fascination. When people are fascinated it can easily slip into obsession. Everyone wants to know how you got so -magnetic-, so -powerful-. But not only is the native the mysterious sort that won’t exactly broadcast that information- this sort of power is second nature to them. Death and transformation is the way they’ve moved through this world as long as they could remember. I’ve noticed, this sort of short circuits some people. They want to pick apart every detail. They want to know why they’re so hooked on you even though they barely know you. They want to be immersed in the well of you. It’s intoxicating. (The natives also tend to be compelling and magnetic in general, the type to hold an audience’s captivation)

-Lilith in 1st/10th: Always gotta mention Lilith lol, she explains a lot. So it’s like the birth and death of Scorpio ascendant with something more. Twice as polarizing. It’s like that sort of energy with this potent, heavy dark feminine energy. It’s like they unlock these hidden primal desires in people that people didn’t even know they had. (Typically someone heavy in their feminine energy will have the Lilith energy and be like unlocking something in everyone else). There’s a lot of power in walking into the room and setting people off. Some people (dominant energies)tend to see this as a challenge and then these people want to cage that s*nsual, intoxicating native, and keep them all to themselves. (They also tend to be like curvier body types, so take that as you will)

-Lilith in 12th: People’s secret fantasies. They subconsciously desire the native. The native also brings peoples deep rooting cravings to the surface with their presence alone.

-Scorpio Venus: Power and presence. The native has a very heavy and influential energy. People often find them charismatic in an enigmatic sort of way. They attract powerful friends and romantic interests. They have a very seductive aura and typically can be as obsessive as some of the energies they attract.

-Venus hard aspects (especially conjunct but also square/opposition) to Pluto: Pluto’s tension with the native’s Venus tends to make them have a Scorpionic tinge to their romantic lives and the way they act as a friend/romantic. They can be dark and obsessive and have trouble taking things slow, they tend to attract romantic interests with this energy as well.

-Venus/Mars in 12th: Hidden desires. And also the native (subconsciously usually) has this ability to tap into whatever their romantic/s*xual interest desires on a subconscious level. A lot of like not just having s*x but tapping into and healing or bonding with someone on a soul level. (Sometimes on accident lol, doesn’t make them any less addicted though!)

-Venus/Mars in 8th: The natives have a heavy s*xual aura. They are also very memorable and they probably are a lot of people’s s*xual fantasies. Tendency to go deep in relationships and trysts to find out all they can about what makes their partners tick.

-8th/12th house/Lilith synastry: Ahahaha, Ah yes, the synastry that tends to f*ck people up (usually dudes, when is it ever not dudes). 8th house synastry tends to be dark and taboo and s*xually charged. Like the passion is so intense you find yourself all wrapped up and out of control. 12th house synastry is that like person that gets so on your mind they’re in your dreams. Just when you think you forgot about them they’re running through your mind again. It’s dizzying (especially since this usually is the house of hidden enemies, confusing stuff). Lilith synastry is just.. it can be so messy. The Lilith energy is often going to shine a light on what the other person is dealing with on their shadow side. This could be insecurity, anxiety, s*xual inadequacy, anything deep dark and hidden away. It’s often dizzying for anyone even a bit insecure (and let’s be real, most of us are), and can bring a reactive nature to the chemistry. (Bonus points if any of these placements are in Scorpio)

-How do you get her to be yours? Forever? Slow down, cowboy (very cool of me I know). Before you try to cage the siren (learning nothing at all from all the mythology that says hey don’t do that) have you tried to approach them like a person? Do they have a rich inner world outside of being a s*x object? Try to take a deep breath, look at why you’re only seeing this person as a goal to score or a bird to cage. And then have a polite conversation with them like a person. And expect nothing in return. That’ll put you ahead of 50% of the competition right away, and maybe you’ll get lucky and get invited into understanding the siren and their complex inner world. (Or maybe they are in their maneater phase, in which case have fun or steer clear, it’s up to you lol.)

