#max moon games

[wehavekookies]

New pretty tapes.

[zirconpetals]

Purcell-accurate Max has brown marks on the bottom of his feet

But in his ttg and Hit the Road designs, his feet are all white

He does however have the marks in the cartoon and in ttiv (though in ttiv they're pretty light & are more grayish than brown)

Though it has to be noted that in the comics and in the cartoon the marks also disappear sometimes, probably to simplify the drawing/animation process

[vintagerpg]

I love the handful of zines I own that embody not only DIY RPG aesthetics, but also “weird literary chapbook” and also “mysterious occult booklet.” I have many that do each individual flavor well, but a combo of all three is rare indeed. Such is Dungeon Divinations (2021), by Max Moon. It is one of only perhaps three zines in my collection that has a dustcover, which is neat. The art (which, I lament, greedily, there is not nearly enough of) by Luciana Lupe Vasconcelos also sits at a pleasing crossroads between RPGs, literature and the occult. The whole book is sharply designed and feels formidable in the hand.

But what is it? It is a method for generating dungeons for RPGs through the use of Tarot card spreads. Those spreads aren’t arranged, necessarily, in a way optimal for dungeons, but rather derived from the practice of using Tarot for divination. It turns out that there is considerable overlap between “good dungeon” and “effective fortune-telling” design. Does this speak, at last, to the fabled and feared conduit from D&D to the occult? Perhaps it reveals something fundamental about the ways we find patterns of meaning in the meaningless when we’re creating. I tend to mostly agree with Max in his introduction, when he describes the book in his introduction as both “absurd and earnest.” Honestly, its probably best that interested parties judge for themselves, if they can secure a copy.

Inside are sections on mindset, how to lay cards out and the thinking behind the card spreads. This mechanical section is followed by three example dungeons, one for each of the detailed spreads. They’re all…absurd and earnest and, I think, pretty workable dungeons for crawling (though honestly, I would have liked a conventional dungeon map to help me parse them).

[fiftypiercings]

reading the orv novel right now and....

THE FUCK you mean you remember how his eyebrows twitches every time he's serious? Very fruity behavior if you ask me.

[starheirxero]

YES I’M STILL ON MY “BLOODMOON IS AN ULTRAKILL FAN” BULLSHIT. LOVING THE RED/BLUE THEME OF ORGINALS FUCKING UP THEIR REPLACEMENT’S ARM ‼️

[wolvesfangs]

Me? Yeah no I’m literally a wolf. No im also literally wybie lovat. I’m literally lance mcclain. Oh I’m also literally richie lipschitz. I’m literally wolverine. I’m literally max caufield as well. Literally rainbow dash over here. I’m literally sid jenkins, and pandora moon. Literally seymour krelborn. Of course I’m also literally deadpool too. Also I’m literally peter parker. Can’t forget im literally carlos de vil. No I’m literally sol.

[fiveredlights]

wild card for one that hasn’t been requested but you wanna do or any idea you wanna share!!

going to do moon song because it is definitely in contention for my favourite fic child and the landoscar spin off because it is hitting another level of craziness

moon song

(nina is max's new wife, this takes place at their wedding.)

“Were you and Max…God, I really hate to ask—especially right now, but I don’t think I’ll get another chance—were you two ever more than just friends?”

“I don’t think you should hear this from me Nina.”

“Please. You and I both know he won’t.”

“Fuck,” he laughs humourlessly, blowing air out of his lips. He's glad they’re outside in the dark, so Nina doesn’t have to see all the horrible faces he’ll make. “Yeah. We were.”

He pretends not to hear her inhale sharply.

landoscar spinoff

oscarateone

nicole piastri found shaking her head in disappointment somewhere in melbourne after finding out her son proposed by saying “catch”

#nicole probably: i raised you better than this #what happened to just getting down on one knee like a normal person #granted these f1 drivers aren’t normal #which driver gave him the idea to say catch

10,814 notes

[jofiah]

There needs to be more games where I can play as an all-consuming hive mind accumulating and hoarding everything I can

Oddly enough the two games I feel do this best are Stellaris (ravenous swarm hive mind devouring the entire galaxy) and Factorio (mechanical instead of biological, consuming resources exponentially in a vast glorious machine network)

[starberriemilk]

"I closed my eyes in obedience. I felt the brush of a kiss on my lips on which there was a bead of blood that never seemed to diminish."

