#multimedia player

[filehulk]

Shockwave Player

Previously known as Macromedia Shockwave Player, Adobe Shockwave Player is a free plugin designed for viewing multimedia, interactive content, and web pages created in SWF format. It’s important not to confuse this program with Adobe Flash Player, as Shockwave cannot play Flash files. While Shockwave is generally safe to use, new vulnerabilities are regularly discovered and exploited by…

[soundofcar]

Exploring the Evolution of Automotive Multimedia Player

In the dynamic realm of automotive technology, in-car multimedia systems have emerged as vital components of the driving journey. Departing from the era of basic radio receivers, contemporary automotive multimedia systems present a diverse array of features and utilities aimed at enriching comfort, convenience, and entertainment during travel.

At the core of the modern automotive multimedia player resides a sophisticated multimedia interface, offering capabilities far beyond mere music playback. From GPS navigation to hands-free communication, these systems have undergone significant evolution to cater to the varied demands of drivers and passengers alike.

A standout feature of automotive multimedia player is their seamless integration with smartphones and other portable devices. Through Bluetooth connectivity and USB interfaces, drivers can effortlessly stream music, podcasts, and audiobooks from their preferred applications, ensuring an enjoyable experience during extended journeys.

Yet, the functionality of these multimedia systems transcends mere entertainment. Many models now boast advanced navigation functionalities, furnishing real-time traffic updates and precise directions to aid drivers in reaching their destinations safely and efficiently. The era of grappling with paper maps or relying on outdated GPS devices has yielded to intuitive interfaces and user-friendly controls, facilitating hassle-free navigation.

Moreover, safety considerations have ascended to paramount importance for automotive manufacturers, with multimedia systems assuming a pivotal role in enhancing driver safety. Hands-free calling and voice-command features empower drivers to stay connected without diverting attention from the road or relinquishing control of the wheel. Certain car multimedia player even integrate advanced driver-assistance mechanisms, such as lane departure warnings and collision avoidance systems, to mitigate accidents and safeguard occupants.

In addition to these pragmatic attributes, automotive multimedia systems afford a spectrum of customizable options to accommodate individual preferences. From adjustable screen brightness to personalized EQ settings, drivers can tailor their multimedia encounters to suit their tastes, fostering a bespoke driving ambiance that amplifies comfort and enjoyment.

Looking forward, the trajectory of automotive multimedia systems promises a panorama of thrilling innovations. With the ascent of connected car technology and the proliferation of the Internet of Things (IoT), we anticipate the emergence of increasingly interconnected and intelligent multimedia platforms that intuitively anticipate drivers' requisites and inclinations, furnishing a seamless and immersive driving expedition. Automotive multimedia systems have traversed a remarkable trajectory from their modest origins, evolving into sophisticated ensembles that proffer an extensive repertoire of features and utilities. From entertainment to navigation to safety, these systems have become indispensable companions for drivers worldwide, augmenting the driving experience in unprecedented ways.

[ollieoxyde]

I don’t think I’ve ever put more love and effort into a singe piece of fanart ever in my life, and this is literally the first ISaT related thing I’ve made. I just needed a Siffrin to stare at me from my desk since I was too late to get the plush.

[retrocgads]

UK 1998

[starless-planet]

Beautiful creatures that sing me sweet melodies

[thankskenpenders]

After a recent interview where Iizuka said it was possible for IDW characters to show up in the games, I've seen some discussion about how the characters need to be introduced "the right way" for people who don't read the comics. And, like, this is obviously true to some extent. You want to convey why people unfamiliar with them should care about these characters, instead of just assuming everyone already knows who they are and their whole backstories and everything. (Anyone who's watched Disney+ Star Wars already has some easy examples of times where they were like "you guys already know this character from the cartoons, right?" and casual fans were completely lost.) But I think people are overestimating how much work this would actually take, especially people who argue that the characters need full-blown reintroductions in the games that depict their backstories all over again and treat them as characters Sonic doesn't already know

I think it's easy to forget that not everyone who plays Sonic games has played every Sonic game. Kids especially. Every single major recurring character in the games debuted before today's generation of Sonic kids was born, and as such every new game is someone's introduction to those characters. The games with the introductions for the Chaotix, Blaze, Silver, Omega, Cream, the Babylon Rogues, Fang, Mighty, Ray, etc. are straight up not available at all on modern hardware without resorting to emulation. To many people picking up Team Sonic Racing or Mania or whatever, those characters are already some random characters Sonic apparently already knows from some previous story. These are not things that every single person who picks up a new Sonic game is intimately familiar with. And yet the games don't feel the need to stop and recount their entire backstories every time they appear.