[ohnoitstbskyen]

hello mr skyen... might i ask for opinions... for an elise thing im doing

Oh, this is interesting! I am not 100% sure what kind of opinion you're looking for - is this meant to be a skin idea or a full-scale redesign of the character? I'll give you some thoughts, with the caveat that these are off-the-dome impulsive reactions, and whatever I bring up is not meant to be prescriptive "this is wrong do it different" criticisms, they're just me bouncing ideas off of what you are presenting.

If anything I say is useful, then hooray. If it is not, or if it misses the point of what you are trying to do, please discard it without a second thought.

Bringing in some 1920s and 30s fashion energy is an interesting idea. Elise is meant to be this high society socialite who has literally been around for centuries and killing people, so there is definitely a solid idea in using an aesthetic which would be olde timey to modern eyes, but also a bit anachronistic and odd and instinctively a bit out of place in a high fantasy military state like Noxus. I think that's really interesting, and definitely more interesting than the somewhat directionless black leather lingerie her base design keeps her in.

We're playing around with gender presentation it looks like, which I think is a really solid play. Elise is generally presented as a fairly standard type busty sexy video game babe in League of Legends, with Legends of Runeterra opting to show her as a bit more spindly and flat chested. I think her general archetype definitely requires a level of sexiness, sensuality and seductiveness, she is an archetypal Black Widow character, but I don't think that means she necessarily needs to be stereotypically femme in body and presentation. Plus, the LoL universe has more than enough classic femme fatales already, anything that adds variety would be good.

I very much like the red and black fashion - she looks very credibly like an eccentric Noxian socialite, especially in the first two outfits.

I kinda feel like I'm missing something up around her collarbone and chest? A necklace? Tattoo? Cosmetic? I can see the idea of having the collar be exposed flesh for the allure of it, but I feel instinctively like it's conspicuously "empty" next to the highly made up and elaborate makeup and hair, and then the fashionable costuming.

Given that Elise is a transforming character, you could futz around a bit with her proportions? The shoes extend her legs by lengthening into points already, which is a good thing to carry over from the base design, but I think given the importance of long spindly legs to spiders, you could push it even further. think something like Bayonetta for example:

additionally, you could use something like a wrap-around collar, or a necklace, to play around with extending her neck, too, to make her even taller, and push a bit into the uncanny if you want. covering the neck up makes it easier, in my experience, to lengthen it without it looking too obviously odd.

it sort of depends on the impact you want her to have though. very tall, very slender, very long proportions are striking, and carry a vibe of the ethereal, maybe slightly mystical. height also often codes for power.

if you want her to be a more down-to-earth presence in her human form, though, especially if you want her to pretend to be harmless and/or vulnerable as part of her seduction and manipulation play, making her shorter is usually a better shortcut to achieving that vibe

hm... what else...

Well, the spider leg spikes on her arms are cool - I really like the idea of concealing them as some sort of high fashion eccentric accessory, although it's not 100% clear to me from the art here exactly how they are attached to her?

I really like the fashion design of the middle idea. I like giving her trousers and going right up to the edge of letting her have a naked upper body. It's a good way to play with the tease, I think, the allure of almost seeing what is hidden.

I'm not 100% sure about the green markings on the body. on the one hand, she DEFINITELY needs something Shadow Isles coded in her design, since that's where she draws her power from, on the other hand having it that much out in the open feels maybe a little... obvious? at least in her human form?

Of course, this again depends on the intention with the design. if you're designing this as a design to appear in League of Legends, whether as a champion update or a skin, then making her source of power obvious on her body is actually crucial, it's really important for in-game visual language. If it's for something like an appearance in Arcane, you could probably dial it back a couple of notches and make it more subtle.

Like, maybe the same idea of glowing tattoos that light up when she uses her powers, but they are subtle little spiderweb patterns on her skin that look like elaborate decoration when not in use? something like that?

anyway, that's all I can think of as a reaction just off the top of my head. this is really cool, I hope you keep working on it!

[saturdaynightspecialpresentation]

Poor Things

First of all, Emma Stone’s performance is as good as everybody is saying. Stone takes a very difficult role that easily could have gone very, very wrong and makes it look like the most effortless thing in the world.

I have been looking at the reviews, good and bad, and I think that the minority of people who didn’t vibe with this movie had slightly skewed expectations.

