#its a player driven narrative

[w1tchybusiness]

i could write a 100 page essay about what a fucking masterpiece warframe is. i will write many words in the tags. please readem if you want my 'tism.

[scalematey]

look i know lots of people have said this but i think one thing that homestuck does well when it can be bothered to is allowing women to be fucked up and awful and complex and bizarre. like. even when they’re not the protagonists. even when they’re unsympathetic. even when they’re ambiguously the protagonists. even when they decide to make themselves the protagonists. yeah anyway this post is abt vris

[calder]

Released in 2010, Obsidian Entertainment's Fallout: New Vegas actively concerns itself with the realities of gay existence, and is widely recognized as a noteworthy work of queer science fiction. New Vegas extensively examines social attitudes towards homosexuality among the game's major factions, and primarily conveys this lore through gay and bisexual characters describing their own experiences. It also allowed the player to mechanically set the Courier's sexual orientation. By taking both available perks, the player character can be bisexual. By choosing neither, the player can opt out of seeing flirtatious dialogue options.

Uniquely, Fallout: New Vegas explores homosexuality in the context of wasteland societies, and touches upon related issues. The core theme of New Vegas is that the desire to recreate the past is driven by irrational nostalgia, and any endeavor to manifest past glory is dangerous and doomed. The social issue of homophobia is used as a demonstrative example. The resurrection of corporate and military power structures presents new avenues for Old World problems such as institutional homophobia to reemerge. One of the many issues that divide the New California Republic and Caesar's Legion is the latter's open persecution of gay people. The NCR is described as tolerant and even accepting of same-sex relationships, though acceptance tends to fall off the further one moves away from the developed, urbanized core of New California. In recent years, the Republic's rapid economic transformation has led to an unforeseen erosion of the humanitarian ideals which it was founded to serve. In practice, to recreate America was to take on its shortcomings and its sins. As subsistence scavenging has dried up, the people of the NCR increasingly turn to wage labor, entrepreneurial venture, or military enlistment to keep their families fed. Meanwhile, their government enacts morally corrosive imperialism (narrative verbiage), their dominion expanding indefinitely as their infrastructure crumbles from within. This has led to a profit-based imperial monoculture which must conquer, consume, and coerce to perpetuate. As personal politics and service labor grow in importance, people find themselves more inclined to present as "normal" in the interest of financial stability and political expedience. A loading screen visualizes this culture of artificial social normalcy: the portrait of President Aradesh on the NCR 5$ bill neglects to depict his unibrow, earring, and facial scarification, overall portraying the once-chieftain so cleanly-cut as to be unrecognizable at first glance. He also appears to be wearing a collared shirt or suit as opposed to the robe he wore in Fallout.

In the Legion, Caesar has mandated that every legionnaire take a wife and produce children, citing high infant mortality rates and the constant need for soldiers, and going as far as instituting child quotas. He treats human beings as a resource to be exploited for war. Ostensibly in this aim homosexuality has been declared a capital offense punishable by death. Historically, routine demonstrations of violence towards women and gay people are a deliberate feature of fascist societies, the only logical cultural conclusion of a government devoted entirely to war and control. In Forlorn Hope letter 9, an NCR soldier wrote wrote the following to his boyfriend:

Dearest Andrew, Writing this seems pretty morbid, but tomorrow we march into the no man's land between our camp and Nelson, which is crawling with Legion. The Major insisted I write this damn "if you get this, I'm dead" letter so here it is. What a crock. I have the luck of the devil and your love on my side, so I'll be home soon. Keep the porch light on for me. We'll party in New Vegas when I get back. I love you. —Devin

Devin believed he would prevail over the Legion because his love would keep him safe. He was found dying or dead on the battlefield, the letter was found on his body. In a post-release patch, the injured soldiers were removed from the battlefield for performance reasons, and never re-implemented. Driven largely in reaction to the Legion's hyper-masculine posturing and misogyny, rumors persist across the Mojave that gay male relationships are not only common within the Legion, but condoned. These rumors are repeated commonly in NCR society. A closeted NCR Major mentions that the Legion is "a little more... forgiving" about close male "friendships," speaking in a hushed tone to avoid suspicion. At the same outpost, the player can encounter Cass, a bisexual civilian woman. She may flirt with a male Courier, who may imply they are gay, prompting her to imply gay men are more common in the Legion. Even as gay men fight and die in the name of love under his command, NCR General Oliver may remark to Courier Six at the Second Battle of Hoover Dam: "If you think after all that's happened, I'm going to grab my ankles and take it like the Legion..."

This writing pertains to institutionalized homophobia which manifests in practice though power structures and social interactions without being written into law. Simply put, in his derogatory remark, the general expresses to his army that military surrender is gay, much like their gay enemy. From the brevity and bluntness of this remark, it's clear that this sentiment is already well understood among his ranks. Logically, to project strength in the eyes of such a leader, one might also project homophobia by scrutinizing and harassing one's peers and subordinates. In this atmosphere, the expression of homophobia is not only normalized, but materially incentivized. For the ambitious, it becomes a tool, and a way of casting shame upon rivals. For the closeted, homophobia becomes a survival tactic, hoping to throw scrutiny off oneself. This is why Major Knight is immediately frightened when a male Courier flirts with him. He is so profoundly alienated that he romanticizes life as a gay man under the Legion. The Legion punish homosexuality with death, and yet Knight characterizes them as more "forgiving" than the NCR. Through these apparently disparate events, the audience can trace how a distorted perception of gay people emerges among insecure men in a military environment, and subsequently becomes ingrained in the corresponding civilian culture. At the 188 Trading Post, a lesbian from the Brotherhood of Steel named Veronica also wryly remarks that she believes legionaries have gay sex about as often as straight sex. She also notes that this only applies to men, as women have no rights whatsoever in Legion society. In this aside, she conveys a pre-existing frustration with lesbophobic social norms. Veronica also mentions that the people of her bunker would rather she remain on the surface. The Mojave Brotherhood of Steel has no official policy prohibiting homosexuality, but an implicit attitude among its dominant members that their limited numbers require everyone to have children to avoid extinction. Numerically, this may seem logical on the surface, given their reluctance to recruit outsiders. However, given their tiny population, this is an ineffective countermeasure, as they do not have nearly enough members to maintain genetic diversity for more than a few generations. This approach is not universally supported by all family units within the Brotherhood, but every individual is ultimately at the mercy of the elder. Veronica was in a lesbian relationship, but they were quietly separated by Elder Elijah, due to the dominant culture of enforcing heterosexual pairing among their population.