[wehavekookies]

Playing Max Moon's Twelve Years solo rpg, and turns out I'm enjoying drawing these little map tiles far more than i expected, lol. Turning a story about killing a Lich King into a meditative practice I guess.

[ducksinspaceadventure]

If Kingdom Hearts was going to be in the DuckTales world, I'd like it to end in space, especially the Moon and Mars. I don't need to say why.

[vintagerpg]

Abyss of Hallucinations (2021) is, like most of Max Moon’s work, a fusion of occult themes and solid RPG design. In this case, a heremetic setting for MÖRK BORG that draws heavily on the work of Aleister Crowley, particularly The Book of Lies (which Max reprinted as a zine in the same trade dress, as an accompaniment).

The mixture is a little less than 50/50 here, I think, with RPG elements (60ish percent?) necessarily overwhelming the magickal elements (while Max does get it to more of a 50/50 mix in other projects, this volume at least perhaps illustrates how the precision of RPG writing is at odds with the obscurity of the occult).

There is a sort of phantasmagorical wilderness, populated by features derived from The Book of Lies, but only tersely described. This gives way to three character classes that each reflect some core aspect of Crowley’s personality (Seeker of the Left Hand Path, Offspring of Pan and, humorously, Mountaineer). Following that are several entities one might encounter, including Baphomet, Babalon and mystical Dinosaurs.

The centerpiece is a dungeon called the Unicursal Heptagram that functions as a sort of cursed puzzle as well as an initiation into the greater mysteries of the Abyss. It adheres to the difficult Thelemic logic of The Book of Lies (which, mapped to a dungeon, reminds me a little of the tortured thinking behind many point-and-click adventure games of the ’90s). The effect is disorienting and serves to erode a lot of player assumptions about just what everyone is doing here. Playing MÖRK BORG? Or something more?

[royalrogue3d]

First post on my new blog! Here's a 3D adaption of @filibusterfrog's character, Moon, that I made as a final year project during my final year at university!

Still super proud of this one, I love how it came out.

It's a handpainted model. I modelled the high poly in ZBrush, retopped it in 3D Coat and textured it in Substance Painter and Photoshop. It was then posed in 3DS Max and rendered in Unreal Engine 4.

[gaia-lapis-77]

Life is Strange - Episode 4: Dark Room

Double moons beautiful view at the night.

[kayayayayayayayayayayayaya]

[IMPORTANT]

Lixue appreciation post!

Also friendly reminded to Go read Second honkai eruption Manga!

[h-worksrambles]

To be a Good Dog, or an Enemy of the World: Models of Masculinity in Shelter

Shelter is a very easy game to treat lightly when you first start it up. A bright colourful visual novel about anthropomorphic dog men, with clear Shounen anime influences in its tone and aesthetic. Charming, funny and unabashedly horny, Shelter presents itself as a game about a group of aggressively quirky treasure hunting doggos getting into all kinds of shenanigans amidst a post apocalyptic frozen wasteland. But to my surprise, not only did I find a game with unexpectedly rich worldbuilding, some sick action scenes (especially for a visual novel) and some genuinely powerful emotional payoffs. But it turns out Shelter has some surprisingly relevant things to say about constructs of masculinity and how they affect queer people. Full spoilers for the everything up to the most recent public update below.

Much of the story of the game revolves around Luke, the overseer of this technologically advanced home for lost Canines, and, apparently, one of the only known remaining Humans, as well as his three closest friends, and our three route characters: Burry, Rune and Max. We follow three alternate timelines where Luke spends the day bonding with one of the three, and, during the recurring event of Skies Ablaze, struggles with his identity as the only human in a giant facility full of anthropomorphic dog men. When Shelter malfunctions and is overrun by monsters, we witness three alternate ways the attack can play out. And in the course of this, the magical nature of Skies Ablaze as an event causes Luke to experience the memories of one of the three route characters. Through this we see the events that brought them to Shelter and how they became the self actualised people we see in the main game. That’s an extremely basic rundown of the gist of the game. But what I think makes this interesting is what we learn about the what the three used to be like before they joined.