Poor Things starts out at Tetsuo The Iron Man levels of fucked up, but by the end it has dropped to Edward Scissor hands levels of fucked up. This is probably plenty of weirdness for the average movie-goer, but true connoisseurs of mondo cinema should calibrate their expectations.

Second, apparently this is being talked up as a sort of feminist coming of age fable chronicling an everywoman’s sexual awakening and liberation, and it really isn’t that, and I think if you are hoping for that you’ll come away disappointed.

Better, I think, to look at it as an autistic coming of age fable and power fantasy, which I think it does a tremendous job at.

Very minor spoilers under the cut; really, this is more an essay about what I thought the film was about than a review, my review would be that it's somehow simultaneously a feel-good crowd-pleaser AND a movie where an adult woman with the brain of a toddler stabs the eyes out of a corpse with a scalpel and then plays with its penis (I wasn't kidding with the Tetsuo comparison)

Honestly now that I've actually written that out I have maybe underestimated how impressive it is that Yorgos Lanthimos made a movie where that happens on screen but somehow basically everybody loves the movie.

In terms of sex, we do watch Bella discover sex, but she very quickly comes to a conclusion about her relationship with it which never once changes throughout the rest of the movie:

She likes it, she likes it more with an attractive partner, she is utterly lacking in any kind of sexual jealousy, and she doesn't attach too much more to it than that.

This is an odd comparison, but Bella treats sex the way Joey did on Friends. A man acting this way is a sitcom cliche, but a woman acting the same way…

This is a film that is really, really not interested in the real-world consequences of this kind of sex; in fact, given that a pregnancy is the inciting incident of the film, it came off a little weird to me that the possibility of a pregnancy or STD was never really addressed (unless there was a line or two that I missed while I was in the bathroom).

For the most part, though, I was able to get past it by just thinking of it as a heightened world. The sets and settings are extremely artificial, and ultimately I figured, “Hey, if I can buy this kind of thing as harmless and fun in a sitcom, I can buy it in this other kind of heightened reality.

I will say, I don't think Bella is meant to be an every-woman, and that there's textual support for this in the film itself.

All of the women Bella deals with in some way question her approach to sex, making it clear, sometimes through explicit dialog, other times more reading between the lines, that her approach to sex is not for them.

If there’s any particularly feminist message in the film, it’s that when confronted with Bella’s bizarre approach to the world, none of the women get angry at her, and most of the men she meets do.

But Bella’s relationships with other women aren’t really the meat of the film, that’s more about her relationship with men, and particularly the way that they feel, deep in their bones, that they should have control over any woman that they have sex with.

Duncan Wedderburn, when he first discovers Bella and convinces her to go away with him, thinks he is tricking and seducing a beautiful naif who he can use and then discard when he tires of her. Their relationship disintegrates as it becomes clear that Bella hasn’t been tricked at all; she wanted exactly what he was able to give, a chance to sow her wild oats by having some no strings attached sex with an attractive, likable person in an exciting foreign city.

This makes Wedderburn increasingly unhappy and unhinged (He says at one point that he has become what he hates, a “grasping succubus”) much to Bella’s growing consternation. She has no idea why he can’t simply be happy having sex with her and otherwise letting her do what she wants, and he is so committed to a certain vision of gender roles that he can’t even begin to explain it, he can only lash out in frustration.

And that I think is the meatier part of the film; Bella doesn’t so much flout social expectations as she is simply totally unaware that they exist. 

Honestly I think the character isn’t so much coded as autistic as she just is autistic. Bella is a woman who is basically totally unaware of social expectations and constantly taken aback to discover that they exist.

More than that, she has to figure out a way to work around the fact that many of the people who become most enraged by her are also so totally lacking in self-reflection, and view their social situation as so normal, so self-evidently obvious that they cannot explain to her why it is she has made them angry. They suddenly fly into rages that clearly perplex Bella and which they themselves don’t even bother to explain, because they regard their own ideas as self-evident.

Bella is an idealized autistic hero; personally as outlandish as she is I don’t really think the film expects us to take the side of anybody else, and I think there are some fairly subtle and accurate bits of autistic behavior on her part.

