#information referencing systems

[thinkingimages]

Erica BAUM

Untitled (Dragon-Flies) de la serie Frick, 1998 Tirage : éd. 1/6 + 2 EA

[antsgrowingplants]

update time!

this is going to be a pretty long post because we have a bunch of stuff to talk about, so it's going under a read more

2023 projects

over the last couple of weeks we've been thinking more about what projects we want to try this year. we had some that went really well last year, as well as some that didn't work out, and I think we maybe have a better idea of what plants we're good at looking after and what we need to do more research with.

so far we know I know I want to try growing ranunculus again, because I had trouble with it last year but I still have some corms and I'd really like to try and get some to grow successfully.

we'd also like to try growing more edible plants. last year we managed to grow physalis and get a few fruits, but our cucamelons started off strong and then unfortunately ended up dying off. we've been debating trying lavender again, or maybe some kind of mint, but ideally we'd be best off growing something that doesn't take up much space.

we may not end up growing anything new other than trying the ranunculus again, but who knows, we have a couple of months until it's planting season for most stuff so there's time to think about it.

fungus gnats

we've been seeing tiny flies in our room and around the house since last May but didn't really think anything of it until it got to winter and we were still seeing them. eventually we figured out they were fungus gnats and that there were a lot more than we'd realised.

our haworthia cooperi had the most gnats on it so that's been quarantined in a clear plastic bag for the time being, and we'll have to wait until we can take it outside to treat it so we don't end up releasing a load of gnats into our room.

with the rest of our plants, we put cinnamon in a few of the pots as an antifungal to hopefully get rid of the gnats' food source, then put sand in all the pots to deter them from laying eggs on top of the soil. it seems like there are fewer gnats but it's not been long since we actually applied the cinnamon and sand, so we'll have to wait and see.

polka dot plants

we mentioned a few weeks ago that it looked like the larger stems on our polka dot plants had started dying off, and it turns out that was the case so we finally got round to pruning those the other day while treating the fungus gnat infestation.

they're now just very tiny plants, but they look pretty healthy so we're assuming this is just an annual thing they do?

it's very weird seeing them so small again after getting used to the big spindly 2-4ft stems they'd grown.

Notion stuff

the final thing we wanted to talk about was our Notion plant pages. last year we set up a bunch to help us keep track of all our plants, and then just kind of forgot to keep updating them after a while.

earlier we finally started reorganising them so hopefully we can start using them again this year. this is the main page currently:

each of the project pages has a calendar for when we planted or propagated each plant, notes about each plant, and notes about which alters were fronting and who's in charge of each project, since a few of us started our own and we have a little rule where whoever plants, propagates, or buys a plant is now in charge of that plant (unless they want to hand it over to someone else), but we still all take care of them regardless.

the watering tracker is a chart that can keep track of the last 4 weeks. it looks like this:

I don't think we've really shown off our Notion stuff on here before but it's been really handy for keeping track of everything (and makes us feel a lot more organised).

anyway, I think that's the everything for this big update, and hopefully if we can get a bit more organised we'll have more things to post about soon

[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.

[intothefrisson]

🌊 Dormiveglia Master Post

Rating: T (SFW)

(CW: drowning, blood, feelings of depression and helplessness, existential dread)

Updates: Biweekly on Tuesdays (PST) (Sometimes Weekly) (Unless stated otherwise)

Timeline: Written Post S2, Pre-Yingdu Chapter/S3

🌊 Pages:

Pages 1-2 Pages 3-4 Pages 5-7 Pages 8-9 Pages 10-11 Pages 12-13 Page ??? Pages 14-15 Pages 16-17 Pages 18-19 Pages 20-21 Pages 22-23 Pages 24-25 Pages 26-27 Pages 28-29 Pages 30-34 Pages 35-36 Pages 37-38 Pages 39-40 Pages 41-42 Pages 43-44 Pages 45-46 Pages 47-48 Pages 49-50 Pages 51-52 Pages 53-54 Pages 55-56 Pages 57-58

(Ongoing)

Anticipated length: 74 Pages (may be changed)

🌊 Short Sci-fi Stories referenced:

Ray Bradbury's "A Sound of Thunder" 1952 Edward Page Mitchell's "The Clock That Went Backward" 1881 Robert F. Young's "The Dandelion Girl" 1961

🌊 Full Illustrated Pieces

Cover Can't you weather the storm you've wrought? Are we falling...or flying? Underneath a blue sky, we yearn. Sinking, Sinking... Desire or D̴̟͖̙̲̗̮͈̹̞̬͉͎͎̋̚͝ͅẹ̶̖̬̣̎̆̉̐ś̶̛͉͙̜̮̲̯͉͙͎͇͖̪̩̻̩̋̅̅͌̽p̴̧̢̬̳̗̝͕͎͔͍̳͗͛̒̓̄ͅͅa̸̜̮͐̒͐̉̀͆͐͐̒ȋ̷̢͙̬̜͙̹͎̅̅̅̾̅r̸̮͕̠̗͘? Proof Fever Stricken

🌊Music Playlist

I created a music playlist of songs that inspired some of the panels/artworks or that I listened to on repeat that probably influenced the comic in some way

You can listen to it here on this youtube playlist!

🌊AO3 Version

You can now read the current Dormiveglia pages on AO3!

🌊Where else can I read this?

Instagram (There is no good sorting system on Instagram I am so sorry) Twitter Patreon (I have yet to compile all of the public pages yet) My website

🌊 Additional Information

I'll be sharing early access pages, notes, time-lapses, and the process of creating this manga on my patreon!

You can also find this manga on Twitter where I am more active!

[a-very-tired-jew]

Columbia University's Joint Anti-Israel Groups Go Mask Off

Hey, remember how Columbia University had students in encampments protesting for months? Remember how their SJP, BDS movement, and associated groups endorsed terrorism, violence, and "resistance by any means"?