Also, like, even if you have played every single game, Sonic already has a long history of introducing new characters with little to no fanfare, often treating them as characters Sonic has already met. Core characters like Tails, Amy, and Metal Sonic were really just dropped into Genesis era sequels with no explanation for people who didn't read the manual (i.e.: most players). Sonic has a kid sidekick and a girl who has a crush on him and a robot duplicate now, just roll with it. The modern era would continue to do this with characters like the reimagined Team Chaotix, or Orbot and Cubot, who just appeared in the games one day with no setup. We got along just fine.

(This is to say nothing of the nature of the creative medium the IDW characters originate from, where every new comic arc is treated as somebody's first and supporting characters are periodically given reintroductions to get newer readers up to speed. We've been over Whisper's backstory multiple times now.)

Again, obviously I do want characters like Tangle, Whisper, and Surge to show up in the games with compelling introductions that do the characters justice, but I think people are overthinking how much effort that actually takes. You do not need a whole elaborate adaptation of Whisper and Surge's backstories in the games just for them to have a cameo. You can have Sonic already know them, and if the details are even relevant you can convey that stuff in other ways - brief exposition in the dialogue, context clues, in-game character bios, new stories that showcase their important character traits without 1:1 recreating the stories that have already been told, out-of-game promotional videos and animated shorts like the ones they did to get people up to speed on who the hell Fang is, etc. This is pretty basic stuff when writing for a long-running multimedia franchise.

[ohnoitstbskyen]

So, considering what's going on with Riot right now, do you think Arcane Season 2 got caught up in all of this restructuring?

Yes and no. Arcane season 2 is part of the reason for the restructuring.

As I understand it, internally at Riot, after Arcane was a huge (and more importantly: prestigious!) success, the decision was made to basically hand the entirety of the game's lore and story over to the Entertainment division within Riot. These are the people in large part responsible for projects like Arcane, K/DA, Heartsteel, that animated series China got, all that sort of thing.

The writers at Riot were basically told to flat out stop producing new content and lore for the game - that's why there's BEEN no new story content for League for over a year - because everything was going to be consolidated under the Entertainment division from now on. This is why Riot started talking about "One Runeterra" and "Arcane is going to be canon" and so on.

The success of Arcane convinced executives that what League of Legends needs is a singular cohesive brand with its most successful public property leading the charge, Arcane is going to be the gateway drug, the hook on the end of the line that brings new players and new paying customers into the exciting world of the League of Legends multimedia IP universe!

Nevermind that Arcane's story and worldbuilding is fundamentally incompatible with >checks notes< the overwhelming majority of Runeterra as it exists and enormous compromises would have to be made to either the world of Runeterra or Arcane itself to make it work. Arcane is the big shiny prestigious mainstream Emmy-award winning project that every executive wants to put their name next to, and like companies Pivoting To Video in 2015 because Facebook showed them inflated viewership stats, Riot Games is Pivoting To Arcane. It's better than them pivoting to crypto and NFTs, at least, although I know for a fact that high ranking people at Riot tried to make that happen too.

Now, the primary cause for all of these games industry layoffs is that interest rates aren't zero anymore. Borrowing money isn't free, the curve of constant growth has ever so slightly slowed, taking on debt is becoming a little tiny bit more risky than it was previously, and corporations are responding to this with massive rounds of layoffs and constriction to show "financial responsibility" and prove to shareholders that they are prioritizing core growth strategies and blah blah blah etc. They're also trying to kneecap the growing labor movement in the games industry and exert downwards pressure on wages, but the interest rates seem to have been the main thing.

In Riot's particular case, a secondary reason is they want to pivot the focus of the company to support their One Runeterra pipe dream, so a lot of the people who got fired at Riot are writers, artists, creative leads and sometimes extremely senior and successful staff who are now surplus to requirements. This is also why Riot shut down Riot Forge in the same round of layoffs - can't have a bunch of talented indie devs going off making video games that don't adhere to the new One Runeterra policy. What if someone played Mageseeker and got confused how there can be mages all over Demacia but somehow there are no mages in Arcane's Piltover and Zaun. That's a plot hole! People write snarky articles about that sort of thing. It turns off new consumers! What if Cinema Sins makes a video making fun of it?!?

