#i will say

[acetrainertabris]

it’s been two months and some change and I still dont get what da:tv was trying to do with mythal and solas’ relationship.

that dude is a spirit of wisdom, of knowing things. not loyalty, or love, or devotion, or faith, or anything else that would explain (to me) why he says “this is the worst idea of all time. I will follow wherever you go.”

what has she done that was deserving of such devotion. how strong was their worm love that he would override his very beings purpose for her hubristic quest for power.

show me the mythal solas sees when he calls her the best of them. the one who cared for and protected her people with the loving hand of a mother and the fury of a high dragon. show me the goddess of terrible bargains, who clawed her way through history to offer flemeth a Faustian deal.

show me the mythal that saw the path before her, who saw elgar’nan and the evanuris and the destruction that they had already wrought upon the world and thought she could gentle their hand. she could not change tyranny but she could guide his rage.

show me the mythal that knew how delicate this dance was. who saw the volatility of the first born, who could feel the temptation, the corruption always simmering beneath the surface of her best intentions. who knew she would need wisdom to keep from falling completely to the corruption of her new power.

show me the mythal that failed. show me how benevolence becomes retribution, and how wisdom becomes pride.

maybe this is just my disappointment with da:tv as a whole talking, but veilgaurd mythal is just so flat and lacking in any motivation beyond being solas’ tragic backstory that it undercuts the emotional payoff of his redemption ending for me.

sorry for the incoherent ramble, i just hate this game so much.

[lyxthen]

Miles Edgeworth: I never made a move because I thought my feelings were one-sided and you were heterosexual!

Phoenix Wright, former theater/arts student:

[unexpectedbrickattack]

Huge Fat Fake Peppi Supremacy

[thehelltingvilleclub]

you should draw batman 2022 edward nashton...

I hope your patience was worth it Im so sorry I still haven't watched 2022 Batman

Paul Dano and his fuckin chubby cheeks are very funny to draw Also his fuckin FACES HIS STUPID GRINS hehehehh gottem

[vivispec]

IT CAME

[therealstanfordpines]

BILL EYE THE CIPHER GUY

Behold, chalk drawings of Bill Eye the Cipher Guy and the national treasure Pyramid Steve! They have experienced the horrors.

[hooxiedev]

Here's a recent assignment I did for uni. I had to learn how to use Illustrator by doing a vector portrait. This isn't my usual style by any means, but it was a fun experiment!

I watch Doctor Who casually with my friends, and I really enjoyed Tennant's run on the show. Since I had to draw a celebrity for the assignment, I figured, why not draw him? :)

[3/5/24]

[tagamantra]

Tactical Combat, Violence Dice and Missing Your Attacks in Gubat Banwa

In this post I talk about game feel and decision points when it comes to the "To-Hit Roll" and the "Damage Roll" in relation to Gubat Banwa's design, the Violence Die.

Let's lay down some groundwork: this post assumes that the reader is familiar and has played with the D&D style of wargame combat common nowadays in TTRPGs, brought about no doubt by the market dominance of a game like D&D. It situates its arguments within that context, because much of new-school design makes these things mostly non-problems. (See: the paradigmatic shift required to play a Powered by the Apocalypse game, that completely changes how combat mechanics are interpreted).

With that done, let's specify even more: D&D 5e and 4e are the forerunners of this kind of game--the tactical grid game that prefers a battlemat. 5e's absolute dominance means that there's a 90% chance that you have played the kind of combat I'll be referring to in this post. The one where you roll a d20, add the relevant modifiers, and try to roll equal to or higher than a Target Number to actually hit. Then when you do hit, you roll dice to deal damage. This has been the way of things since OD&D, and has been a staple of many TTRPG combat systems. It's easy to grasp, and has behemoth cultural momentum. Each 1 on a d20 is a 5% chance, so you can essentially do a d100 with smaller increments and thus easier math (smaller numbers are easier to math than larger numbers, generally).

This is how LANCER works, this is how ICON works, this is how SHADOW OF THE DEMON LORD works, this is how TRESPASSER works, this is how WYRDWOOD WAND works, this is how VALIANT QUEST works, etc. etc. It's a tried and true formula, every D&D player has a d20, it's emblematic of the hobby.

There's been a lot more critical discussion lately on D&D's conventions, especially due to the OGL. Many past D&D only people are branching out of the bubble and into the rest of the TTRPG hobby. It's not a new phenomenon--it's happened before. Back in the 2010s, when Apocalypse World came out while D&D was in its 4th Edition, grappling with Pathfinder. Grappling with its stringent GSL License (funny how circular this all is).

Anyway, all of that is just to put in the groundwork. My problem with D&D Violence (particularly, of the 3e, 4e, and 5e version) is that it's a violence that arises from "default fantasy". Default Fantasy is what comes to mind when you say fantasy: dragons, kings, medieval castles, knights, goblins, trolls. It's that fantasy cultivated by people who's played D&D and thus informs D&D. There is much to be said about the majority of this being an American Samsaric Cycle, and it being tied to the greater commodification agenda of Capitalism, but we won't go into that right now. Anyway, D&D Violence is boring. It thinks of fights in HITS and MISSES and DAMAGE PER SECOND.