Caesar's law has not ended homosexuality within his domain. Despite the obvious risks, some legionaries have continued to pursue relationships behind closed doors, especially given their access to slaves. So long as members complete their societal obligations and fulfill the child quotas, they are able to pursue romance with other men in secret. Homosexual relationships in the faction are noted as being relatively equal compared to the average Legion husband and wife, in a "Don't Ask, Don't Tell" sort of open secret policy. Gay legionaries must always make sure to keep their activities hidden. A centurion was once almost caught fraternizing with the teenage boy he had chosen to tend his tent. Despite previous "romantic" intentions, he quickly resolved to dispose of the slave to dispel suspicion. Had they been caught together, the centurion would have been charged with homosexuality and sentenced to death. This story is only known because the enslaved young man, Jimmy, managed to escape execution. Further illustrating the cruelty intrinsic to Legion governance, it's stated that homosexuality was the crime, and not the rape of a young slave; in fact, it seems Jimmy was forced to contribute to the child quota despite being a gay teenager, and the experience left him traumatized. He has resolved to never have sex with another woman, as the very notion triggers memories which fill him with disgust, and (in his own words) makes him feel like a slave all over again. The Strip is indifferent to gay people, viewing them as another opportunity to make caps. Both the Gomorrah and the Atomic Wrangler are interested in maximizing profits, and their prostitution services cater to clients regardless of their orientation. The openly gay Jimmy works at nearby Casa Madrid, but there is some tension among his peers due to his co-worker Maude's blatant homophobia. She supposes he's "okay, for one of those," and if propositioned by a female Courier, Maude will direct them to Sweetie for such "perverted" services. Pretty Sarah must regularly intervene to keep the peace among her staff.

The Followers of the Apocalypse, well-read punks who seek to embody healing through anarchistic values, are not concerned with gender. Most are openly and casually sexually active. Upon meeting Courier Six, Arcade Gannon offhandedly makes his gayness known, unprompted. The audience must face the fact that Arcade's apprehension of the Legion is far from abstract; under Legion law, he would be put to death. One possible ending gives further insight into Caesar's hypocrisy: should the player sell Arcade into slavery and leave Caesar alive, he will keep Arcade as a personal physician and philosophical advisor. They intellectually spar at length, and Caesar grows singularly fond of him. Accordingly, Arcade imitates the historic suicide of Cato the Younger by disemboweling himself. The Legion's remaining medics attempted to save his life, but none were Arcade's equal. Caesar understood his doctor's final gesture of contempt, and mourned him for months.

New Vegas ventures further into themes of healing from the trauma of sexual violence, from the perspective of a lesbian character. Corporal Betsy, an NCR sharpshooter, is a rape survivor, and suffers with PTSD from the incident. Her unprocessed trauma has manifested as a maladaptive tendency to aggressively and explicitly proposition the women she encounters, in an effort to reassert a sense of control. This defensive hypersexual impulse has negatively impacted her ability to connect with other women. A male superior officer notes that her behavior is inappropriate for anyone of her stature, but abstains from disciplining her out of sincere concern for her mental health. The Courier can help her begin to recognize these problems, and convince her to seek treatment from Doctor Usanagi at the New Vegas medical clinic, which proves helpful to her as she processes and heals from her trauma.

In Old World Blues, the Think Tank are five floating brains in jars who express themselves by waving robotic arms bearing screens depicting facial features. Before the War, they were federal scientists who committed crimes against humanity in the name of weapons development. Each is stuck in some sort of neuro-bionic feedback loop which prevents them from moving forward with their projects, mentally binding them to their central laboratory. Walking through their homes at Higgs Village, it's clear each was deeply neurotic before they were transformed into floating brains. Now without bodies, they attempt to maintain the illusion that they are exempt from sexuality as purely mental beings, but each displays obvious interest in the human form. They have codified this shaming with the term "formography." Most of the men are obsessively defensive over their complete disinterest in penises, which they talk about constantly. However, the shameless Dr. Dala shows overwhelming interest in observing and recording any and all human functions. Already androgynous in her pre-War life, Dala has taken to self-identifying as a "gender neutral entity" (though she is not known to use they/them pronouns). Regardless of the Courier's gender, they may coquettishly scratch themselves, clear their throat, and stretch in front of Dala until her biomed gel decoagulates. Dr. 8 also responds positively to graphic masturbation advice from Couriers of either gender. The X-8 research facility is ostensibly a massive immersive shrine to Doctor Borous's hatred of Richie "Ball-Lover" Marcus, a long-dead child who bullied Borous centuries ago. He also clings to his resentment of one Betsy Bright, who refused to attend a dance with him, supposedly so she could "go smoke with RICHIE MARCUS." Clearly arrested in development, Borous has literally built a temple to the fantasy of torturing his adolescent romantic rival and feeding him to dogs. His frozen, static characterization of the jock Richie Marcus as a "pinko-commie" who "likes balls" reflects the shallowness, pettiness, and overall misanthropy underlying his patriotic identity. It remains apparent throughout Old World Blues that the Think Tank are all chronically sexually repressed, which is inseparable from the values of the violent and judgmental pre-War culture which created them. With time and isolation, this ingrained repression has manifested as various intense and deranged psychosexual behaviors, including rage-fueled homophobia, voyeurism, and the obsessive performance of puritanical pretense.

____

“Although I’ve been out for a very long time, I made a conscious effort to be out with relation to this project, as I wanted to be visible as a lesbian in the game industry. New Vegas itself is, I think, one of (if not the) best games out there in how we treat homosexuality – and all of that is very intentional.”

“If my work on FNV, if my being out has helped even one gay person, then I have succeeded.” — Tess “Obsidian’s Gay Cowgirl” Treadwell

____

written (with help from other editors) for fallout.fandom.com/wiki/LGBT_representation_in_the_Fallout_series criticism welcome

[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.

[felassan]

All companions are pansexual!!!