She responds to life as a kind of social experiment, attempting to parse out a set of logical rules and, especially in the latter parts of the movie, she often justifies her actions with a perfectly sensible internal logic that the emotional men in her life can’t parse out. Late in the film, when she and Wedderburn are destitute, she prostitutes herself for 30 francs, and with implacable logic, explains the two reasons that Wedderburn ought to be quite happy she has done so: First, her john was much worse at sex than Wedderburn, which ought to satisfy his ego, and second, they now have 30 francs and the potential to earn more.

Wedderburn does not appreciate her logical approach.

Another thing that strikes me as very true is that Bella has a very odd theory of mind for other people. There’s a scene where, traumatized by the unspeakable poverty and suffering she sees in Alexandria, she puts all of Wedderburn’s money in a box and rushes out to give it to the poor. Unfortunately the ship is leaving, but two port attendants tell her that they will be staying on the island, and would be happy to deliver a package. She tells them that she has a big box filled with money and they should give it to the island’s poor, and they agree to do so. Now, the film never tells us one way or another whether they keep their word; but Bella herself retains an iron certainty that they did exactly what she asked them to. Now, we know Bella understands what lying and deceit are, because we’ve seen her trick people before, like when she chloroforms McCandles to run away with Wedderburn. But it never once occurs to her that these sailors might do something similar. Call it paradoxical, but that kind of thinking is common in autistic people.

There’s also the scene where the self-professed cynic Harry Astley shows her the suffering in Alexandria; he admits, when he sees how terribly it has affected her, that he didn’t tell her simply because he thought it was the truth of the world, but that her attitude made him angry, and he wanted to hurt her. A very common part of the autistic coming of age is the slow realization that not everything people tell you is part of a dispassionate, scientific search for the truth.

There’s also a scene in a whorehouse in which Bella argues that it would make more sense to have the women decide who is to sleep with the johns, so that then the john could be more confident that the girl was attracted to him, which he must doubt if he chooses. You can tell I’m autistic because I immediately had the thought, “Well, but the johns would probably be worried that nobody would choose them.”

One of Bella’s fellow working girls instead tells her, “Some of them like the fact that we don’t have a choice”.

[caelesjjk]

anatomy of the moon - jjk&myg

fic announcement

⟶title: anatomy of the moon

⟶pairing: werewolf!jungkook x werewolf fem reader, vampire!yoongi x werewolf fem reader

⟶au: supernatural, fantasy

⟶ rating: 18+

⟶ genre: romance, smut, love triangle

⟶ wc:

⟶ warnings: I’ll list these when the fic drops

⟶ summary: you’re an experiment. nothing more than disposable if they don’t get what they want from you. the problem is…it worked.

you’re a werewolf who was tricked into mating with a vampire and now you’re carrying his child. a hybrid who could be a mindless monster when it’s born. no one truly knows.

your pack comes for you, breaking you out of the lab they trapped you in just before you have the baby.

now you’re on the run from the vampires with jungkook, your werewolf bodyguard who is supposed to keep you and your baby safe and most definitely not fall in love.

⟶ authors note: hello darklings. here’s another unhinged idea from me that will be posted in the coming months. I have a couple projects I’m finishing first. but kind of wanted to gauge how readers might feel about a fic like this. yes, I’m back on my love triangle shit but this one is…intense and dark. it’s sort of got some Underworld vibes to it. let me know how we feel about this!

[pitchblackespresso]

I feel like I'm on r/OffMyChest, but there's something I've been meaning to say for some time

I dislike the Zonai

Their execution was lackluster (there's some interesting stuff, but the environmental storytelling is too sparse and inconsistent for any sort of coherent theory-crafting), but what I despise the most is how they're retroactively shoehorned into botw's worldbuilding

The Sheikah tech ? Heavily implied to be a derivative of the Much Superior Zonai tech

Hyrule Castle? Was built to honour Rauru's sacrifice

Calamity Ganon? Leaked gloom-turned-malice from dehydrated Ganondorf's seal

Temple of Time? The ~original~ was Zonai-made

Typhlo Ruins? Actually Hylian made, but to honour the great King Rauru (again)

Rauru himself is Zelda's ancestor (and implied source of her sealing powers, retconning the Triforce)

The Forgotten Temple? Also Zonai and used by King Rauru to hide the Secret Stones

Ancient Hero? Some kinda Zonai hybrid creature

This narrative of "everything was the Zonai/Rauru all along" is one I don't vibe with, because not only does it give inconsistent backstory to things that didn't need it, but they then left us with more questions than answers due to just how little we actually know about the Zonai.