All three of the route characters were in the service of one of the other powers that make up Shelter’s setting. Burry grew up along his many siblings only to be contracted as a scientist by the Wolves. Rune likewise was raised to be a soldier by the Wolves from birth. And Max was a spy and assassin on behalf of the Felines. It’s a common joke in the fandom to say that ‘everyone in Shelter is a war criminal’ but there’s definitely a major component of these dogs all being obligated and indoctrinated to serve corrupt systems of power, that lead then to do deplorable things. Burry begins research into the nature of Monsters, which leads him to turn the Wolves’ living test subjects into Monsters in a series of horrific experiments. Most shockingly, this included all of his own siblings. Rune, as the latest incarnation of the legendary hero, Moon, is trained to become the champion and general of the Wolven army and key to their expansion. Having been wrenched away from the only father figure he ever knew, he has taken countless lives in various campaigns, preparing himself for the moment when the power of his past lives finally manifests and his individual consciousness will fade.

Max is the least clear due to his route being unfinished, but we do know that he along with his brother Atri were trained not just to kill by the Felines, but also to hate and repress their own identity as Canines. To think of themselves as Felines, not being given a chance to choose that for themselves. Even in the present day, this still has an effect on Max. He struggles to relate to the other dogs, to adopt their mannerisms. Because he spent years being told that part of him was shameful and he should aspire to be something else.

So what’s the point of all of this? Well, while on the surface, Shelter is a fairly straightforward story of redemption, of people who have all done bad stuff in the past finding a home where they can make a fresh start and live better lives, it becomes very interesting when read through a queer theory lens. In fact, one starts to see some very pertinent points about the societal cishet masculine constructs that queer people have to exist in every day.

A recurring idea that comes up in the cast’s past is their instinctive desire to be told they’re a ‘good dog’. It’s a validation Burry craves as a scientist and Rune craves as a soldier. And sure, there’s a basic anthropomorphic element that they’re dogs who want to be praised. But what defines a ‘good dog’ in this context? Well, in a word, obedience. To live up to a very rigid social standard of what’s expected of them as a Canine, and crush any impulse that tells them otherwise. Burry must be cold and rational as a scientist, quashing his own empathy to perform disgusting experiments. Rune must be a constant image of strength as the legendary Hero. Always fighting for the sake of others and never showing a hint of weaknesses or vulnerability. As Luke points out, if his purpose is to save others, then who is going to save him? All three characters have to deny a part of themselves to live up to what arbitrary wider forces of power or culture have decided they should be. The realisation of this causes then to voice one of Shelter’s arc phrases:

“This World, truly, is Hell.”

And it is something they are only able to shake off when they are among the other dogs at Shelter. Or, in other words, when they are among other queer non conforming men, both literally and metaphorically. This is marked by then declaring themselves as having become an ‘Enemy of the World’. They have rejected the identity that was assigned to them by those in power, and have chosen one that lets them live as their best and true selves. Even when it may cause others to see them as a deviant or even an enemy.

Another factor that leads me to equate caninehood with queer masculinity is the fact that pretty much every named character in Shelter is male. Only one character with female pronouns has even been so much as mentioned so far in the text. Now there are other meta reasons for this. Shelter is an MLM centric, very NSFW game. One of the core draws of the game is to bang a bunch of hot muscular anthros, with very traditionally hypermasculine bodies. But when the game chooses to explore these themes of repression, identity, rigid social constructs and healthy self expression, it’s hard not to see a commentary on masculinity being made if every character is very pointedly, a guy. Now, I don’t want to imply that only queer men will get anything out of Shelter. I think these themes can resonate with any queer person. But I do think that when Shelter is read through the lens of being about the effects of toxic masculinity on queer people, it gains additional resonance.

In addition I think this lens of caninehood equalling queerness is also seen in the overt, casual sexuality of the dogs at Shelter. Luke is already friends with benefits with all three of the route characters before the game even starts. The player can have Luke hook up with other characters like Thistle and Alon and it has no negative consequences as no one really cares about that sort of thing. Again, this is to be expected in a smutty gay furry VN. But it does serve the point about queer celebration and expression. These characters can now be themselves here, whatever that entails. Homophobia is not really brought up as a concept in this game (again, with practically no female characters there are no straight relationships to be propped up as more desirable). But the spectre of it lingers metaphorically in the game’s subtext. There is a conflict between what other forces claim a ‘good dog’ should be, and what caninehood means to these characters.