So yeah. A bunch of cocaine-addled fame hungry executive vultures at Riot are absolutely gagging on their own d*cks to put their name next to Arcane related projects, and since they were going to be screwing hundreds of people out of their careers, healthcare, and in some cases their fucking visa status anyway, it seems to have presented a nice opportunity to clear the board for their latest Visionary Scheme for the company IP.

That is as I understand the situation, anyway. I'm a bitter old man and most of what I hear is second hand and anonymous gossip through my social networks, take what I say with a grain of salt, but I've followed this company for (oh god) twelve years now and I have developed a tragically keen understanding of how its executive class operates.

[filehulk]

Karaoke 5

Karaoke 5 is a free and powerful karaoke player suitable for both beginners and professionals. With nearly two decades of development, it serves as a multimedia app that emphasizes minimal functionality while delivering maximum performance. Its main purpose is to enhance karaoke performances for amateur and professional singers. Features like real-time playlist management, cross-fading between…

[grimrevolution]

i love the dragon age series, because it forces you to read.

i saw a post that was going around a while back that depicted the 'gamergate bro' and the 'game enjoyer'. it was pointing out the argumentative nature of the first and how the second one was clearly superior because someone is able to just enjoy something, to take a game at surface value and simply have 'fun'.

i argue that they are direct mirrors of each other, rather than opposites. that neither actually engages in the text in front of them because both of them are focused on the surface levels presented and never pause to breathe and really digest the material.

there is no reason why someone cannot enjoy a video game on the surface level. it is a way to tell a story - much like comics, visual novels, and multimedia pieces. sometimes that story is simple, and that's okay. sometimes the player doesn't connect with it on a surface level, and that's also okay.

yet none of this seems to be the actual problem with most video games. they are - at their core - stories, and stories are not a peer reviewed scientific essay that clearly labels the x and y axis as well as every single little thing so that you, the audience, can go replicate it in a lab. story telling is an art. it is a canvas. it has layers and layers of brush strokes and design. each little millisecond is thought over because it must. someone had to design that armor, someone picked out that color, someone wrote that dialogue. to assume that no thought at all went into a video game is a gross misunderstanding of the media in question. every thought must go into making a video game, because everything must be created.

the codexes in the dragon age series are special in a media that regularly relies on visuals and dialogue to tell a story. they are a chance to pause from the story in general, to take a break from the colors and movement and short-term effects on the screen to actually think about why a character said something or reacted in a certain way. they are there to bring perspective but also to slow the player down, to make the player think.

when a codex is opened, the game is immediately muted. there is very little background noise, leaving just the text to sit in front of the player. there are no more distractions; just the text. even something as simple as davrin's words after weisshaupt are enough to make a player pause, to help them to think about the thirty-forty minute battle they just had to go through.

when a person reads, their thoughts must expand to consume the words in front of them. in a world full of short term videos, cut-scenes are easily disregarded. what did that character say at this particular moment? how many remember what harding says the second the player meets her in the opening act? do they know that it changes depending upon the player's faction? do they even consider it?

what about weisshaupt? most players remember what it made them feel, because emotions are easy stamps to leave on people. tiktok, youtube, and advertisers have made a fortune off of making people feel certain things. it is probably the one quest in the entire game that focuses primarily on that, and even pushes the emotional response with davrin's codex:

Weisshaupt is… gone. I can't even write another word.

this is probably the shortest codex in the whole game because the point of weisshaupt is to make the player feel. it wants the audience to remember the hurry, the rush, the panic. had they made a longer codex of davrin describing his feelings, it wouldn't have made any sense because the player is already feeling those things.

but this is a rare occurrence among many. neve and her case notes are meant to make the audience pause. to take in her quest much like how one is meant to take in a detective novel. bellara and emmrich have research notes, harding has letters, taash has a mix of both, and lucanis (as well as davrin) spells out his day to day with a journal.

these are all meant to pause the game. they are part of the experience, just as how the cut-scenes and environment and dialogue are all part of the experience. the codexes forces the player to pause in a world that wants us to do anything but. they make us sit and think and take just a moment to glance back at what our minds would have simply filed away to be forgotten. why did that character say that? what information is happening behind the scenes that we missed? how reliable are our narrators? how reliable are we, the player?

the next time you're replaying the game and pick up a codex, i ask that you stop, that you open it, that you take a moment from the colors and motion to simply breathe and read.

who knows; you might find something new.