A Difference Of Paradigm and Philosophies

I believe this is because it stems from D&D still having one foot in the "grungy dungeon crawler" genre it wants to be and the "combat encounter balance MMO" it also wants to be. What ends up happening is that players play it like an immersive sim, finding ways to "cheese" encounters with spells, instead of interacting with the game as the fiction intended. This is exemplified in something like Baldur's Gate 3 for example: a lot of the strats that people love about it includes cheesing, shooting things before they have the chance to react, instead of doing an in-fiction brawl or fight to the death. It's a pragmatist way of approaching the game, and the mechanics of the game kind of reinforce it. People enjoy that approach, so that's good. I don't. Wuxia and Asian Martial Dramas aren't like that, for the most part.

It must be said that this is my paradigm: that the rules and mechanics of the game is what makes the fiction (that shared collective imagination that binds us, penetrates us) arise. A fiction that arises from a set of mechanics is dependent on those mechanics. There is no fiction that arises independently. This is why I commonly say that the mechanics are the narrative. Even if you try to play a game that completely ignores the rules--as is the case in many OSR games where rules elide--your fiction is still arising from shared cultural tropes, shared ideas, shared interests and consumed media.

So for Gubat Banwa, the philosophy was this: when you spend a resource, something happens. This changes the entire battle state--thus changing the mechanics, thus changing the fiction. In a tactical game, very often, the mechanics are the fiction, barring the moments that you or your Umalagad (or both of you!) have honed creativity enough to take advantage of the fiction without mechanical crutches (ie., trying to justify that cold soup on the table can douse the flames on your Kadungganan if he runs across the table).

The other philosophy was this: we're designing fights that feel like kinetic high flying exchanges between fabled heroes and dirty fighters. In these genres, in these fictions, there was no "he attacked thrice, and one of these attacks missed". Every attack was a move forward.

So Gubat Banwa removed itself from the To-Hit/Damage roll dichotomy. It sought to put itself outside of that paradigm, use game conventions and cultural rituals that exist outside of the current West-dominated space. For combat, I looked to Japanese RPGs for mechanical inspiration: in FINAL FANTASY TACTICS and TACTICS OGRE, missing was rare, and when you did miss it was because you didn't take advantage of your battlefield positioning or was using a kind of weapon that didn't work well against the target's armor. It existed as a fail state to encourage positioning and movement. In wuxia and silat films, fighters are constantly running across the environment and battlefield, trying to find good positioning so that they're not overwhelmed or so that they could have a hand up against the target.

The Violence Die: the Visceral Attacking Roll

Gubat Banwa has THE VIOLENCE DIE: this is the initial die or dice that you roll as part of a specific offensive technique.

In the above example, the Inflict Violence that belongs to the HEAVENSPEAR Discipline, the d8 is the Violence Die. When you roll this die, it can be modified by effects that affect the Violence Die specifically. This becomes an accuracy effect: the more accurate your attack, the more damage you deal against your target's Posture. Mas asintado, mas mapinsala.

You compare your Violence Die roll to your target's EVADE [EVD]. If you rolled equal to or lower than the target's EVD, they avoid that attack completely. There: we keep the tacticality of having to make sure your attack doesn't miss, but also EVD values are very low: often they're just 1, or 2. 4 is very often the highest it can go, and that's with significant investment.

If you rolled higher than that? Then you ignore EVD completely. If you rolled a 3 and the target's EVD was 2, then you deal 3 DMG + relevant modifiers to the DMG. When I wrote this, I had no conception of "removing the To-Hit Roll" or "Just rolling Damage Dice". To me this was the ATTACK, and all attacks wore down your target's capacity to defend themselves until they're completely open to a significant wound. In most fights, a single wound is more than enough to spell certain doom and put you out of the fight, which is the most important distinction here.

In the Thundering Spear example, that targets PARRY [PAR], representing it being blocked by physical means of acuity and quickness. Any damage brought about by the attack is directly reduced by the target's PAR. A means for the target to stay in the fight, actively defending.

But if the attack isn't outright EVADED, then they still suffer its effects. So the target of a Thundering Spear might have reduced the damage of an attack to just 1 (1 is minimum damage), they would still be thrown up to 3 tiles away. It matches that sort of, anime combat thing: they strike Goku, but Goku is still flung back. The game keeps going, the fight keeps going.

On Mechanical Weight

When you miss, the mechanical complexity immediately stops--if you miss, you don't do anything else. Move on. To the next Beat, the next Riff, the next Resound, think about where you could go to better your chances next time.

Otherwise, the attack's other parts are a lot more mechanically involved. If you don't miss: roll add your Attacking Prowess, add extra dice from buffs, roll an extra amount of dice representing battlefield positioning or perhaps other attacks you make, apply the effects of your attack, the statuses connected to your attack. It keeps going, and missing is rare, especially once you've learned the systematic intricacies of Gubat Banwa's THUNDERING TACTICS BATTLE SYSTEM.