I remember. Well their joint SJP and BDS group called CU Apartheid Divest just posted something to their Instagram that shows it has never been about Palestine or Palestinians.

Fig. 1. CU Apartheid Divest group, made of SJP, BDS, and other groups openly admits that they are anti-Western Civilization

Read that again.

"We are Westerners fighting for the total eradication of Western civilization."

That's a wild statement to make.

So what are they posting about suddenly that has them revealing their intent for their actions since October?

Bangladesh.

The CU Activists are attempting to liken October 7th attack by Hamas with the Bangladesh student protests. Bangladesh had a quota based employment system that students were protesting, the government responded violently, and everything escalated from there due to years of government corruption, violence, and economic turmoil. This was a protest turned revolution within a country by its own people. This was not a government run by a recognized terrorist group attacking another country, killing civilians, and taking them hostage.

However, the differences and reasons between Hamas's actions and the actions of the students in Bangladesh do not matter to the anti-Zionist Activist.

We've seen this repeatedly from these activists that they will try to liken their movement and/or attach it to other conflicts around the world. Many of these conflicts differ greatly from the Israel/Hamas war as they are internal issues with internal actors being involved.

Bangladesh is students protesting against their government.

Sudan is going through a civil war between various factions.

The Congo has been experiencing decades long violence as various militias fight each other for control.

Yet I've see anti-Israel protestors tag their posts with Free Bangladesh, Free Congo, Free Sudan even though these conflicts differ in origin and parties involved.

If you continue through the IG post you'll see very little information as to the cause of the protest/revolution in Bangladesh and continued attempts to coopt the actions for their movement.

Fig. 2. CU Apartheid Divest group tries to liken its student movements to the student protests in Bangladesh and calls to escalate.

I can't help but think that the CU student activists yearn to be oppressed in a way that would allow them to respond like revolutions and protests around the world. The way they speak and write exudes a yearning for violence. In Fig. 2. they detail the actions taken by students against an authoritarian government that has actively shot and killed protestors. Whereas here in the USA the students were forcibly removed from campuses, experienced some police violence, were arrested, and then released. No curfews with a shoot on sight policy were imposed here in the USA in response to college campus protests.

Fig. 3. CU Apartheid Divest classifies this as an Intifada and likens it to Hamas's attack.

Notice in Fig. 3. that they're trying to call the actions in Bangladesh an Intifada. Not an intifada, but an Intifada which is a proper noun with its own connotation. I know I may be a stickler here, but if I see that word capitalized then I know it's referencing the First and Second Intifadas, and I know that these student groups have been calling for a Third one under the guise of "Global Intifada". They also say that Westerners need to escalate and are "obligated" to do so.

Fig. 4. CU Apartheid Divest uses tankie terminology, refers to Bangladeshis as martyrs, and calls this part of the Global Intifada.

The terminology in Fig. 4. also shows how much the Free Palestine student movement in the USA is not actually about Palestine, Palestinians, or any other movement it tries to attach itself to. These are tankies as indicated by the use of "comrades" and they are wholly opposed to Western Civilization. They genuinely state that their movement should violently escalate here in the USA and that they should be prepared for "sacrifices". This language when coupled with the use of Intifada is alarming as it appears that these student activists are preparing to follow in the footsteps of the Second Intifada, or at the very least calling for others to do so.

These students, whom call themselves the Militants of Hind's Hall (seen in the IG post, but not pictured here), are coopting, or attempting to coopt, movements and conflicts from around the world for their own ideals. As these are students in the USA who are arguably experiencing the least amount of oppression when compared to these other conflicts, and are actively attending Ivy League or R1 universities, it can only be assumed that they're yearning to live out their Glorious Revolution fantasy.

I am under no illusion that I understand their reasoning. Are things perfect here in the USA? Of course not, but when compared to the countries that these student protestors are attaching themselves to, we are leaps and bounds better. And if you disagree, then I have to ask, when was the last time we had a curfew with a shoot on sight policy?

Anyone attempting to call this movement and group "peaceful" is naive. They've been telling you for months that they're not peaceful, that their goals are not peaceful, and that the only peace they want is after they commit violence.

The IG link for reference

[dunmeshistash]

Hello!

I'm Cyan (or anything you wanna call me) this blog started as just a stash for Dungeon Meshi extras and worldbuilding details but expanded as people asked questions and I did my best to answer! Hope you find it as useful as I do. I try my best to categorize my posts so they're easy to find but sometimes I forget.

If you'd like to share something you compiled yourself feel free to send it to me and I'll reblog it! You can also send a submission if you'd prefer. The main goal is to share Dungeon Meshi information :3

Consider checking the FAQ before sending an ask!

FAQ

Spoilers are tagged as "Dungeon Meshi Spoilers"

Please support the author by purchasing the manga if available in your region.

TERFs and other bigots aren't welcome

Icon and Banner

Ryoko Kui's Blog

I'm on Twitter too (kinda)

Tag list under the cut

Types of post

For referencing - Canon things and other information you might want to go back to. Now I'm also using art reference when relevant

Compilation - Posts where I compile lots of canon art/sketches about a specific subject.