Game is rated M, will contain nudity. [source]

Full article:

"In a new interview with The Veilguard game director Corinne Busche, we've confirmed that yes, you will be able to romance any companion you want, regardless of your character's gender or race. It's a bit of a surprise for fans, considering that in previous Dragon Age games, the romanceable characters had different sexual orientations. Some were pansexual, sure, but others were heterosexual, others were only attracted to the same sex, and some could only be romanced if you were a certain race (Dragon Age: Inquisition's Solas, for example, could only be romanced by female elves). But Busche pushes back on the idea that The Veilguard's companions are "playersexual," a term used to describe games where NPCs are specifically only attracted to the player character. She says she's seen playersexual "done in a number of games," and "it can be really off-putting where these characters are adapting to who you, the player, are." Rather, Busche insists that they're all specifically pansexual, and that might come through in what you learn about their backstories. "Their past experiences or partners, they'll reference them and indeed who they'll become romantic with," Busche tells IGN. "For instance, we saw Harding. I might be playing a straight male character flirting with her, but I choose not to pursue a romance. She might get together with Taash. So my perception, my identity has no bearing on their identities and that comes through really strongly." When asked if that means it won't take long for romance to become an option in The Veilguard, Busche confirms that you'll be able to start flirting with everyone pretty early, as you recruit all seven companions throughout the first act. But, she clarifies, "it's not until the later parts of the game where you really commit to romance and it gets pretty spicy.""

---

"Speaking of spicy... Of course, Dragon Age: The Veilguard is a BioWare game, and games from the studio — specifically those in the Mass Effect and Dragon Age series — are known to have some fairly explicit sex scenes. Busche confirms that The Veilguard will be no different, particularly towards the end of the game: "Of course, we are an M-rated game," she says. "We do have nudity." There's also some obvious parallels to be made between The Veilguard and last year's critical darling Baldur's Gate 3. The latter became known not only for its deep romances (like The Veilguard, Baldur's Gate 3 player characters can romance any companion regardless of gender or race), but also for its sex scenes, including one involving a Wild-Shaping Druid that went pretty viral. Busche isn't afraid to admit that she has played Baldur's Gate 3, and loved it, as she's an "an RPG fan through and through": "The more character-driven party-based RPGs with deep emotional connection, the better." "What I love about the two games is I think they live side by side in a really interesting way," she continues. "They're very different games, but those emotional connections and how the narratives hook you, I think there's space for both." Specifically in regards to the sex scenes and how The Veilguard will handle theirs differently, Busche says some of Baldur's Gate 3's scenes were "shocking and comical in some ways, and I would say I loved that." "Our companions, we want them to be relatable and fully realized. So they can get spicy, but in a way that I think people will actually relate to," she says. Basically: no bear sex. Busche goes on to say that how sexually explicit the scenes are, too, will vary between characters. "Some of them are more spicy than others," she reveals. "Just like real life, our companions have such diverse personalities. Some of them are more physical, more aggressive, and some of them are more... we have a gentleman necromancer, for instance, that is more intimate and sensual." Our interview with Busche comes as BioWare continues to roll out information about the highly anticipated Dragon Age sequel, with a cinematic trailer having dropped at the Xbox Showcase over the weekend. Dragon Age: The Veilguard will debut sometime this fall."

[source]

[cavegirlpoems]

I see we're talking about XP!

@thydungeongal and @imsobadatnicknames2 have interesting posts up, and now it's my turn to throw my thoughts out there. SO. I think of XP as the game itself offering you a little bribe. Do the things the game wantss you to be doing, and the game gives you an XP to say thank you. Get enough XP, and you're reward is greater a permanent bump in power, meaning greater ability to exert your will over the world and therefore greater agency. (Systems like Fate Points, Willpower, Inspiration etc work the same, except the increased agency is a temporary one-time thing, not permanent, so at times I'll lump them in).

So. Let's talk about a few different systems and how they handle this.

Let's start at the very begining (a very good place to begin). In the very early editions of D&D - back when Elf was a class - you got XP for treasure. Every gold coin you got out of a dungeon (or equivallent value of other treasure) was 1 XP. This worked well; the game wanted you to go into a dungeon and explore it for treasure, while trying not to die. If you succeeded, you got XP, which made you better at doing that so you could do it again in a more dangerous dungeon. And because treasure is XP, and treasure weighs you down, getting it out is a meaningful activity. Hell, many of these games measure weight and encumbrance on a scale of 'how many coins' to drive this home. It was a good loop. Early D&D has many faults (like the weird racism in the MM) but the xp system is something it absolutely nailed.

Next up, let's look at classic vampire the masquerade. At the end of each session, you get 1 xp just for being there, and then another if your character learned something, if you portrayed your character well, and if your character was 'heroic'. So, what's classic VtM rewarding? Ultimately, it rewards the player for being the kind of player the game wants. If you get into character, engage with the game world, and act like an interesting protagonist, you get rewarded for it. It's a bit fuzzy, and at the GM's discretion, but its very up-front with what it wants to incentivise. It was the 90s, they were still working out how to be a narrative-driven game, but you can see where they were going with it.

OK, now lets look at something a bit weirder; monsterhearts. The main source of XP here will be Moves. Rather than a bolted-on rewards mechanic, each game mechanic you engage with might grant you xp. You can use your strings on another PC to bribe them with XP when you want them to do something. Lots of abilities just give you an XP for doing a thing, such as a Ghost ability that gives you XP for spying on somebody, or aa Fae ability that gives other players XP when they promise you things. Here, XP is baked into the game, but its very up front about being a bribe. Act the way the game wants, or go along with other players' machinations, and you get rewarded for it. And, critically, XP is just one part of a wider game-economy of incentives and metacurrencies; it links in with strings and harm and +1forward in interesting and intricate ways that push the game forward. Monsterhearts is a well designed game, and you should study it.

Finally, let's look at how D&D 5e does it, as a What Not To Do! We have two different options. The first is XP for combat. When you use violence to defeat something, you get XP for it. Under this option, the only way to mechanically improve your character is by killing things. So, we can conclude that D&D is a game that wants you to engage in constant violence. The other option is 'milestone XP'. IE: you level up at the GM's whim, when they feel like it. What does this reward? Fucking nothing. Or, at best, you're rewarded for following the railroad and reaching pre-planned plot moments in a pre-scripted story. You either have no agency in the matter, or are rewarded for subsuming your agency to the will of the GM. (This pattern continues with inspiration rewards, which are given 'when the GM is entertained by you'. Fucking dire.) "Oh!" the 5e fandom says "But a good GM can write a list of achievements that will trigger milestone XP". And yes, they can, but that's not how the text of the game presents it. That's a house rule. That's the GM doing game design to add a new, better, mechanic to the game to fix its failings. Is it any wonder, then, that the 5e fandom puts so mucn weight on the GM's shoulders, and has such a weird semi-antagonistic relationship between GM and player? Is it any wonder that absolutely brutal railroading (and the resulting backlash of disruptive play) is so rife over there? Look at how the incentive structures are built? It's either killing forever or GM-as-god-king! Anyway, yeah. Consider what you reward with XP, because that will become what your game wants. And if you're hacking a game, one of the most efficient hacks is to change what you get XP for and suddenly the game will pivot to something very different.