I also wanna mention how much I dislike the Gacha machines that dispense the complete eyesore that are the Zonai devices. They're a fun enough gameplay concept (tho I don't personally like it), but it makes no sense how you get functioning hydrants or rockets out of gachapons. The Sheikah tech was given ample backstory, and clashed with Hyrule's otherwise rugged wilderness for thematic reasons. The Zonai tech is just kind of an ugly reminder that this is a videogame, and that you get these pre-made devices because the devs wanted to make a sandbox, regardless of whether it fits in this medieval high fantasy setting with serious undertones and environmental storytelling. And since they're branded as Zonai-made, they add to my discontent with the Zonai

I love this game, and it's done so much right (even tho some people might say otherwise), but I cannot bring myself to enjoy much of anything related to the Zonai, which, despite being barely in the game, play a huge role in the story, environment and worldbuilding

[bubbles-for-all-of-us]

Is it just me or do I feel like iv would use his jacket to mark the girl he liked. Back off cunts she’s taken sort of vibes. Maybe you could write something along those lines?

I think about this a lot myself, so I definitely understand you and genuinely agree. Also III is being a bestie in this one.

Little part II

His mark

It started so innocently. The whole band was hanging behind the stage after the concert. The conversation was light with people reaching in to nibble on some food and drinks. Your stage outfit, as nice as it was to jump around on stage while the huge lights shined on your body, now that you were in the dim of the back rooms did little to keep you warm. And you so could have just excused yourself from the conversation with the girls, knowing full well that they wouldn’t mind holding the conversation off for a couple of minutes but you just didn’t want to somehow break the atmosphere.

That’s when you felt it. The weight pressing on your shoulders. The heat instantly radiated from the leather that was being so casually draped over your body. Crocking your head to the side you saw none other than IV. But you didn’t even have to look. The smell of him, so familiar and at this point engraved into your brain gave him away. “Could hear your teeth clacking together from across the room, it’s so annoying”, he grunted, clearly trying to seem more annoyed than he was. “My apologies and you shouldn’t have tasked yourself with coming to my rescue”, you sassed back, slipping your arms through the sleeves. “Sometimes my kindness surprises even me”, IV shrugged, leaning equipment boxes. “We will grab some more food”, the girls chirped, making you snap your head back at them, completely forgetting that they were there in the first place.

“Is it bad that I secretly fantasized about wearing this?”, you asked so out of the blue that you were almost convinced that you heard IV choke on his drink, “This is the coolest thing I’ve seen in a long while”. IV stayed silent for a moment before that shit-eating grin spread across his face, “See, depends on what these fantasies entail”, he muttered, clearly delighted with himself. Now it was you who gasped, pushing his chest slightly as you both giggled away.

The next time it happened was in the middle of the show. The open stage, as nice as it was for some parts of the summer, wasn’t all that friendly when the summer rains split the skies. While the first two songs in soaked clothes were kind of refreshing. Rain alsp brought a lower temperature, slowly settling the tremble into your hands. That’s when a familiar figure sauntered closer but you didn’t give it much thought. IV often found himself close to you and the girls. It was his nature, well all of theirs. That’s until IV pulled his guitar off, setting it down and shrugging out of his jacket.

With your eyes already glued on him, you watched him lifting the jacket closer to you. All you could do was shake your head, “Are you insane?”, you mouthed. It was one thing doing stuff like that around the people in the team. A whole different story when fans were involved. “Put it on or I will put it on you”, IV stated flatly. Throwing the jacket up.

The logic within you told you to ignore it. Let it drop. But you couldn’t. It was way too precious. Someone had spent hours making it and it was also his. But just because it was in your hands didn’t mean you had to put it on. You could just hold it for him. Well, wrong. Cause IV dared to cross his arms over his chest as he watched you, and knowing his stubborn ass he would stand there till you did what he had told you to. With an excessive eye roll, you threw the jacket over your shoulder, pushing some of the wet strands away and clinging to your face. “Happy?”, you mouthed, but IV only winked at you before returning to the front of the stage.