Dunmeshi thoughts - My own non canon thoughts. I also use the tag speculation when relevant

Dunmeshi complaint - Tag for more negative subjects/discourse in case you wanna block that. I usually go back and delete the ones that don't seem productive

Asks - Since I post quite a lot of asks I decided to divide them into some tags so they're easier to filter: Lore ask | Character ask | Meta ask | About Cyan

Parties

Laio's Party: Laios Touden | Marcille Donato | Chilchuck Tims | Senshi of Izganda | Izutsumi | Falin Touden

Kabru's Party: Kabru of Utaya, Diamond of Sadena, Mickbell Tomas, Kuro, Rinsha Fana, Holm Kranom

Tansu's Party: Tansu Floke, Yarn Floke, Kiki Floke, Kaka Floke, Namari of Kahka Brud

Shuro's Party: Shuro (Toshiro Nakamoto), Hien, Benichidori, Maizuro, Inutade

Canaries: Mithrun, Pattadol, Lycion, Fleki, Otta, Cithis

Races:

Tallman

Dwarf

Elf

Gnome

Half-Foot

Ogre

Demi humans

Orc

Kobold

Sources (<- check this if you're confused where the extras come from):

Adventurers Bible

Daydream Hour

Monster Tidbits

Bluray

Other tags:

Worldbuilding

Maps

Magic System

Post Canon (Extras about the story after the story)

Clothing (Details about character's clothes and in world fashion)

Dunmeshi Extra (extra comics that aren't in the main story)

Rooms

Modern Clothing

Dunmeshi anime vs manga (comparisons or panels missing from the anime)

Monsters:

Red Dragon

Chimera Falin

Mermaid

I'll be updating as I add posts/figure out how to tag stuff

About me: Cyan - Adult - She/He - Brazilian

[writers-potion]

this is a little hyper specific lmao but i was wondering if you have any advice on writing a pov character being mysterious? tyyy

Writing A Mysterious POV Character

Thanks for the question!

Here are some characteristics that I think makes a POV character "mysterious"

The reader is not meant to understand everything the POV character says, describes or alludes to.

The POV character actively holds off information from the readers either because (1) it's hard for them to talk about it or (2) they don't think it's important, somehow.

They reconstruct the narrative in the way they perceive it, not following the chronological order of events and often providing piecemeal information that only (if ever) comes together at the end.

The POV character simply has a wholly different perspective that a human reader will have difficulties understanding (i.e. story told from an animal or alien's POV)

I think the best way to portray this is to provide examples, which I think qualify as mysterious narrators. Note that not all mysterious narrators are unreliable narrators, although they could be. Here are the selected narrators and a few extracts for illustration purposes, divided by loosely defined subcategories (there can be overlaps!):

Incomprehensive Jargon & Allusions

Given that you can do this without boring or genuinely pissing off the reader, using lots of jargon, making allusions to things your target audience will probably not know to create atmosphere can be effective.

I recommend having a strong thematic core to justify all that jargon and reference, though.

Richard Papen from <The Secret History> by Donna Tartt

The characters talk and make references to Greek/the Classics. Arguably, it is not "incomprehensible", but the entire book is tirelessly full of them and unless you are a scholar in a related field, very unlikely to know all the Greek/ancient works being referenced all the time.

by M.L.Rio

Interesting style where the characters talk and even think in Shakespeare. They literally quote lines from Shakespeare to talk to each other. Not as difficult to follow as <The Secret History>, given that these are q famous plays (Hamlet, Macbeth, etc.) but it certainly adds well to the mystery at the heart of the book's plot.

---

Witholding Information

Have your narrator subtely refer to a large event in their past (a murder, a traumatic memory, etc) but never telling the reader upfront, making them only make implied guesses.

The only reservation I would have for this option is to not annoy the reader by letting them know the narrator has information, but is somehow not telling them. It would help to have a clear reason for them to not talk about it: e.g. they haven't accepted the past themselves, they're too scared to talk about it, etc.

by Eliza Clark

In here, the narrator has killed someone in the past - a fact that only becomes kind of clear at the end. Even then, the murder is never referenced because this narrator has some serious mental issues, but when you look back with this knowledge at the end of the book, her behavior starts making more sense.

---

Reconstructing the Narrative

Don't go in chronological order. Use time skips, or invent a new system for the narrator to arrange their memories and thus, retell the story. This gives the narrator power over the narrative because they've seen the whole thing play out, but the readers are getting bits and pieces, trying to get the puzzle pieces to fall together.

Other options:

POV character has amnesia

POV character has dementia

Using narrative interruptions that are in a completely different style (can work for 3rd person, look at Olivie Blake's work referenced below)

Olivie Black's <Alone With You in the Ether>

Using screenplay-like interruptions to the narrative that limits the reader's access to the characters' minds. Also creates interesting tone.

Kim Youngha's <Diary of the Murderer>

[I don't have pictures for this because I only have the Korean version....but really worth mentioning]

Here, the narrator has dementia and cannot fully remember the murders he has committed in the past. He is also an unreliable narrator who can only remember things in bits and pieces - thus the typical chronological order is interrupted.

---

"Non-Human" Perspectives

Give yourself a narrator that is not human, or is "dehumanized" in some way (lack of emotion, inability to relate to others, etc.) to view the entire world from a perspective not often experienced by the average human.

Death as a narrator from <The Book Thief> by Marcus Zusak.

Zusak inserts these little "pronouncements" or "interruptions" to the narrative and the calm but transcending tone constantly raises questions.

---

Do note that the overall tone of the novel contributes significantly to how the narrator comes across to the readers. Many of the works above also deal with "reality vs. unreality" as a theme, which is augmented by the use of a mysterious narrator that prompts the reader to challenge

Hope this helps, Happy writing :)

─── ･ ｡ﾟ☆: *.☽ .* . ───

💎If you like my blog, buy me a coffee☕ and find me on instagram! Also, join my Tumblr writing community for some more fun.

💎Before you ask, check out my masterpost part 1 and part 2 

[rhobi]

The Audi

Homeplanet: Aodilea (Frontier) Habitat: Temperate Coastal Lifespan: ??? Diet: Mesocarnivore (50-70% meat consumption)

Evolving from ancient oceanic odontocetes off the northwestern coastline of the Frontier supercontinent, the Audi are gentle giants and reknowned for their pride, curiosity, and hospitality. Audi have exceptional hearing and tactile awareness to offset their incredibly poor eyesight that gets worse the older (and larger) they get. They also sport a handsome melon to assist in their own form of echolocation, a frequency too low for the human ear to parse. Species with more delicate hearing have often complained of Audi cities being the one of the most audibly overstimulating experiences due to this rumble being incessantly present.