[hustlerose]

as i slowly exit my "bethesda's writing and design are literally satan" era, i find myself less angry about their many missteps, and more melancholy about what might have been. fallout 3's pre-broken-steel ending, for example

everyone makes fun of that one moment. your super mutant buddy you just met tells you "we all have our own destinies, and yours culminates here. i would not rob you of that." like sorry player 1, you have to die here for no good reason because it's dramatically satisfying

i submit this ending pissed people off not because it's bad, but because it's the wrong ending for fallout 3. fallout 1 and 2 had endings and they felt just fine, but fallout 3 is not a narrative-driven game like those ones. it's a big fun sandbox that you play in to your heart's content. a bittersweet ending with hints of destiny is unwelcome here. even ending the game at the climax is a mistake. the only sensible ending to a bethesda game is "play til you stop having fun." so they did that ending instead, as dlc

what pisses ME off about the ending is that it's so inspiring. i can't help but wish i'd played the game that matched that ending. imagine a version of fallout 3 where all the characters talked like that. imagine the chosen one narrative was dialed up to 11, where every moment of narrative was suffused with tragedy and inevitability. imagine if more characters talked metatextually, musing on your role as player and protagonist. think about all the cool foreshadowing that could have been done to set up a tragic ending where you make the ultimate sacrifice for the greater good. you could wring so much moral complexity out of this moment, as it could force you to reflect on your charcter's choices. you are the most important character in this world. fate bends around your story. what if the other characters could tell, and had opinions on that fact?

i want to read that story god dammit! sometimes i think it's up to me. maybe i have to rip that great ending right out of fallout 3 and stitch up a whole new story around it. one that actually supports fawkes' dialog as its central theme

[acethedria]

Here’s a rant: Drawtectives is a weird but interesting format for a series. It’s very on rails but is still entirely improvized. It’s honestly barely a TTRPG or actual play series, I always describe it as a “pre-planned mystery gone about via improvized comedy”

There’s honestly verrry verrry little player choice for the most part. If the players don’t notice something, Julia brings it up or walks them through it before its too late. All NPCs and clues are planned in advance, and its not like the players can just rummage around and go anywhere they want like a typical TTRPG. They go into rooms in order, speak to the 1 or 2 people there, and can sometimes interact with background elements.

But it weirdly feels entirely player driven. What evidence is found when, what about the world is established, and the characters’ stories during the series are entirely decided improvizationally by the players along with Julia.

For example: The Drawtectives were always going to receive each piece of the Justice family knife, but they didn’t consciously pick up on enough clues, so Julia had to make Fontaine an exposition-dump character. But the players are the ones who established the Northern Tribes, Jacob saying York pissed outside led to Julia saying Harper got peed on leading to immediate antagonism and eventually Piss Boy, they created a bond with each other as friends, made Jancy into a motherly character, etc.

Its simultaneously restrictive like a video game and full of freedom and creativity.

Its kind of like a series of improv shows with a unifying narrative.

It reminds me of those mystery board games, where it provides the thought and background of a mystery narrative but allows the player(s) to do whatever they want to do in order to solve it. Its exactly what mystery video games fail to capture.

[rawliverandgoronspice]

I think what particularly annoys me with the "zelda was always gameplay before story" is that... it's not true? At least I don't think it's true in the way people mean it.

Zelda games were always kind of integrating story based on the standards of the time. When game stories were in game pamphlets, Zelda's stories was in the pamphlets. ALTTP tried to tell a pretty complicated stories with the limitations of the time. OoT was actively trying to tell an epic, cinematic tale packed with ambiance and expand what 3D could offer that 2D games struggled with. Majora's Mask is deeply character-driven in many, many ways. Wind Waker and Twilight Princess are both pretty concerned about their stories, down to the point that some people were bored by TP's cutscenes in particular. Skyward Sword, from what little I have played it, is very very invested in its characters and their journey (and 2D Zeldas have Link's Awakening, Minish Cap... None of them are visual novels, but they are concerned with emotional journeys, character arcs, mysteries about their own world...)

What is true is that the narrative wraps around the mechanics, and not the other way around. The mechanics drive themes, aesthetics, emotional beats and character journeys; and that's great. The world is a puzzle, and the world is delightfully absurd when it needs to be, full of heart when it calls for it, dark and oppressive when it suits the player experience.

That does not mean the games aren't invested in their stories. Even BotW has a pretty complicated story to tell about an entire world rather than one specific tale or legend --all of it at the service of the gameplay, which is exploration and mastery of your environment.

So. Yes, none of the Zelda games are million-words long visual novels that care deeply about consistency and nuance; but stories don't need consistency or deep lore to be meaningful and serve an emotional journey. Again: gameplay is story. The two cannot be so easily parsed from each other.

And Zelda as a franchise obviously care deeply about story, characters and setting (and still does right now --otherwise there wouldn't be a movie), even if it doesn't try to imitate prestige narrative-driven games, which is great and part of why I love this series so much. Doesn't mean it couldn't have done better in the past, it obviously could have, but I feel like pretending that nobody ever cared about story or character is just... false? It's a huge disservice to the devs too. Some of them obviously cared immensely.

The "gameplay above story", at least in the extent to which it is paraded today to defend TotK, mostly, is a really recent development. And I think it's one that deserves to receive some pushback.

[lightweaver-chosen-if]

DASHINGDON | FORUM

NEWEST UPDATE (01/04/24)

You stop short, catching a glimpse of yourself in the polished surface of the headmaster’s desk.

Eyes blown wide with rage, lips pulled into a snarl. Every part of your face is contorted with hate—contagious to the point that it sends shivers down your own spine.

You visibly deflate, head hanging low as your body curls into itself; the reflection flickering with doubt and self-loathing.

“I don’t know,” you whisper weakly, squeezing your eyes shut as they start burning with unshed tears. “I don’t know.”

Lightweaver: Chosen is an upcoming modern fantasy IF for 18+ players and older. Use of elemental powers is inspired by Avatar: The Legend of Aang/Korra.