[retrocgads]

USA 1990

[feverdreamjohnny]

The Epitaph of Anything Goes

I decided that this morning I would talk about The Museum of Anything Goes and the subject of lost media.

For the uninitiated, The Museum of Anything Goes is an obscure "game" released in 1995 by Wayzata Technologies, a company that is so far under the radar that I was unable to find any useful information about it outside of TMoAG.

All I could uncover is that they published a few multimedia projects (which are essentially lost now) alongside some asset discs (clipart, SFX, etc.). That's it.

The brains behind Wayzata are even more difficult to locate these days: there are only two main names credited inside of TMoAG - Michael Markowski and Maxwell S. Robertson.

The game alleges that Michael and Maxwell are well known in the art world, but any additional information about the duo is scarce beyond the confines of the museum. Attempting to search for either name online turns up plenty of rabbit holes - but none of them have anything to do with the Michael and Maxwell responsible for TMoAG.

This is particularly fascinating because it essentially means that TMoAG is the only accessible record of their lives. Before we dig any deeper into that statement, let me step back and actually address what this game is.

The Museum of Anything Goes is, by definition, a virtual art museum. Functionally it's a prerendered point-and-click adventure game where you can explore a bunch of multimedia exhibits that give the surface-level impression of a children's edutainment game, but once you start exploring further it reveals a side that firmly plants the game's feet into a haze of substance abuse and surreal humor.

Many exhibits are essentially just toying around with the astonishing new powers of CD-ROM. Everything has to make noise. Everything has to spin and flitter around. There's an air of genuine excitement for the medium, and I can't help but find it extremely charming.

The game also functions as a scrapbook, filled to the brim with photos of random trips to the zoo and snow-mobile rides with friends. At one point we even get insight into something as specific as Michael's one-year job as a tutor at a Chicago middle school, where he talks about how it opened his eyes to how poorly funded and mismanaged the school system is.

It's simultaneously quaint and chilling to see so much personal history packed into a world doomed to obscurity. As I explore the deeper parts of the museum, I contemplate if the creators are still alive today. It's a bit morbid, but imagine that - you create a single obscure game with your friend and it's all the world can see. TMoAG is currently the only surviving piece that gives any insight into who these two men were.

While many exhibits are lighthearted or nonsensical, there are occasional moments where the game dips into the eerie.

One exhibit has the player kill a man by dropping him from the sky, and after burying him you open the coffin to a video of a rotting pig carcass being put into an incinerator.

Other exhibits just feature simple 3D renders shifting around a dark screen while haunting groans play in the background.

While I would never refer to the game as "scary," its darker moments combined with the occasional mature subject matter definitely begs the question: Who is this game for?

You have to remember that this game came out long before the concept of "alt-games" had become codified in the digital space. Sure, unconventional digital art had been around before the advent of 256 colors, but TMoAG was being sold on disk as a game! It came out 2 years after DOOM hit shelves!

The trend of using the PC for entertainment was certainly on the upswing around that time, but It's not like TMoAG had a massive audience to find a niche in. With its mature themes it certainly wasn't suited for the kids market either, so who was it for?

At the end of the day, it's a moot question. We already know the target audience for The Museum of Anything Goes: Nobody. It doesn't have an audience because by its nature, TMoAG wasn't being made FOR someone, it was being made BY someone. It's a raw, unfiltered form of personal expression.

I think games like these are pivotal, because they question why people assume a game has to exist for the sake of being a consumable product. TMoAG certainly has the shape of a product: it features an intro cutscene, it has a tutorial, it features intuitive UX, it even has a map! These are all features that are solely integrated to provide comfort to an end-user. But once you actually wander around the museum for a bit, you realize how bizarrely its packaging fits its contents.

I think TMoAG is criminally underrated. It's not because its core content contains some earth-shaking truth, it's because the game defied all odds and cheated death.

How many thousands of other personal projects were deemed a little "too exotic" to be archived? How much history was lost these past 40 years as the digital space evolved and ate its old skin?

God knows how many other TMoAGs we'll never learn about because they weren't lucky enough to be preserved.

The Museum of Anything Goes isn't just some nonsensical art piece, it's a grave marker for so much lost media. Its existence is a reminder that some people's lives were fossilized, then macerated into nothing because a construction company built a skyscraper over them. The only evidence we have of those other games existing is this little fossil that somehow slipped out from under the skyscraper unscathed.