So how do our characters break free from these masculine constructs? Well, in many ways, because of Luke. Burry, having left behind his masters after deciding he could no longer work for them, goes into hiding in the snowy wastelands beyond Mozeburk. Trying and failing to save his brothers’ souls. He finally meets Luke, half dead in the snow, where the two band together and ultimately discover and establish Shelter. The two devise a magic to restore the souls of Burry’s brothers which Burry calls on in the present day during the final battle. Burry believed he had been irreparably warped by his complicity in the systems around him. That he was no longer a Canine, but a monster still worse than the ones he created. But he reinvents himself through finding connection with someone who believes in him, and who he believes in too. His love for Luke gives him a new purpose and identity. He now lives not for the sake of obedience but for loyalty. The toxic idea of what it means to be a dog is reimagined as something more positive. Kind of like embracing a healthier understanding of masculinity.

This applies to Rune as well. Before he felt he could never express his own weakness due to his socially mandated role, and awaited the total loss of his sense of self. He even ends up imposing those harsh systems on others by intending to take Shelter away from Luke and Burry and hand its powerful technology over the Wolves. Meeting Luke causes Rune to reconsider everything he once thought about himself. And it culminates in him manifesting the power of the Hero not in himself, but in Luke. He allows himself to be saved, to be emotionally vulnerable, to be sexually liberated (as it is around this point that Rune starts engaging freely in casual sex). He comes out, both literally and symbolically, not as the Hero, but as Rune. He trades closed off stoicism for boisterous earnestness. Again, a newer, healthier form of canine masculinity. And while Max’s flashbacks have not yet been elaborated on, I fully expect them to follow this theme.

There is also something to be said about how, within Shelter, they take on new roles that have sometimes culturally bern labelled as not being stereotypically masculine. Burry is the tavern cook. Rune, while ostensibly the chief of Shelter and head of defence, spends most of his time as a teacher for the other dogs. And Max shines as a musician. There too they take on gentler, nonconforming images of masculinity, ones in which their queerness can shine.

And key to all of these arcs, is Luke himself. I would posit that, if Shelter is about a bunch of traumatised men learning to embrace and celebrate their queerness, then Luke, narratively, is queerness personified. His own struggles as the only Human among the dogs represents a near universal queer experience. He wants to be accepted, to be as much of a canine as they are. But he is othered for something he was born as, something he can’t control. He is bullied and isolated by Teak, who is himself a walking hotbed of every toxically masculine trait in the book to drive this home further. In fact, between his hang ups over the physical differences between him and the dogs and how this eats away at his perception of his own identity, you could potentially read Luke’s arc as metaphorically being about gender identity, as he comes to realise that those arbitrary differences he was born with don’t make him any less of a canine at heart. But, as a random cis dude, I kinda feel like that’s not really my analysis to make beyond the broad strokes, even though it’s worth bringing that up.

He undergoes many relatable queer hardships But he also embodies the positive transformative power of queerness. Giving Burry someone to love and live for. Becoming the Hero for Rune to allow the latter to be true to himself. And accepting Max even though he is far from a typical Canine. In the present day story, Luke is the one who undergoes a character arc, compared to his friends/lovers who all go through theirs in flashbacks. In an act of queer solidarity, these now self actualised men are able to help him when he struggles with his identity and purpose in a way that mirrors themselves. Like Burry, Luke struggles with his sense of duty, keeping Shelter running smoothly at a distance, versus what he wants in his heart. Like Rune, he bottles up his emotions to act as the support for everyone else, and learns to confide in them and ask for help (all while stepping once more into the role of the Hero during the final battle, taking on a power only a canine could wield and proving his true nature once more). The Enemies of the World find home, support and empathy with each other, even as that World tries to quash them.

Of course, not only is the story incomplete but I’ve only scratched the surface with Shelter as a game. I could go further into characters like Teak, Alon and Cooper and how they all reinforce these themes in various ways. Or mine further details from the rich worldbuilding. Or even discuss the meta significance of the game’s multiple endings through the Barkest Corner. But my point was really to discuss what made Shelter so special to me. It’s a goofy, gorgeous, shameless visual novel with a lot of polish, a lot of porn and an even bigger amount of heart and sincerity at its core. It tells a moving queer narrative draped in a fantastical veneer and does it incredibly well. And I can’t wait to see how Rausmutt plans to bring it to a close.