A world where elemental deities share a fraction of their powers to their chosen, bringing upon the age of weavers; humans with the ability to manipulate the elements of their patron.

You have been chosen by a mysterious lightning deity—blessing you with the power to weave lightning. But with a brutal past haunting your every step, your new abilities present a double-edged sword.

The choices you make, the support you receive, and the inner strength you harness define your journey—one that promises a life outside Mother’s grasp.

Two divergent paths lay ahead.

Will you let yourself heal and grow, or will you fall deeper into the void?

Play as a touch-averse customizable MC with a troubled past, male or female.

Learn how to use your newfound lightning powers to its fullest potential. Anything’s possible if you’re smart enough!

Use your powers for good and be admired. Or use them to become a menace in society and be feared.

Participate in Launwyce’s many academy events and competitive tournaments. Show the weaving world what you’re made of.

A potential pet has also chosen you as its human; teach it a trick or two!

Shape your MC’s personality however you want. Certain choices also help shape the rest of your past.

How the MC deals with their trauma is entirely up to you.

Push away or make new relationships. Everyone has their own inner demons you can unveil.

Character-driven narrative and slow burn character development.

Eventually face the monster from your past, Mother.

3 different endings to branch into!

Luna/Leo Bancroft

| 18 | Fire Weaver | Freshman | A’s childhood friend

If MC is shorter than L, they’re shorter than all ROs

They were the first to notice you falling.

A warm and gentle soul. But there’s a certain air about them, the kind that makes them seem untouchable. It’s a type of muted cheer, one that carries the tension of maintaining a persona, but perhaps not a façade.

Despite their unusual aura, they’re attentive and smart, not to mention remarkably insightful.

Alice/Alec Langley

| 18 | Water Weaver | Freshman | L’s childhood friend

If MC is taller than A, they unlock height choices for J

They were the one who made sure you landed safely; and with flourish.

Behind their snark lies a certain vulnerability, hidden by a layer of frost and caution. You suspect that they wear the act like a mask; even if the flecks of passion flickering beneath the surface reveal a fiery heart.

They’re quick-witted and equally sharp-tongued. They never hesitate to speak their mind.

June/Juno Patel

| 19 | Earth Weaver | Sophomore

If MC is taller than J, they’re taller than all ROs

Ever present on their features is a stern expression; jaw set and eyes sharp. Even with little words uttered, they carry themself with confidence that demands respect.

Their intimidating presence often gives people pause, but those who dare meet them head-on will find a stubborn and proud spirit that refuses to yield.

Surprisingly, they’re easy to read, and it makes interacting with them oddly satisfying.

[seedlinggames]

Nobody needs another TTRPG taxonomy but I made one anyway

Posted here: https://seedlinggames.com/blogging/discourse/game_taxonomy_part_1_v_1.html I have a second blog post that is going to explain the small diagonal line, but basically it's that I think there is influence between those two camps that people don't seem to talk about much, probably due to internet discourse reasons

A million people have already done this - I'm kind of assuming you have vaguely absorbed the existing Internet discussions, and are familiar with terms like OSR, Story Games, etc. If you haven't, run away now and save yourself. But Six Cultures Of Play is probably a prerequisite to understand what I'm talking about, or at least what I'm complaining about.

I will try to, as much as possible, only discuss games that I have played. A lot of taxonomies seem to be written by someone who clearly likes one type of game a lot more than the others. For instance, I will not be discussing LARP because I don't have any relevant experience. I'm also not claiming that I am discussing the complete set of all games that exist, but I think I have played enough of them propose a taxonomy. If you're curious, I have an approximately complete list of games I've played or run here.

What is a TTRPG?

First we're going to have to look at everyone's other least favourite subject of conversation.

TTRPGs have 2 or more people taking on the following 3 roles:

A player, who is responsible for one or more characters who are the protagonists of the story.

A GM, who is responsible for the remainder of the story, such as providing additional characters and other aspects of the environment that the main players exist in. To do so they might determine the outcome of uncertain events or interpret rules agreed upon by the table.

An author, who provides additional, reusable material without being present. I'm using the term "author" for a lack of a better one, but it includes game books, blog posts, maps, drawings, or even fixed principles transmitted orally from game group to game group. These serve to facilitate or even replace GMing, as well as to introduce new ideas to the table without someone being physically present.

The same person often takes on different roles at different times, sometimes in the same game.

If you have only one of these roles, you are probably writing a book, doing improv, or some other activity. Which is of course totally fine.

This isn't the only definition you could come up with, but I think most people would agree it isn't totally wrong, and it's a lens that I'll be using to discuss the game taxonomy.

Maximalist Games

Apparently "maximalist" means something specific in art but I am not educated in such things and might be using the word wrong.

Characteristics of a maximalist game:

The three roles: clearly present and distinct, with the GM and author each taking on a large responsibility for the game experience.

Modularity: Semi-modular: There is a main game system which is designed to be extended by other modules, but these modules cannot be used with other games easily. A game book is typically not a self-contained experience and games are usually open-ended in duration.

Rules: A lengthy, complex ruleset with subsystems for resolving different parts of the game that are likely to come up, primarily oriented around the success or failure of an action and its consequences.

Characters: The complex game mechanics provide an opportunity for players to develop a distinct character before playing them, defined by game mechanics. Character and player motivations are usually aligned.

Narrative structure: Campaigns usually follow conventional narrative structure, but this is driven primarily by the GM, or by adventure modules, which define an outline of the narrative.

Who makes them: Often require more resources to create and thus are made by corporations, but that is changing.

Relationship to other media: While often inspired by fantasy novels, their larger budget and longer history has allowed some of them to develop their own genre conventions distinct from other media, and in some cases have inspired movies and books.

Solo games: Rare, due to the prominent role of the GM.

"Trad" games are a subset of these but a) I hate that word and b) I think the genre, starting especially with 4E and other inspired games, have gone in some very different directions. It roughly corresponds to "Fight D&D" in the Between Two Cairns taxonomy, but some games in this category involve no fighting at all.

Narrative Mechanics Games

The three roles: Blur the lines between GM and player more freely.

Modularity: Usually not very. Each game is made to create a specific experience, and the blurring of GM and player roles makes adding external content more complicated.

Rules: Focused on resolving problems in the context of narrative structures. Rules may facilitate pacing, allow for storytelling outside of linear time, allow players to temporarily take on a GM-like role, and allow for players to work together to create conflict between their characters.