Even though so much has been lost, TMoAG survives as an epitaph.

[shelisultana]

2024 CarlinKit Wireless CarPlay Ai Box Review: A Seamless Android 13 Solution for Wired CarPlay Systems

2024 CarlinKit Wireless CarPlay Ai Box Android 13 QCM665 6125 Mini Android Auto Wireless Adapter 8GB+128GB For Wired CarPlay Car

Buy now: https://youtu.be/a7T2xzDcOfw

DISCOUNT: 73%

In 2024, in-car infotainment is evolving at an accelerated pace, and for many car owners, the CarlinKit Wireless CarPlay Ai Box Android 13 QCM665 6125 stands out as an ideal solution to upgrade older, wired CarPlay systems. Packed with a powerful QCM665 6125 processor and ample 8GB+128GB storage, this device brings wireless connectivity, Android Auto, and much more to vehicles that initially only supported wired CarPlay. In this post, we’ll dive into the unique features, specifications, and user benefits of this Ai Box to explore why it’s become a must-have for many tech-savvy drivers.

Why Choose CarlinKit’s Wireless CarPlay Ai Box?

The CarlinKit Ai Box offers a convenient upgrade path for users with wired CarPlay systems who want to experience wireless connectivity and the functionality of Android Auto, all while incorporating the power of Android 13. Let’s go through the main reasons why it has become a popular choice in the market.

Wireless Convenience in an Ever-Connected World

Wired CarPlay systems can be limiting, requiring users to plug in their phones every time they want to access the Apple CarPlay interface. The CarlinKit Wireless CarPlay Ai Box does away with this inconvenience by allowing you to connect to CarPlay wirelessly. This means you can start your car, and your phone will automatically connect to CarPlay, providing a seamless, hands-free experience. It’s ideal for users who want a clutter-free dashboard without compromising functionality.

Android 13 OS and QCM665 6125 Processor for Superior Performance

One of the standout features of this Ai Box is its use of Android 13, which brings a host of benefits, including enhanced security, privacy features, and overall performance improvements. Running on the Qualcomm QCM665 6125 processor, the CarlinKit Ai Box is not just a wireless adapter but a mini Android computer for your car. This setup is perfect for users who want to experience the latest Android applications directly on their car’s infotainment screen, without needing a phone.

The QCM665 6125 chip ensures smooth, responsive performance and supports a wide range of applications from the Google Play Store. With this hardware, the Ai Box can handle intensive tasks, making it possible to run applications like streaming services, navigation apps, and games without lag.

Ample Storage and RAM – 8GB + 128GB

With 8GB of RAM and 128GB of storage, this CarlinKit Ai Box has ample room for a variety of applications, media files, and updates. The significant storage capacity allows you to download several apps and keep them updated without worrying about running out of space. Additionally, the 8GB of RAM provides smooth multitasking, ensuring that switching between apps like Google Maps, Spotify, or even a game will be lag-free.

Key Features of the CarlinKit Ai Box

Let’s dive deeper into the key features that set the CarlinKit Ai Box apart from other wireless CarPlay adapters on the market.

A. Supports Android Auto and CarPlay Wirelessly

One of the most compelling aspects of this Ai Box is that it supports both Apple CarPlay and Android Auto. This dual compatibility makes it ideal for households with both iOS and Android users. No matter the device, users can benefit from wireless connectivity for either ecosystem, which is rare in most wireless adapters that usually support only one.

B. 4G and Wi-Fi Connectivity

The CarlinKit Ai Box includes 4G LTE support, meaning you can insert a SIM card directly into the device for an independent data connection. This is particularly useful for applications that require a constant internet connection, such as Google Maps, Waze, Spotify, or YouTube. If you prefer, it can also connect to your phone’s hotspot via Wi-Fi, providing another convenient option for internet access.

C. HDMI Output for External Screens

A standout feature of the CarlinKit Ai Box is its HDMI output, which allows it to connect to external screens. This is perfect for users who want to expand their entertainment options in the car, particularly in larger vehicles like SUVs and minivans where passengers may want to watch videos on additional screens. Whether it’s for a family road trip or keeping kids entertained, this feature is a welcome addition.