Audi lack any form of dymorphism, as every individual has the capabilities to become pregnant and induce pregnancy.

More about the Audi life cycle under the cut.

The Audi are (assumedly) the longest-living species of sentient lifeforms in the Laurelai Galaxy. It is difficult to pinpoint age in any Audi due to their complete lack of any calendar system; Audi view time as constantly moving forward instead of cyclically repeating, and age records were never anything of value.

Because of their lack of birth dates, Audi categorize their lives into phases. Their first official phase is childhood, with their lack of an 'infant' category caused by the species having two fetal incubation periods: the first organic and the second synthetic. Audi give birth incredibly prematurely due to their narrow pelvic gap, and, to prevent damage and even death to the parent, birth is induced within a two-to-three month time period. Full fetal growth is achieved at ten to eleven months, with the second incubation period done with the asisstance of advanced medical technology that simulates a natural womb. Due to this technology, Audi's infant mortality rate went from 80% down to 25% with three out of four Audi infants reaching childhood.

The second phase is adulthood. What criteria needs to be met for this phase is up to speculation, as Audi seem keen on keeping that information private. What can be assumed is that it's personal for every Audi, and every Audi reaches adulthood at different times. Height ranges anywhere from 6'8" (203cm) to 9'11" (302cm) on average, with older individuals being on the taller end due to Audi constantly (albeit slowly) growing their entire lives.

The final phase is She, a coveted example of Audi excellence and potential. Reaching the phase of She takes an impossible amount of time and physical growth. Every She, of which there are currently six, has a leadership role, ranging from cultural preservation and the arts to science and engineering, with each She taking a 'mastery' of one of these core values of Audi society. An interesting note is that every She is referred to as 'She', making it difficult for outsiders to deduce which of the six She is being referenced. She cap out the Audi height range at an even 10' (304cm), though why this is considered maximum height or how they suppress growth past this point is still being studied.

[yuurei20]

Hello! Just want to start this off by saying that I love your blog and I find your posts very informative. I’m a sucker for character analysis and you manage to do it very well.

I had a question about the language aspect of Twisted Wonderland. I saw a screenshot of the novel and in it, it talked about how the Yuuya felt that their words were being translated automatically. Is this a novel only thing? Does the language aspect get explored further past that one page in the novels? Why are their words getting translated and yet other phrases in other languages are not(Rook’s French)? What are your thoughts about this and do you know of any popular discourse surrounding this topic?

My apologies if this is something you’ve talked about before.

Hello hello! Thank you for this question, you are too kind!! m(_ _)m

(For everyone's reference, here is the paragraph in question!)

1. Is this a novel only thing? Thus far this explanation of how Yuuya is able to communicate in Twisted Wonderland has appeared only in the novel, with no mention to similar systems at work in the game or manga!

Yuuya is even capable of reading his textbooks! While it is all vocabulary with which he is unfamiliar he is still able to comprehend the words on the pages, which he possibly wouldn't be able to do without the translation taking place.

(An example might be someone who only speaks French being able to read text written in Japanese but still struggling with unfamiliar magic terms that they wouldn't have understood in their native language anyway.)

2. Does the language aspect get explored further past that one page in the novels?

This aspect has yet to be explored, referenced or even mentioned beyond the one paragraph listed above!

And this lack of an explanation is fascinating 📝 There is no line by Crowley of "Yes there is a translation spell on the island," or "Everyone who arrives through their respective gate is blessed by the Dark Mirror with the ability to understand and be understood," or anything at all!

We are not even given a hint that Crowley--or anyone--knows it is happening. All we have is the one thought from the perspective of a confused Yuuya trying to make sense of his situation.

3. Why are their words getting translated and yet other phrases in other languages are not(Rook’s French)?

We do not know! 🥳 And Rook is not alone, with other characters occasionally using untranslated English-language words both in the game and novel (novel-Ace says "Thank you" in English, novel-Sam says "Hey," etc.)

Is it possible that the system does not replace words that the listener recognizes? Is Rook actually speaking French 100% of the time, but as the prefect recognizes words such as "oui" and beauté," they are not being filtered?

4. What are your thoughts about this and do you know of any popular discourse surrounding this topic?

I found this thread on twstsoku where someone suggests that the cast all understands one another and it is only Yuuya who is having what he says and hears translated for him in real time.

Ideas from other commenters are:

1. "Hypothetically, for example: If Esperanto, which is based on Latin, were used as the common language, and the translation magic worked depending on the native language's distance from it:

German speakers, Japanese speakers → translation needed (as determined by the magic)

Italian speakers → translation not very necessary (as determined by the magic)

French speakers → grammatically, translation is almost unnecessary (as determined by the magic), but their speech is the hardest to understand.

Something like that? Just an example, though."

2. "Wasn't there a part in Ruggie's birthday outfit story where he said he memorized greetings in 10 different languages?"

And I found a similar thread from 2021 (before the novel was released) on this topic, where commenters were discussing whether or not Twst's common language is meant to be English:

1. "OP here, I personally don’t think it’s a common language with the real world, so I hadn’t considered it much.

But if it’s English, that means Twisted Wonderland has a geography and history similar to the real world, with just different country names, etc. I won’t go into too much detail, but English is a branch of the Germanic languages within the Indo-European family, and it contains a lot of words derived from neighboring Western European countries. So, it wouldn’t be English as we know it today unless they followed the same geographical and historical path.

Alternatively, it could be a wholly fantastical world without a history of its own, which just popped into existence one day.

Personally, I’d feel a bit disappointed with both ideas—either that Twisted Wonderland is exactly the same as the real world or that it just popped up suddenly. I’d prefer to think of it as a world with a different language."

2. "If we’re talking about the development of language, it’s not a coincidence that there’s food in Twisted Wonderland identical to what exists in the real world. If Twisted Wonderland is a mirror of our world, it wouldn’t be surprising if they walked a similar historical path."