And more often than not this had turned into a norm. Going to the bus? His jacket is on your body. Right before the show while the jitters are insane? His jacket. Walking through the backstages while preparing? Band meetings? Rehearsals? The list could go on and on. But since it brought you the same sense of comfort you never voiced it out loud. Too afraid that if you pointed it out he would turn the other way and run for the hills.

“So, where’s your guard dog?”, III's voice snapped you out of your thoughts. Smiling you rolled your eyes, pushing a pack of goldfish towards him. “Maybe guarding someone else”, you shrugged, making III snort, “Nice try, I bet all of his security alarms are ringing off right this minute”. You frowned slightly at his words. “Oh come on, tell me that you don’t see a pattern?”, III tilted his head to the side in disbelief. “He’s just been sweet”, you muttered, “Plus, I had told him that I have frog hands and feet. I’m constantly cold”.

III just shook his head, “We all know that but do you see me running after you with a blanket?”. You huffed, letting your mouth drop, “Is this your way of telling me that secretly hate me”, you gave him the best version of puppy dog eyes. “Girl, I held your hair back while you threw up a bottle of tequila, I don’t do that for people I don’t care about”, he pointed out. You leaned in, warping your arms around his lean body, “And that is why I like you”, you muttered again his chest.

Someone cleared their throat and you instantly pulled back. Not far from you two stood IV. The fire in his eyes burning out of control. You expect III to pull back but instead, he casually slung his arm over your shoulders. “In need of a hug too?”, he teased, IV eyes burning holes in his bandmate's face. “Just wondering why you needed one”, IV said through gritted teeth. “Oh, come on, I hug you all good morning and goodnight, don’t start playing favorites”, you slapped III on his chest, pulling out of his hands.

IV equally didn’t waste any time stepping closer to you. And as if it had become your secret skin, the jacket pressed down onto your shoulders. III let out a laugh, shaking his head, “Loud and clear mate, loud and clear”, he saluted before turning back. “Why are you in a pissy mood?”, you crossed your arms over your chest, turning to face IV. His eyes are still on III. “I don’t like when people mess with what’s mine”, he muttered, snatching all air out of your lungs. “What is that supposed to mean”, you muttered, letting him pull you closer to him. “Don’t worry your head about it for now”, IV leaned in pressing a kiss to your temple.

[makapatag]

realities, maximalism,and the need for big book™️

some gubat banwa design thoughts vomit: since the beginning of its development i've kind of been enraptured with trying to really go for "fiction-first" storytelling because PbtA games really are peak roleplaying for me, but as i wrote and realized that a lot of "fiction first" doesn't work without a proper sort of fictional foundation that everyone agrees on. this is good: this is why there are grounding principles, genre pillars, and other such things in many PbtA games--to guide that.

broken worlds is one of my favs bc of sheer vibes

Gubat Banwa didn't have much in that sense: sure, I use wuxia and xianxia as kind of guideposts, but they're not foundational, they're not pillars of the kind of fiction Gubat Banwa wants to raise up. there wasn't a lot in the sense of genre emulation or in the sense of grounding principles because so much of Gubat Banwa is built on stuff most TTRPG players haven't heard about. hell, it's stuff squirreled away in still being researched academic and anthropological circles, and thanks to the violence of colonialism, even fellow filipinos and seasians don't know about them

this is what brought me back to my ancient hyperfixations, the worlds of Exalted, Glorantha, Artesia, Fading Suns... all of them have these huge tomes of books that existed to put down this vast sprawling fantasy world, right? on top of that are the D&D campaign settings, the Dark Suns and the Eberrons. they were preoccupied in putting down setting, giving ways for people to interact with the world, and making the world alive as much as possible.