Characters: Mechanics facilitate creating characters according to genre conventions with defined relationships to other characters and to NPCs. Player and character motivations are often not aligned.

Narrative structure: Rules are designed to support conventional narrative structures and genre conventions.

Who makes them: The focused scope of these games mean that they are often made by individuals rather than corporations, but there is a trend towards some of them being made by mid-sized organizations. Long development cycles may be needed to provide a polished experience, leading to some amount of professionalization.

Relationship to other media: Usually strongly inspired by other media, allowing you to create stories similar to movies, books, TV shows, etc.

Solo games: Rare, with Ironsworn as a notable exception.

Some "story games" fall into this, but I think "story games" has split into two meaningfully distinct categories. I've met enough people who only like one of the two categories. I think they are perceived as more similar than they are because there's less internet drama about the difference between them.

Prompt-based storytelling

The three roles: Blur the lines between the GM, player and author, with the GM often being absent.

Modularity: Usually self-contained experiences with limited modularity.

Rules: Often entirely forego mechanics for failure or success; mechanics tend to be minimal and about making suggestions regarding the story to tell, with the written text sometimes acting primarily as a GM or even player who is not present.

Characters: Character creation is usually a minor to nonexistent part of the game, with characters being defined by decisions made at the table. In some cases, all characters are already predefined. Characters are usually defined in words rather than numbers. Player and character motivations are rarely aligned.

Narrative structure: Stories often forego conventional narrative structures, and are focused around exploring relationships, ideas, or experiences. If a narrative structure is defined, it is usually in the form of a defined endpoint, with the purpose of the game being to explore how the characters get there.

Who makes them: Leans heavily towards DIY or single creators. Often comes in formats other than books.

Relationship to other media: Inspiration comes less from established genres and more from life experiences. Genre fiction is less likely to be an inspiration.

Solo games: Very common, due to the reduced role of the GM.

Adventure/exploration games

The three roles: Blur the lines between GM and author, both at the table and culturally.

Modularity: Are highly modular: not only are supplements and adventures often interchangeable, but are often not tied to specific systems.

Rules: Have relatively short rulesets focused on generating situations (on the GM side) and resolving danger (on the player side).

Characters: Characters are mostly created organically in play through interactions with the environment, including the tools at their disposal. Random generation is common. Character and player motivations are usually aligned.

Narrative structure: Campaigns often do not follow a typical narrative structure, aside from perhaps an escalation in danger, scope and/or strangeness.

Who makes them: Their modular nature means that they are often created in a DIY manner, through zines, blog posts, and informal discussions, though mid-size companies are also prevalent.

Relationship to other media: Inspiration from other media is often mostly vibes-based, with genre fiction, folklore, and even musical genres and political movements (for better or worse) being prominent. It doesn't seek to emulate the characters or narrative structure of other genres.

Solo games: Relatively common, usually provided by an additional module that may be specific and general-purpose, often focused on a GM emulator known as an "oracle."

"OSR" games are a subset of these, but a good number of these also make many OSR people very angry. It roughly corresponds to "Door D&D", but dungeon crawling is not inherent to this genre.

Other ways of looking at these categories

You could also map these on axes:

distinct GM/player/writer role vs combined roles: maximalist vs prompt-based at opposite ends of this spectrum

Highly self-contained vs highly modular: narrative vs adventure/exploration

Strong genre conventions vs naturalistic approach: maximalist/narrative vs adventure/exploration/prompt based

Resembles a D&D vs does not really resemble a D&D: maximalist/adventure/exploration vs narrative/prompt based

for symmetry I want to put another axis for maximalist/prompt based but I can't think of anything they have in common. Oh well.

But I also don't think this is a complete enumeration of all possible types of games either - this is some kind of n-dimensional space that has only 4 blobs on it

The part of the taxonomy blog post where you realize this is actually just me going on about my own preferences this entire time

I've played and enjoyed all 4 types of games, but putting this together has helped me figure something out - why it is that I like both the NSR side of OSR games and like the "super weird" story games. And why I don't seem to be the only one, even though these are often talked about as opposites. Because if you split story games into two genres, the similarities between prompt-based games and adventure/exploration games comes out.

[vir-tanadahl]

AND YOU KNOW WHAT---IT SHOULD HAVE STAYED BEING CALLED DRAGON AGE: DREAD WOLF

datv spoilers, fyi

Seriously, I was thinking about the post I made yesterday (where I was venting about writing), but specifically, this part:

The 'Veilguard' and Rook:

I’m going to be honest—I’m completely ignoring them. There’s absolutely zero indication of what they’re doing afterward (besides presumably helping Thedas recover). The Veilguard was created by Varric to stop Solas. Solas was stopped. So… now what?I don't want to even try to touch that.

Why is the game titled Dragon Age: The Veilguard when the word "Veilguard" isn’t even mentioned in the game? Unlike Dragon Age: Inquisition, where the Inquisition was both a pre-established lore element and a central focus of the narrative (that we do learn about in-game, but the history of the Inquisition is rooted in Thedas).

The Veilguard doesn’t align its title with the story’s true emphasis. The narrative revolves around the Dread Wolf and his plans, not the Veilguard. While the Veilguard are a (lovably chaotic) group of hired misfits tasked with stopping him, their role feels like a means to an end rather than a defining focus.

They exist solely to oppose Solas, with no meaningful evolution or impact on the overarching narrative or lore. Even if their role shifts after confronting Solas, the game doesn’t address it (that I can remember now), making the Veilguard feel like little more than a means to an end.

The name 'The Veilguard' feels far more limited in scope compared to the Inquisition, which was a player-driven organization with lasting impact on Thedas. In contrast, the Veilguard is a temporary, reactive group assembled for one specific purpose. This makes the title DATV feels misaligned, centering a group whose relevance is situational rather than integral to the world or the game’s themes.

This is why I believe the title Dragon Age: Dread Wolf would have made far more sense. The narrative is centered on Solas—his story, his past, and his motivations. We literally live in the Lighthouse, his base of operations during the rebellion. We journey through the Crossroads, not just uncovering his memories but experiencing them firsthand, alongside the revelations we unlock at the Lighthouse.

We even meet the love of his life—not primarily in her role as the Inquisitor, but as Lavellan, someone who knows and cares for Solas on an intimate, personal level. That she also happens to be the Inquisitor feels secondary to her role in his story.

The narrative IS about the Dread Wolf.

[within-your-eyes-if]

FAQs

Welcome to the FAQs post for Within Your Eyes. More may be added in the future!