3. "That’s true! When you think about the design of their clothes, smartphones, and other scientific equipment, it makes sense. So either they followed a similar history, or we’re not meant to think too deeply about it as a fantasy world—those seem like the two options. Hmm, tough choice."

4. "If there were translation magic, there would be no need to study animal linguistics."

5. "Azul’s contract → written in English Words Rook sometimes uses → in French In Ghost Marriage, the opening of Rook’s poem is “I love you” → in Japanese The prefect understands the language → So, is there translation magic? Epel’s dialect isn’t understood → So, there isn’t translation magic?

It’s turning into a bit of a chaotic language situation."

6. "In the beans event, there’s a part where Jamil’s bento is brought up and some says 'that's what they're called in other places,' so it seems pretty decided that there are different languages across regions. But maybe we’re not supposed to think too deeply about it."

--

These are all fascinating points! ^^ Epel is a particular outlier ashis original dialect is, by design, almost incomprehensible (on JP), but maybe whatever translation is going on just does not have his particular village's speech patterns loaded into it? 🧐

Or maybe as a "mirror" to the real world, everyone actually is using Japanese with the occasional English and French outliers, but the language itself is mirrored--they're speaking backwards--and the filter is merely putting words front-to-back for the prefect to understand? ^^ So many possibilities!

[janearts]

okay but what is the state of astarion's kidneys? what has roisia observed in regards to astarion's kidneys? i must now know!

[Anon is referencing this post.]

¯\_(ツ)_/¯ Who knows? Roisia's observations below the read-more.

[Just a wee reminder that I'm not a medical professional. Take everything I say below with a grain of salt as I am just as likely to be flat out wrong. I also want to acknowledge that I'm mixing in some stereotypical vampire traits with what we can figure out about vampires in BG3.]

Roisia believes that Astarion has a partially functioning cardiovascular system. That is to say, he certainly contains blood. He bruises and he bleeds. He can even perish from exsanguination himself. He can experience erections (presumably, anyway). Why he doesn't have a heartbeat is beyond her. Does his blood just sit stagnant in his arteries and veins? What the hell is going on in there?

In the living, kidneys form a pivotal function: they filter the waste (urea) in your blood and create urine to be expelled from the body via the bladder. They also perform a critical function by regulating the blood in your body (volume, pressure, acidity, etc.).

So Roisia knows, for example, that the average medium-sized humanoid has roughly 5 litres of blood in them. The kidneys make sure you stay at whatever level is natural for you, because excessive fluid will increase the pressure on your arterial walls. So the question for Roisia becomes: if Astarion drinks blood to excess, would he experience hypertension or bloating? Or perhaps both? Or maybe neither?

In some form or fashion, the waste that Astarion intakes (e.g., if you're into the vampire version of menstruation sexy times, if he drinks from Roisia's external jugular, etc.) or generates through his own bodily functions needs to be expelled. Does he piss it out? Does he sweat it out? Does he vomit it out? Does it misty escape out of his body while he rests?

The answer could simply be: the waste is magicked out of his body and that's that. If Roisia knew that Astarion urinates, then she would assume his kidney is probably functioning to some degree. If his urinary system is non-functioning, then she would be curious as to how the critical functions mentioned above are managed or if they're even necessary at all for the undead.

TL;DR: Roisia would likely have some sort of idea, but I (IRL) don't have the information I feel I need to even hazard a guess. And I must say questions like this would make Roisia want so very, very badly to take a peek at his insides or at the insides of any vampire or vampire spawn. She is not a Dark Urge character, but that is her dark urge born from an insatiable curiosity to figure out how people—living, dead, or undead—work.

Bonus Points:

Roisia would answer her own questions above with the following theories:

Digestive system could be partially functional if the blood that is consumed is sent to the stomach and then absorbed in whole or in part through the digestive process.

Respiratory system is also likely partially functional. I.e., Astarion can use his lungs (to speak or sigh, for example), but neither a vampire nor a vampire spawn requires air.

Endocrine system is likely no longer functional. (This is my own headcanon so Roisia doesn't have to worry about an unwanted pregnancy.) She knows that the endocrine systems of a Vampire lord are likely somewhat functional due to the existence of Dhampyr. His colder body temperature could be the result of the lack of function of the hypothalamus.

Integumentary system is likely functional to a certain degree. E.g., vampires and vampire spawn are naturally regenerative, but if you were to shave Astarion bald, would his hair grow back to the way it was prior to his death? Skin also helps with temperature regulation and provides a barrier from UV radiation, so it may not be fully functional if his body is a colder temperature and is extremely sensitive to sunlight. (Are his melanocytes dysfunctional or dead?)

Lymphatic system is likely functional to some degree. This would assist the blood consumption + waste removal processes, presumably. It's a bit of a stretch, but since Astarion can experience a diseased condition type (e.g., Flesh Rot, Contagion), perhaps surviving that (after 25 turns) could be spun as an indication of a non-magical immune response?

[guppyfish77]

Your piece on the trains of the Battle Subway is oh so informative! It makes you wonder why the devs put in so effort into a Battle Facility, an area that not many casual players go to. But I digress, so if the Battle Subway is more based off Japan's railway system than America's, can the same be said about Ingo and Emmet's outfit?

The devs have put a lot of effort and details into Unova in general! For example, the Marine Tube has a custom diagram that tells you that the glass is 9.8 inches thick. There's an NPC in Virbank Complex that tells you some of what the structures do (mainly has to do with oil and gas.) There's a variety of TV shows within the game, including one that (dubiously) offers a way to introduce Pokemon Moves into everyday life. I can go on and on!

Alas! That is not the main point! To answer your question, yes! I believe so! I am not the first to point this out. While the Subway Boss's uniforms are more exaggerated and have a lot more flair added to them (in an interview they stated that they made coat longer, the stripes are meant to represent railway tracks, and they have clown elements incorporated into their design), the hats are what give it away!