one of my main problems with gubat banwa was trying to convey this world that i've seen, glimpsed, dreamed of. this martial fantasy world of rajas and lakans, sailendras and tuns, satariyas and senapatis and panglimas and laksamanas and pandai... its a world that didn't really exist yet, and most references are steeped in either nationalism or lack of resources (slowly changing, now)

i didn't want to fall back into the whole gazeteer tourist kind of shit when it came to writing GB, but it necessitated that the primary guidelines of Gubat Banwa were set down. my approach to it was trying to instill every aspect of the text, from the systems to the fluff text to the way i wrote to the way things were phrased, with the essence of this world i'm trying to put forward. while i wrote GB mainly for me and fellow SEAsian people, economically my main market were those in the first world countries that could afford to buy the book. grokking the book was always going to be severely difficult for someone that didn't have similar cultures, or are uninterested in the complexities of human culture. thus why GB had to be a big book.

in contemporary indie ttrpg spaces (where I mostly float in, though i must admit i pay more attention to SEAsia spaces than the usual US spaces) the common opinion is that big books like Exalted 3e are old hat, or are somewhat inferior to games that can cram their text into short books. i used to be part of that camp--in capitalism, i never have enough time, after all. however, the books that do go big, that have no choice to go big, like Lancer RPG, Runequest, Mage, Exalted are usually the ones that have something really big it needs to tell you, and they might be able to perform the same amount of text-efficient bursting at the seams flavor writing but its still not enough.

thats what happened to GB, which I wanted to be, essentially, a PbtA+4e kind of experience, mechanically speaking. i very soon abandoned those titles when i delved deeper into research, incorporated actual 15th century divination tools in the mechanics, injected everything with Martial Arts flavor as we found our niche

all of this preamble to say that no matter how light i wanted to go with the game, i couldnt go too light or else people won't get it, or i might end up writing 1000 page long tome books explaining every detail of the setting so people get it right. this is why i went heavy on the vibes: its a ttrpg after all. its never gonna be finished.

i couldnt go too light because Gubat Banwa inherently exists on a different reality. think: to many 3 meals a day is the norm and the reality. you have to eat 3 meals a day to function properly. but this might just be a cultural norm of the majority culture, eventually co opted by capitalism to make it so that it can keep selling you things that are "breakfast food" or "dinner food" and whatnot. so its reality to some, while its not reality to others. of course, a lot of this reality-talk pertains mostly to social--there is often a singular shared physical reality we can usually experience*

Gubat Banwa has a different fabric of reality. it inherently has a different flow of things. water doesn't go down because of gravity, but because of the gods that make it move, for example. bad things happen to you because you weren't pious or you didn't do your rituals enough and now your whole community has to suffer. atoms aren't a thing in gb, thermodynamics isn't a real thing. the Laws of Gubat Banwa aren't these physical empirical things but these karmic consequent things

much of the fiction-first movement has a sort of "follow your common sense" mood to it. common sense (something also debatable among philosophers but i dont want to get into that) is mostly however tied to our physical and social realities. but GB is a fantasy world that inherently doesn't center those realities, it centers realities found in myth epics and folk tales and the margins of colonized "civilization", where lightnings can be summoned by oils and you will always get lost in the woods because you don't belong there.

so Gubat Banwa does almost triple duty: it must establish the world, it must establish the intended fiction that arises from that world, and then it must grant ways to enforce that fiction to retain immersion--these three are important to GB's game design because I believe that that game--if it is to not be a settler tourist bonanza--must force the player to contend with it and play with it within its own terms and its own rules. for SEAsians, there's not a lot of friction: we lived these terms and rules forever. don't whistle at night on a thursday, don't eat meat on Good Friday, clap your hands thrice after lighting an incense stick, don't make loud noise in the forests. we're born into that [social] reality

this is why fantasy is so important to me, it allows us to imagine a different reality. the reality (most of us) know right now (i say most of us because the reality in the provinces, the mountains, they're kinda different) is inherently informed by capitalist structures. many people that are angry at capitalist structures cannot fathom a world outside capitalist structures, there are even some leftists and communists that approach leftism and revolution through capitalism, which is inherently destructive (its what leads to reactionaries and liberalism after all). fantasy requires that you imagine something outside of right now. in essence read Ursula K Le Guin

i tweeted out recently that you could pretty easily play 15-16th century Luzon or Visayas with an OSR mechanic setting and William Henry Scott's BARANGAY: SIXTEENTH CENTURY PHILIPPINE CULTURE AND SOCIETY, and I think that's purely because barebones OSR mechanics stuff fits well with the raiding and adventuring that many did in 15-16th century Luzon/Visayas, but a lot of the mechanics wont be comign from OSR, but from Barangay, where you learn about the complicated marriage customs, the debt mechanics, the social classes and stratum...