D. Easy Plug-and-Play Setup

Installation and setup are incredibly straightforward with the CarlinKit Ai Box. This device plugs into the USB port originally used for wired CarPlay. Once connected, users simply follow the on-screen prompts to pair their devices. This plug-and-play approach eliminates the need for complex installations or wiring, making it accessible to everyone regardless of technical expertise.

E. Voice Control and Hands-Free Options

Thanks to Android 13’s advanced voice recognition capabilities, this Ai Box supports robust voice control options. You can access Google Assistant or Siri (depending on your connected device) hands-free. This is a great feature for those looking to keep their eyes on the road while still interacting with their infotainment system, allowing voice commands for navigation, music control, and hands-free texting.

In-Depth Review of Performance and User Experience

Processing Speed and App Performance

With its QCM665 6125 processor, the CarlinKit Ai Box performs exceptionally well. Users report smooth operation even with multiple apps running, thanks to the optimized hardware and Android 13’s efficient memory management. When using Google Maps or streaming music from Spotify, the Ai Box shows minimal latency or buffering issues, even when running both applications simultaneously.

Connectivity and Wireless Stability

Wireless stability is a major consideration for CarPlay and Android Auto users. The CarlinKit Ai Box offers a robust wireless connection that is both stable and reliable. When moving between areas with weak or strong signal, the device adjusts quickly to maintain connectivity, which is particularly useful in urban settings where wireless interference can be common.

Display Quality and User Interface

The Ai Box outputs crisp and clear visuals on the car’s infotainment screen, thanks to Android 13’s improved graphics rendering. The interface is intuitive, with customizable options that allow users to arrange their favorite apps and shortcuts as desired. The device also supports dark mode, a feature increasingly preferred by drivers for nighttime usability.

Pros and Cons of the CarlinKit Ai Box

Pros:

Easy to install – Plug-and-play setup is perfect for anyone.Dual Compatibility – Supports both Apple CarPlay and Android Auto wirelessly.Independent Data Access – Supports 4G LTE, allowing for uninterrupted internet access.Ample Storage – 8GB of RAM and 128GB of internal storage ensure smooth performance.Versatile Connectivity – Wi-Fi, Bluetooth, and HDMI output options.

Cons:

Limited App Selection – While many Android apps are available, some limitations apply due to automotive safety protocols.Compatibility – Some older car models may experience reduced functionality.

Ideal Users for the CarlinKit Ai Box

This device is perfect for drivers who frequently rely on their infotainment systems and want to enhance the capabilities of their car without having to purchase a new vehicle. Tech enthusiasts who prefer Android systems or need flexibility with both Android Auto and CarPlay will particularly appreciate the CarlinKit Ai Box.

For long-distance travelers, the Ai Box’s wireless capabilities, combined with features like HDMI output and 4G LTE connectivity, make it ideal for road trips. Passengers can enjoy video streaming, games, and other entertainment options seamlessly.

Conclusion

The CarlinKit Wireless CarPlay Ai Box Android 13 QCM665 6125 is a solid choice for upgrading wired CarPlay systems. Its wireless compatibility, powerful processor, generous storage, and Android 13 OS provide a modern, feature-rich experience, transforming your car’s infotainment system into a mini Android computer. It’s ideal for those who seek convenience, functionality, and versatility in a single device, without the hassle of wired connections.

[cellarspider]

Star Wars: The Old Republic and the virtues of hiding under a rock

After all the fun I had writing a deep dive on the delightfully unhinged decision-making process that gave everyone in the Sith Empire equal opportunity to shoot lightning out of their fingertips, I decided hey, why not do another post on Sith-side stuff? Why not focus on another aspect of how The Old Republic's backstory set up for the players to run around being special little guys?

Welcome to the Chiss Ascendancy, which really would rather not be here, thank you.

Spoilers for the Imperial Agent plotline, Act 2 of the Bounty Hunter plotline, Act 1 and 3 of the Jedi Knight plotline, and for the expansions up through the Traitor Among The Chiss flashpoint storyline, set just after the Knights of the Eternal Throne expansion. Also, spoilers for a 30 year old novel series, and bits of current canon. Assume all links to Wookieepedia may include unmarked spoilers for anything and everything under the sun.

Also, many, many side rambles in the picture descriptions. As soon as I realized they were a place I could hide secret bits of brain fluff, I could not be contained.

So, for a little out-of-setting backstory first: The Ascendancy is in SWTOR for one reason. If you're a Star Wars fan, you probably know his name by now. You might even be able to pronounce all of it: Grand Admiral Thrawn, known to his own people as Mitth'raw'nuruodo.