Here are the uniforms for JR East for comparison, first image is of the Station Master Uniform and second is the station staff uniform!

(Depot Agent for good measure)

The uniforms and hats are not the only thing lifted from Japanese Railway staff! The way that they point in their poses, and some pieces of Emmet's dialogue ("Check safety. Everything's ready!") are most likely referencing to something called Pointing and Calling! It's a safety thing that workers use where they would point at the thing they are confirming and saying what they are confirming out loud.

Here's a short of a driver using it! (The paper he points at is the schedule)

here's a conductor using it (He's checking that the signal is ok and the monitor shows him that the areas around the doors are clear so he can close them before departing)

[theshitpostcalligrapher]

req'd by @sablefoxx

i have been informed that this is a deeply awful citation system

text: Harvard Solent Referencing my Beloathed

[probablyasocialecologist]

This week, a 2,500-page leak, first reported by Search Engine Optimization (SEO) veteran Rand Fishkin, gave the world an insight into the 26-year-old mystery of Google Search. “I think the biggest takeaway is that what Google’s public representatives say and what Google search engine does are two different things,” Fishkin said in an emailed statement to Gizmodo.

[...]

King notes that one ranking feature “homepagePagerankNs” suggests the notoriety of a website’s homepage could prop up everything it publishes. Fishkin writes the leak references a system called NavBoost—first referenced by Google’s VP of Search, Pandu Nayak, in his Department of Justice testimony—which purportedly measures clicks to boost rankings on Google Search. Many in the SEO industry are taking these documents as confirmation of what the industry has long suspected: A website deemed popular by Google may receive a higher Search ranking for a query even though a lesser-known site may have better information.

[...]

In a video from 2016, a Google Search representative declared, “We don’t have a website authority score.” In an interview from 2015, another Googler said, “Using clicks directly in ranking would be a mistake.” It’s hard to make sense of these comments now in light of the leaked documents and Google’s response. “This response is a perfect example of why people don’t like or trust Google,” Fishkin said. “It’s a non-statement that doesn’t address the leak, provides no value, and might well have been written by an AI trained on the past decade’s most soulless corporate messaging.” In the era of AI answers, Ruby notes that the way Google ranks web pages is more important than ever. Instead of a series of links to various perspectives, you might just get one straight answer thanks to Google’s new AI Overviews. However, we’ve seen 10-year-old Reddit posts get strange amounts of authority, telling some users to put glue in their pizza. How Google chooses authority is increasingly important, since the top result may be the only one with a voice now.

30 May 2024

[nightlyrequiem]

hiya!! ^_^

zoinks!!! Gender-specific request!!!! 😵‍💫 fem!reader :3

lounge singer!reader x val, where theyre both mutually pining because teehee!! and then one night reader sings 'Valerie' by amy winehouse and mark ronson (?? I think) and val immediately decides its for her!!!! 😈

then val confronts reader and shes (reader) is like 'yeah i did that hehe' and they engage in ..... uhhhh!!! lesbianism!!!! :P

i plucked this idea off of @jooseboxxe!!! All credits due fourth (ФωФ)

thank youuu!!!!! 💫💫

-🃏🌀⭐️

Had a lot fun writing this. I'm almost done the first chapter for the actual lounge singer fic!!! it won't be like this, not exactly anyway. Excited for that :3

I love when women engage in lesbianism. Maybe I'm just biased though

Tags/Warnings: WLW, Lounge Singer Reader, Mutual Pining, Referenced Sex, Sexual Tension, Confessions

Valerie

Valeria isn't the type of person to keep other people around for very long. Unless they can continuously prove themselves to be useful, she will drop them without a second thought. For so long she tried to come up with reasons as to why you were useful to her. You weren't benefiting her cartel, weren't a foot soldier, didn't have any information. She wanted any reason at all because an actual reason meant it wasn't because she was falling for you.

As she watches you sing on stage, highlighted under a light glow in a shimmery dress that shows off some of her favourite features, she knows that she has fallen. Valeria hates herself a little for it. For letting herself get so attached. Maybe it could be justified - not be her fault - if you two were sleeping together. It happened only once. When Valeria had stayed late to check inventory and clean the bar herself. A break from the cartel. You had stayed late with her. A few too many drinks in both systems and the rest is a memory. One she thinks of often.

Nothing had happened since. You were friendly and actively sought her out for casual conversation, not a thing people do regularly, and she didn't mind. In fact, she liked talking to you. Your voice was as smooth and soft when you weren't singing. You are different to the people from her world. Not hardened and malicious. Just a woman with a voice and a passion. She rests her chin in her palm and closes her eyes, allowing your voice to wash over her and drown out all other sounds. The way your voice raises and lilts on certain notes reminds her of when she had you under her. crying out a similar melody.

If it were just sexual, Valeria would be fine. She tries to tell herself that her preoccupation is just that, but she knows better than to actually believe it. While she wouldn't mind having your legs hung around her shoulders again, she also wouldn't mind taking you to dinner. Hearing you laugh at something funny she said. Laying next to you and falling asleep. Learning your passions and fears. You feel so far away and unobtainable despite staying late most nights lates just to talk to her. Asking her all kinds of questions like you actually have any interest in what she's saying. You even remembered her birthday. Even remembered that she doesn't like cake, so you bought her an expensive bottle of chardonnay instead.

The soothing lull of your voice fades when you finish your song, and she opens her eyes. Admiring and envying the easy smile gracing your lips. She doesn't recognize the song you begin to sing. Upbeat and longing. Her heart stutters when you sing 'Valerie' for a split second she thinks it's her name. You look past the other patrons, right to her. Staring so intensely that she thinks even though the name is off by a letter, you are singing about her.

It's hard to focus on the rest of the performance because all she can think about is that you're singing for her.