so thats why GB needs to be a (relatively) big book, and why I can contend that some books need to be big as well--even if their mechanics are relatively easy and dont need more than that, the book, the game, might be trying to relay something even more, might be trying to convey something even more than that. artesia, for example, has its advancements inherently tied to its Tarot Cards, enforcing that the Arcana guides your destiny. runquest has its runes magic, mythras (which is kinda generic) has pretty specific kinds of magic systems that immediately inform the setting. this is why everything is informed by something (this is a common Buddhist principle, dependent arising). even the most generic D&D OSR game will have the trappings of the culture and norms of the one that wrote and worked on it. its written from their reality which might not necessarily be the one others experience. that's what lived experience is, after all

*live in the provinces for a while and you'll doubt this too!

[thydungeongal]

I have a soft spot for the World of Darkness games, especially Werewolf: the Apocalypse, from having spent way too much time over the years just reading the lore and really immersing myself in them, but like let's be fair. The World of Darkness is actually kind of bad and kind of sucks. But that's okay, 'cause it's got immaculate vibes.

The thing to know about World of Darkness is that even though the games can be presented simply as "urban fantasy where you play the monsters" that's a gross oversimplification. A groversimplification, if you will. Because World of Darkness is more like the Marvel Universe of urban fantasy, by which I mean that to even get into it you kind of have to be ready to accept a lot of extremely indecipherable lore and Proper Nouns that have accummulated over the years.

And much like with the Marvel Universe sometimes the people working on World of Darkness realize "hold on we've gone stupid again, we need to start over" and wipe the slate clean. That's basically what the latest editions of the World of Darkness games represent: them basically doing a soft reboot of the whole game line in order to get rid of a lot of the stupid. But don't worry, Vampire 5e has been around for a while now and has a lot of supplements for it already, so I'm sure there's plenty of new kinds of stupid there. Werewolf 5e is relatively recent so it hasn't had the time for the stupid to fester yet.

So like, I emphatically would not recommend the World of Darkness games for someone who's just looking for an urban fantasy game. I would recommend them to someone who wants urban fantasy with a very specific grimy texture. That's the best way I can describe the World of Darkness games: they have a lot of texture. It's a brand of urban fantasy I happen to like but it's like. I like it almost in spite of itself. The World of Darkness is a very specific kind of stupid and honestly if you want to read like made-up linguistics about the origin of the clan name Lasombra or like why the Clan Nosferatu has always been called that despite the word not being coined until the 1800s or why Clan Toreador has always been called that despite the word not having been coined until the 1800s. Damn, there's a lot of that around. Anyway, World of Darkness has got that in spades.

Now if you do want just like urban fantasy where you can play the monsters where you don't need to ingest a short comic book run's worth of lore in order for the gameplay to make sense, there are better avenues. For a very straight take on urban fantasy that is also very grounded in real world mythology and folklore I would go for Eureka: Investigative Urban Fantasy by @anim-ttrpgs. If I was looking for a more grimey splatterpunk sort of vibe I would opt for Esoteric Enterprises by @cavegirlpoems. World of Darkness is for time when I want to play werewolves with the girlies and talk about where the different werewolf tribes would have stood on The Troubles.

The important thing to understand is: if you're getting into Vampire: the Masquerade you're not getting a vampire roleplaying game, you're getting a game about playing a very specific type of vampire with a trenchcoat and a katana and sometimes cool shadow tentacle superpowers that is actually only kind of like a vampire. If you're getting into Werewolf: the Apocalypse you're not getting a roleplaying game about guys who sometimes turn into wolves and then get mad. You're getting a roleplaying game about spirit guys who fight against spirits of pollution on the spiritual planes and who can turn into wolves and then get mad. There's very much its own distinct mythology there, and there are games out there that do not come with such specific mythology.