Do you take NSFW Asks?

Yes! [Though at the moment, Asks are closed]

Will there be more poly routes?

Right now, the polyamorous routes I’ve included felt "right" to me. While I'm open to the idea of introducing more, I want to ensure that each route is well-developed and fulfilling. Therefore, I’m carefully considering any additional paths. My main focus right now is enhancing gameplay elements and keeping a manageable workload. Future updates might bring new possibilities, but for now, my energy is dedicated to enhancing the current experiences.

How many NSFW scenes will there be?

I let the story guide me a lot on certain things, letting it unfold organically, including NSFW moments. While I do follow a detailed timeline for the story, it's flexible enough to accommodate new ideas, including unplanned NSFW scenes. So, the exact number isn't predetermined — there could be quite a few, depending on how the story unfolds.

You should do __________!!

I receive a variety of suggestions for many aspects of the game. To streamline this process, I've set up a dedicated Feedback form. Please note that while I'm open to hearing your ideas, especially about technical aspects, there are limits to the changes I can implement. I encourage you to read the guidelines carefully before submitting!

Why can't the MC be a virgin?

Initially, I thought the MC's virginity could be an implicit aspect of their background, but I now recognize its significance to some players. While my story isn't purely NSFW, I can see the appeal for having this option, and I'm actively working on incorporating it — this includes adjusting existing scenes. I apologize for any oversight and appreciate your patience!

You said you've been working on this world for so long, why isn't it done?

Bringing a world that's been growing in my imagination for over a decade into an interactive format like Twine has been quite an endeavor. Initially, I envisioned a linear story with three main characters across three stories. However, as I started adapting it to an interactive, choice-driven narrative, I realized these characters wouldn't work as I had intended. This realization led to the introduction of a new character—our beloved Warden—and a shift in the storyline that hadn't been part of the original plan. These adaptations have opened up possibilities that have significantly enhanced my world. It’s taken time, yes, but the depth it's brought has been absolutely worth it!

"Who is ???" or "I already know who ??? is!"

While I love your curiosity and detective work (looking at you, code divers), I must tread carefully here. There’s definitely more than meets the eye. What you think you know is just another piece of a much larger puzzle. Regardless, I hope it will be worth the wait!

I love your story, thank you for sharing!

I promise I see you, and words cannot convey how much I appreciate and adore every message I've received. I keep them to uplift me on the hard days. I may not be able to answer them all, but know I cherish every one! Thank you for being a part of this journey ♥

[ohnoitstbskyen]

Why do you think Diablo has disenged on it's core themes? (I mean I agree) I've always considered it to be a franchise with some insane wasted potential, but my perspective comes more from Diablo 3 and 4. Id be nice if you could expand on that.

I mean, my argument is that Diablo 1 was a dungeon crawler with a randomized loot mechanic that existed mostly to enable the roguelike random level generation that ensured replayability for the adventure. Players shouldn't be able to simply beeline it to the most powerful items in the game once they figure out exactly where they are, so randomization made each journey into the Tristram Cathedral a new process of discovery.

It's a game that, yes, wants to provide engaging gameplay, but just as much as the discovery of loot, it is driven by discovery of its world and story - multiple NPCs in the game exist that have no function or benefit to the player except as characters to interact with. You find lore tomes in the labyrinth which give you exposition about the world, but offer no tangible benefits. Shrines will randomize your stats, transform your potions, curse your items, randomly teleport you into a horde of monsters. The world is populated by objects, people and events that entice a player with curiosity to see what happens as much as they entice the player with the power fantasy of Making Number Go Up, and plenty of interactions have no hard gameplay benefit. "Sub dungeons" in the labyrinth, like the Halls of the Blind or Chamber of Bone, exist in part to give the player lootable rewards and monsters to fight, but also each of them have their own exposition, lore and worldbuilding (however limited by budget and technical limitations).

Diablo 2 realized that the skinner box thrill of randomized loot drops and number-go-up optimization was by far the most primally emotionally engaging part of Diablo 1's gameplay, and began the process of reorienting the franchise ENTIRELY to enable that specific pleasure. The loot system expands exponentially, crafting, gem slotting, etc all get introduced, and loot mechanics are given pride of place in terms of how the game engages the players. Shrines all provide knowable, specific benefits, every NPC is either a quest-giver or a merchant, there are HUNDREDS of randomized sub-dungeons on every map, and the vast majority of them have absolutely no narrative content whatsoever, they are merely slot machine arms for the player to pull, hoping for a chance of a jackpot loot drop.

Diablo 3 is the apotheosis of this process - a game which drops all pretense that the nature of your loot matters in favor of orienting every part of it around chasing the high of Getting A Bigger Number. You're a sorcerer running around with a greatsword? No problem! You cast all your spells as normal. So long as the greatsword has Bigger Numbers, anything works. Templar with a Wand? Equally viable! Damage numbers inflate into the millions, hordes of monsters swell with ever greater numbers, your spells and abilities clear entire screens in seconds, and everything in the game revolves around enabling the player's power fantasy.

In Diablo 1 you are an unimportant adventurer, the latest in a long line of unremarkable hopefuls, stepping alone into the bowels of a middle-of-nowhere village church, creeping slowly through its doors and hallways, fighting its monsters primarily one by one. Any group of ranged monsters can kill you in seconds, even in the late-game, and if you get surrounded, likely as not you are quite simply dead. It's tense, lonely, unglamorous and often desperate. Unwieldy inventory management puts constraints on your ability to heal and restore mana. You can only carry so many potions while leaving room for loot, and remember to leave room for your Town Portals and Identify scrolls, and for your all-important gold, which will clog your inventory almost totally by the end. Slay a unique monster and hope to god that the item it dropped wasn't cursed. Touch a shrine and you might lose 2 Strength points and suddenly be unable to equip your armor. When you kill Diablo, you find he is nothing but the possessed body of a young boy who was abducted and abused by a corrupt priest, an ugly and mundane tragedy leading to extraordinary suffering.