The night crawls to an end and she can't close up the bar any faster. Valeria is desperately, and pathetically hoping, that this is one of the nights you stay late. She wipes down the same counter with distracted repetition. Casting impatient glances towards the dressing rooms where you disappeared to. Soon enough, you emerge from the dark hall, still in your dress, fine jewelry glinting around your wrists and neck. Valeria glances away.

You walk up to her and take a seat at the bar. 

"What'd you think of the show?" You inquire.

"It was good." Valeria says, setting down the rag. "It's always good."

You smile. "Yes, you always seem to think so."

"What was the last song you sang?" Valeria asks. Giving you a look from the corner of her eye while she cleans glasses.

You stare back. "Valerie." You say.

"Valerie." She repeats. She sets down the glass and looks at you. "I don't like tiptoeing around people, and I don't like it when people play games with me."

Yor smile falters, shifting into something more confused.

"... what?"

Valeria frowns. "Did you sing that for me?" 

She watched you shuffle, eyes darting away from hers. "I did." You say without hesitation.

"Why?" She presses.

"What do you mean 'why?'" You scoff. Eyes snapping back to hers. Something familiar dances in them. "I like you. I thought that was obvious."

It was obvious. To anyone it would've been obvious. However as much as Valeria isn't the type of person to keep other people around, she's also not the type of person to be kept. She's attractive, and rich, and has the allure of power but under that shiny wrapping paper is something rotten. Valeria isn't something you can just say you 'like'. Something so innocent and juvenile. You either haven't gotten the chance to see beneath that exterior or there's something wrong with you.

You chew the inside of your cheek waiting for her to respond. Disappointment flashes across your face.

"You don't like me back." You say. 

"... I wish I didn't." Valeria admits, her voice carefully flat. Her words look like they sting. The room is quiet and tense. Valeria can't take it anymore. Slowly, she walks around the counter, circling you like a predator. You turn your head, tracking her. It's smart to not have your back to her.

She comes to a stop in front of you. Eyes scanning your face for something. Whether or not she finds what she's looking for doesn't matter. Valeria grabs ahold of your arms and pulls you into a searing kiss. Fingers dinging into your skin like she hates you. Her tongue meets yours with aggression. You give in without a fight. Pulling her closer to you, feeling the hard and soft lines of her body against yours. She pushes you against the counter and you use your hands to lift yourself up. Letting her step between your legs. You lock your ankles behind her back to keep her close to you, like if you don't she'll get scared off and leave.

She clumsily paws at you through your clothes like she's never touched a woman before. grabbing at your breasts and waist. You pant into each other's mouths like animals. Pent up from holding yourselves back from doing what you've been wanting to do. Your own hands explore her like it's the first time again. Roaming over her biceps and back. Grabbing at her firm ass. Being one again is the only thing that feels right. Natural.

"Um..." 

Valeria jumps and pulls away, wiping away a string of saliva connecting her mouth to yours. Her gaze darkens and your glad the look isn't directed at you as she glares over her shoulder at the intruder.

"What?" She snaps. Her body blocks you from view of whoever it is that interrupted you. A fact that you're glad for.

"Sorry... just... there's an issue at one of the-the warehouses. Diego needs your help." The man splutters. Either embarrassed at having walked in on such an intimate moment, or fear from the look Valeria is giving him. Maybe both.

Valeria hesitates. Like she's tempted to send him away so she can continue. She runs a hand through her dark hair and reluctantly lets go of you.

"Yeah, okay I'll check it out." She says gruffly. The man takes his cue and leaves swiftly. Valeria turns back to look at you. There's a glimmer of that previous heat but her expression has softened.

"... Do you actually like me?" She asks, staring at you unblinkingly. It almost makes you uncomfortable but you can't look away. "Or do you just want to fuck me?"

You wet your lips. "Can't it be both?" You murmur. "Maybe I want to fuck you because I like you."

Valeria considers your answer.

"Then let me take you out on a date." She orders.

Your heart swells. The rush of endorphins making you feel slightly giddy. "Well, if I have to..."

Valeria scoffs and leans down, kissing you softly. "I'll see you tomorrow." She murmurs. Pulling away and leaving you to sit in the empty bar alone.

[songoftrillium]

Coming this winter:

Book 1: Cliath

In 1992, White Wolf Publishing released the first edition of Werewolf: the Apocalypse to the public. Throughout the 1990s, it rapidly grew to become one of the most played role-playing games of all time, and this persisted well into the noughties when the series concluded with the Revised (3rd) edition.

Its a game that speaks to the core fears many of us hold about the uncertainty of the future. Of corporations harming the world to meet their profit margins, of everyday people whose homes and lives are destroyed by disasters caused by those corporations or by storms that wouldn't have been so severe even a decade before. Of politicians who sell agencies to those who pay them the most to make the most vulnerable groups in society even more vulnerable. Of people who don't even have that. It looks you all in the eyes and asks you to be enraged. It asks you to care while handing you the tools to do something about it. Then, you get to work. You don't just blow up the factories; you empower the little guy, heal communities, and confront the stagnant society that you've become a part of, and you have to be responsible custodians of the greater world around you while not trying to be consumed by the very darkness you fight against. It was as intense as it was touching, heartbreaking, and entertaining. At times its just as absurd (and nuanced) as real life.

It was revolutionary at the time for the space it held at the tabletop. Werewolf was the first tabletop roleplaying game ever made that defaulted to using feminine pronouns in all Player and Storyteller interactions, as well as the default pronouns of the Garou in its first three editions. For its many flaws, it saw itself as the first tabletop roleplaying game that held any space for Indigenous groups. It made activism a core theme of the game itself, and would conclude its books with a list of related real-world demonstrations where the players can get involved in protecting the world around them, just like the werewolves they represent at the tabletop.

The Garou have intricate and multi-layered cultures from their written language to their oral histories, the way they dress, and the ways they manifest across editions were presented with very little overlap when it comes to the multiple facets across their society, leading to a rich history and complex societies for Storytellers to weave chronicles together for their troupes.