So there was a lot of setup in the beginning of this post just to sort of contextualize what I was trying to say here. Gubat Banwa inherently arises from those traditions--as a 4e fan, I would be remiss to ignore that. However, the conclusion I wanted to come up to here is the fact that Gubat Banwa tries to step outside of the many conventions of that design due to that design inherently servicing the deliverance of a specific kind of combat fiction, one that isn't 100% conducive to the constantly exchanging attacks that Gubat Banwa tries to make arise in the imagination.

[god-offical]

hey god

just wanted to say you're like a really chill form of media with an insane fan base. Im sorry you get lumped with conservatives even though we all know you're gay as fuck

that's it

xao hong shuuuuuu

It’s okay 👍

[mrtagawa]

Everytime I remember that I'm now older then skk I feel fucking insane.

What is this

Not real

No valid sorces

Fuck you.

The Entire fucking Cast are BABIES, children! Play pretending at being adults!! I want to shred everything apart with my teeth! AND I WILL START WITH DAZAI OSAMU AND CHUUYA NAKAHARA, YOU ARE NOT SAFE FROM MY WRATH EITHER KUNIKIDA DOPPO

I HATE I HATE I HATE

AAAAAAAAAAAAAAAAAAAAAA

DONT GET ME STARTED ON SSKK

JUST

WHYIOUGTA!!!

[n-king-draws]

I have started reading mtmte and these two are killing me. I love it.

Also I really enjoy using stars to represent love for tf. Some other artists pointed it out to me and I can't stop thinking about it.

[retiredteabag]

i hope the reader leaves their asses and goes to make out with shoko

hehehheehehe who knowsssss

[salparadiselost]

Look I know you all want Mers and bitties and all my aus but what if… more New Gods

[madetolooklikeus]

does Clem have eyes?

[alliepretends]

Since I posted one of my Dimension 20 hot takes, and didn't literally explode. I think I'll post the other one that really matters to me.

The discourse around aroace Riz is really hard for me. And I find it really hard to be empathic toward people who think about it differently than I do. And I think it's important to put that lack of empathy in context. Fandom (and by this I mean the broader fandom culture, not D20 fandom specifically) has generally been an extremely hostile space for aromantic people. Shipping is the central pillar of fandom engagement and dialogue. And a romantic lens is typically the very first lens applied to the source material when it is brought into fandom spaces. By that I don't just mean it's what people think about first, I mean analysis tends to pass first through the lens of romance, and then only things the romantic lens can't lay claim to are left for other kinds of analysis. Even for aromantic people like me, who very much enjoy romance when it exists in the realm of fiction, it's hard not to feel like there's a message in that. "Characters, and the fiction they exist in, are only valuable when seen through the lens of romance. Regardless of the genre of the source material. That's because romance is unquestionably the most important and defining feature of life. Unless it's sex." This can get pretty extreme if you become a fan of something with an especially strong central ship (like a Supernatural), where it can feel like literally all analysis of any aspect of the work has to tie back to the ship. In my experience, the sub-culture of fandom, for all its trappings of queer acceptance, is far more arophobic and aro-hostile than any other culture or sub-culture I participate in. Not because fans are actively making anti-aro posts or hate aro people, but because romance is elevated as the primary element of human experience. The only one really worth talking about and exploring. The only one worth writing fics about or dedicating massive posts to. It is worth noting that the Dimension 20 fandom (and, based on my experience, actual play in general) seems to be less romance-focused than other fandoms. There's lots of gen fic. There's lots of discussion that doesn't focus on romance. But that doesn't mean the Dimension 20 fandom somehow exists separately from overall fandom culture. The baggage of that larger culture still informs this fandom.

And that's why the way Riz gets talked about feels like such a slap in the face. He is the first example I (and I expect many others) have encountered of a heavily-coded aromantic character popular with fandom. And yet, that hasn't freed him from the fandom scramble to read him through the lens of romance. I'll admit to being a bit of an extremist on this. I know that for many aromantic people having a single qpr that fills many of the needs of romance is really an important part of their experience. Many of my aromantic/aspec friends feel this way. But I don't even like qpr Fabriz. Because even though that is an authentic and important part of aromanticism to represent. With a character like Riz, whose fears are explicitly based around the lack of access he has to coupledom, qpr Riz still feels like an attempt by romance-oriented fandom to jam the first aromantic character the sub-culture gets its hands on into something that looks enough like traditional coupledom that no one has to change their romance-oriented outlook. The myth of the OTP can live on if you just change some of the verbiage. I know there are arospec people that would also feel excluded if fandom fell in line with my perspective and kept Riz as far away as possible from anything resembling romance. I don't actually know what the right solution to these problems is. We got thrown one bone and there's a bit of a desire to fight over it (Wikipedia's list of aromantic characters has 18 characters, and while that's not all of them, it's a decent percentage). But I did want to put this out in the world. Because I feel like there's a lot of context and baggage missing from this discourse. And all I really want is to have fandom still be able to treat an aromantic character as valuable even when they can't neatly pair him off