In Diablo 3 you are the most specialest most important incredible super-hero that has ever existed. You are a half-angel half-demon unstoppable killing machine, mowing down hordes of demons and corrupted angels like nothing, absolutely BATHING in infinite showers of ultra-powerful legendary loot, each more ultra-powerful and legendary than the last. You deal ten million damage with a single ability. You fight Ultra Diablo, the special super-powered SUPER SAIYING MEGA ULTRA super-powered extra special Prime Evil who is the most powerful evil bad guy who has ever existed and YOU are the only one in the whole universe who can beat him because you're SO special, yes you are! Identify shit by clicking on it! Cast town portal whenever you want! Enemies drop infinite health potions whenever you need them! Fuck it, you even KILL DEATH by the end because you are invincible and immortal and unstoppable and perfect. Fear has no hold on you, never in your life will you know uncertainty or doubt. AND it's your birthday! Buy a sword that is 3.2% better than your magic wand with real money in the auction house as a treat!

tl;dr Diablo 1 is an adventure game, Diablo 3 is Cookie Clicker.

[anim-ttrpgs]

Our first official original TTRPG, Eureka: Investigative Urban Fantasy is planned for kickstarter launch late 2023/early 2024!

Eureka: Investigative Urban Fantasy is an original, fully fledged, 200-page 2d6 TTRPG from The Agency of Narrative Intrigue and Mystery inspired by The X-Files, Kolchak: The Nightstalker, and much more!

Eureka features investigation mechanics that let players take initiative, use their characters’ unique strengths to find clues, and deduce conclusions themselves rather than to just walking into a room and roll Investigate.

Failed Rolls are not the End!

The Eureka! mechanic accumulates points throughout the adventure that can be used to help prevent investigators from getting totally stuck, but also a reward investigators for solving the mystery without ever getting stumped, because these points can be saved for life-or-death situations instead!

Tactical Combat!

High-stakes realistic combat can end lives in seconds through deep strategy that encourages careful thinking and allows for complex maneuvers. Thoughtful positioning, understanding of one’s surroundings, and having the right weapon for the job play as much of a role in victory as a character’s stats, if not more, which is good, because most of these PCs will not be larger-than-life action heroes!

Roleplay-driven Mechanics, and Mechanic-driven Roleplay!

Player characters’ personalities and ideals determine many of their gameplay mechanics, giving each character a totally unique way to play through Eureka! This won’t get confusing though, as all of these different mechanics use the same underlying systems that are easy to understand! Changing characters won’t require you to completely relearn the game!

Man-eating Monsters Hiding in Plain Sight!

 As investigators face off against metaphorical (or sometimes literal) monsters, the rare investigator may literally be a monster themselves, and keeping it secret from the other players while having to sate their sinister hunger is a game of intrigue all its own.

Extreme Versatility!

Eureka is designed to be able to run (just about) any adventure module set between about 1850 and the present day with hardly any adjustments to either the system or the module, no matter what system that module was originally made for! Investigation, action, survival-horror, you name it, Eureka can run it!

Player-driven investigation, a rewarding system for solving mysteries themselves, realistic high-stakes combat, gameplay determined by roleplay, and inter-party deception are all features you can look forward to in Eureka: Investigative Urban Fantasy.

Launch is still a ways off, but it doesn’t hurt to get the word out early!

Follow this blog to stay up to date on our launch preparations!

[felassan]

EA Press Release. [source link]

"Unite a Team of Heroes to Defeat Rampaging Elven Gods in Dragon Age™: The Veilguard Arriving in Fall 2024 June 09, 2024 Meet the Most Captivating Companions in the Franchise with New Cinematic Trailer; Official Gameplay Reveal with More Game Details Coming Tuesday, June 11 REDWOOD CITY, Calif.--(BUSINESS WIRE)-- Electronic Arts Inc. (NASDAQ: EA) and BioWare premiered a new cinematic trailer showcasing a brand new cast of companions who will join players in their journey through Dragon Age: The Veilguard, an all-new single-player fantasy RPG experience coming to PlayStation®5, Xbox Series X|S and PC in Fall 2024. Dragon Age: The Veilguardbuilds upon the pillars the iconic series is best known for, delivering a bold and heroic adventure guided by rich storytelling, fluid and strategic combat, companions and fellowship, and choices that matter. Tune into the official gameplay reveal of Dragon Age: The Veilguard featuring more than 15 minutes of gameplay from the opening moments of the experience on Tuesday, June 11 at 8:00 a.m. PT at the Dragon Age YouTube channel. In this next chapter of the critically-acclaimed saga, players will step into Dragon Age’snewest fully-customizable hero, Rook, battling on the front lines alongside an extraordinary cast of heroes known as the Veilguard. Fellowship is central to the experience of Dragon Age: The Veilguard, with each companion entering the fray with their own storylines, motivations and skill trees. In this tale that will decide the fate of Thedas forever, Rook must rise up, rally a team and forge relationships to become the unexpected leader others believe in. “Dragon Age: The Veilguardfeatures some of the deepest companion storylines in Dragon Agehistory, navigating romance, tragic loss and complex choices that will affect relationships with players and the fate of The Veilguard,” said John Epler, Creative Director of Dragon Age: The Veilguard. “BioWare’s storytelling roots shine through every chapter of this adventure, and we are incredibly excited for Dragon Age fans as well as those new to the series to experience this crafted, character-driven narrative that is so intertwined with our studio’s DNA.” Each companion in Dragon Age: The Veilguard brings their own expertise to the field of battle, summoning the grit to stand together and face impossible odds. Throughout their adventures, players can mix and match different team combinations of two of the game’s seven total companions at a time, to adapt to certain challenges and link powerful combinations that can turn the tide of any battle. The game’s cast of companions includes: Bellara, a creative and romantic Veil Jumper obsessed with uncovering ancient secrets. Davrin,a bold and charming Grey Warden who has made a name for himself as a monster hunter. Emmrich, a necromancer of Nevarra's Mourn Watch who comes complete with a skeletal assistant, Manfred. Harding, the dwarven scout, returns to the fray as a companion with her big heart, a positive outlook, and a ready bow – as well as unexpected magical powers. Lucanis, a poised & pragmatic assassin who descends from the bloodline of the House of Crows, a criminal organization renowned throughout Thedas. Neve, a cynic fighting for a better future, both as a private detective and a member of Tevinter's rebellious Shadow Dragons. Taash, a dragon hunter allied with the Lords of Fortune who lives for adventure and doesn't mind taking risks. Fans can add Dragon Age: The Veilguardto their wishlists on PlayStation, Xbox and PC via Steam and Epic Games Store. For additional information and to stay up to date on Dragon Age: The Veilguard, visit the official website, like Dragon Ageon Facebook, follow the franchise on Discord, TikTok, Tumblr, Instagram and X (formerly Twitter), and subscribe to its YouTube channel."

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