Dark Surrealism Awaits

The World of Darkness is implied to exist just beneath a facade that all others take for granted as simply being a world gone wrong. Can you feel it? In a world of burning forests, flash floods, social inequality and seemingly worse things emerging day after day — a world where everything feels wrong and nothing in the world feels right — you are not alone.

The universe is itself a living organism, thrashing like a panicked animal at the biting darkness, and we, the Gaians, are those who join the fight to protect it. You are one of Gaia’s chosen warriors, about to experience your First Change, and become swept into a world of ancient warriors and sacred purpose.

We monsters ask nothing of you—other than to join us.

Book 1: Cliath includes • Over 300 fully annotated pages with cross-referencing and book citations for Storytellers to delve into the deeper lore of WtA • Cross-edition compatible character creation rules for Fifth edition and legacy games • Comprehensive information on the histories, societies, and politics of over 20 Tribes • Laws, Tenets, traditions and rites for 3 new factions • Downtime and Questing mechanics • Detailed breed information and roleplay tips on how to play a wolf • Full sept breakdowns including roles and duties • Over 600 level 1-3 Gifts in a whole new presentation • 7 New Patrons • New Renown system and detailed ranking info • Comprehensive character creation rules • Dozens of story seeds to get your players started • A localized Pacific Northwest setting with Sept, legends, and over 20 new NPCs • Citable information on first changes and rites of passage

Read our introductory comic, Cracking the Bone

Read our latest project update here

[dokidokitsuna]

O.R.C.A.’s Directory

(Finally coming back to this concept after several months ^^;)

O.R.C.A. in #re_rise doesn’t just run Alterna in the background and give you orders– it’s a system you interact with regularly as the player; a database that facilitates your adventure and keeps track of your accomplishments. It is accessed through terminals placed at key spots on each site, which you have to find, activate, and physically walk to if you want to use them.

Most of the contents of the Menu (except the Sunken Scrolls) are now consolidated into O.R.C.A., along with a few bonus features~

Alterna Archive: Basically the Alterna Logs– all the information about Alterna’s history, from creation to collapse (referencing my rewritten version of this backstory, of course). As you clear lab spaces with different weapons, earn Golden Eggs, activate terminals, collect Nostalgic Devices, etc., the files will be decrypted line by line. Basically, anything that contributes to your percent completion of the game will count towards this…so just enjoy Alterna the way you like, and you’ll eventually reveal the entire archive without too much extra effort. ^^ This story is O.R.C.A.’s gift to you; your reward for reawakening its home.

Lab Notebook: Notes written by the ‘mysterious researcher’ currently working in Alterna, earned in order from newest to oldest, so we can gradually learn what the Fuzzy Ooze is and why he made it, as well as his origin story and true identity (in his own words~). These replace ‘Log.exe’ from the actual game. Lab notes are found by reaching computers hidden within the lab spaces, kinda like the Power Egg packs. They are purposely placed in the more challenging spaces, and you must clear the space in order to take the note with you– if you wanna learn the main antagonist’s secrets, you gotta put in the work. ^^

Wellness File: Records of Neo Agent 3’s responses to the environment, once you obtain the biometric monitor in Cryogenic Hopetown (more on that later). This is essentially an account of how the player character is feeling at each point in the story– a new entry will be created after each encounter with a major character (Deep Cut, the King Salmonids, the Squid Sisters, etc.) or a particularly interesting Alterna landmark. ;)

Nostalgia Index: List of all the Nostalgic Devices you’ve collected, which Alterna citizens they belonged to, and what they used them for. The citizens’ names are redacted, but you do get to learn a bit about the different kinds of people who lived in Alterna, and connect with them through the items they left behind.

Skill Tree: Basically the same as the in-game version, minus the Hero Shot buffs– in #re_rise you don’t get the Hero Shot until you gain the Hero Gear in the last stretch of the game. Instead you borrow from weapons’ lockers placed around Alterna…meaning you can carry the weapon of your choice as you explore each site, offering you a wider variety of strategies to use on those balloon challenges, for instance. ^^ But I digress…

Camera Roll: One of the Nostalgic Devices you can find is a digital camera, and once you’ve obtained it, you can take pictures with it and upload them to the terminal (as well as your regular photo gallery, when you’re back on the surface). The Alterna Camera comes with its own special filters, and characters you aim it at will pose for you. ^^ This feature is basically just for funzies, but if you can snap a picture of that large figure lurking in the shadows, you’ll earn a special clothing item.

Messages: Occasionally you will receive mysterious messages, warning you with increasing severity to stay out of their laboratory (and bring back their golden eggs…sure sounds familiar). Are these warnings for their sake or for yours…?

Map: Even the site maps are only accessible through the terminals, they’re not available whenever. Maybe that would be a controversial choice…but I think it’d be okay in this instance, since (a) the Alterna islands are pretty small, and (b) I’ve invented a fun system that might help– the Sticker Beakons! ^^

Around Alterna, you can find Sticker Sheets with 3 Sticker Beakons each, to place and replace wherever you want on any island. They shine like actual beacons so you can use them to navigate while you wander around on foot, and once you reach a terminal you can jump to them like normal Squid Beakons. They come in different shapes and designs like the stickers from Hotlantis, and double as actual stickers you can place on your locker, once you’ve found them in Alterna. ^^

I feel like forcing the player to walk around is more forgivable when you give them something cute and customizable like this to play with. :D If you want to use all 18 Sticker Beakons on one island at a time because you’re super directionally-challenged, you can. If you want to use them to simply mark your favorite Alterna landmarks so you can jump to them easily, you can do that too. 

Maybe as a compromise, I might add a ‘Return to Nearest Terminal’ option in the Menu…but I think encouraging the player to get out there and actively explore can’t hurt. Part of my philosophy with this re-concept is to make Alterna an interesting place that the player would WANT to explore, and all these added collectibles are part of that.