Thrawn was a breakout character from the early Star Wars tie-in Heir to the Empire trilogy by Timothy Zahn, which you can see reflected in the increasing amount of cover space he takes up on each re-release. Zahn may not have totally intended for Thrawn to be the character everybody latched onto so hard—I mean, it was originally the Heir to the Empire trilogy, but it's officially the Thrawn Trilogy now. Which makes it confusing, because Zahn has since written two other trilogies that actually star Thrawn as a main character rather than having him as the main antagonist.

Credit really has to go to Zahn for his work on those books, because despite his occasional insistence to the contrary, they revitalized Star Wars as a fandom. It had been seven years since Return of the Jedi came out, and there'd been nothing since then. George Lucas had been pretty burnt out after RoTJ, and the idea of a multimedia franchise wasn't all that common at the time. There'd been Marvel-produced comics, the West End Games RPG sourcebooks, a few tie-in novels, and a boatload of action figures, but all of those save for the West End Games books were produced to market the movies themselves, or directly profit off of their recent release.

All of these were of variable quality and "Star Wars-y" feel. The Marvel comics brought us such incredible things as a carnivorous green rabbit fighting alongside the main cast, and a couple wild comics by Alan Moore where Leia gets her heart turned to diamond by omnipotent Force spirits. The Splinter of the Mind's Eye novel was written while A New Hope was still in production before George Lucas had decided Luke and Leia were siblings, and you can really tell. Zahn, however, helped by the the West End Games books as a worldbuilding reference, did some stellar work integrating his writing into the Star Wars setting, while simultaneously shaping what fans would think of as a good Star Wars outing for years to come. Hell, some of his inventions made their way back into the movies: the name Coruscant is his. But Thrawn is what most people think of as his big contribution.

And it's for good reason! Thrawn is a memorable antagonist. He's smarter than the imperial officers depicted in the movies. He's able to outmaneuver the heroes on multiple occasions. He's got a unique gimmick that dovetails with the Imperial mindset—while the rest of the Empire utterly disdains foreign cultures, Thrawn takes an Orientalist interest in others' art, using it to build theories of a person or culture's psychology to use against them in war. In fact, as we will see repeated in SWTOR, his original role and his people are often used to represent a less obnoxious, more outwardly reasonable sort of imperial behavior.

He's also a cool-looking blue-skinned, red-eyed alien, later revealed to be from a culture of subterranean xenophobes with complex noble house dramas, among whom he's considered to be an outlier. Through all of this, he overshadowed other characters who may have been intended as the center of attention.

What's really funny is that the very next year, D&D would get Drizzt Do'Urden, a character who unexpectedly overshadowed the others in his series who'd been the intended center of attention, who was a cool-looking gray-skinned, red-eyed drow, from a culture of subterranean xenophobes with complex noble house dramas, among whom he's considered an outlier.

I don't know what precisely was in the zeitgeist in the early 90s, but apparently it was just a time for cool guys who grew up in caves.

It's probably similar fandom tendencies that have made both the Chiss and Drow big players in people's imaginations. Anecdotally, I'm one of those fans. You grow up liking elves, but you also became kind of a goth about it, maybe had a bit of an edgelord phase. You wanted cool elves. Possibly cool elves in space.

Apparently there was a critical mass of folks at Bioware who also were on board with cool elves in space, so they made their way into SWTOR, originally only playable for a couple of Sith-aligned classes. If you were to summarize their narrative role in a single sentence: they collectively act much as Thrawn did, providing a calmer, more collected, largely amoral presence that's peripheral to the overall setting narrative, but provides more substance to the villains.

If one were to take it less seriously, the Chiss end up as the serious side of an evil comedy duo. They are the deadpan comedic foil to the lightning-shooting madmen and their minions, the most obnoxiously british military to ever sail the stars.

So, let's dig into the Chiss a little. You kind of have to, given the "underground city" thing. Details around Chiss history and even biology have not remained fixed as canon has undergone its various convolutions, but it's generally theorized that they were the result of a genetically isolated human colony established on Csilla many thousands of years ago, which has since evolved into a near-human species, often with higher physical fitness than human average, but lower chance of spawning somebody with a Force-y destiny for whatever reason. When hyperspace travel became common, their region of space was discovered to be nigh-impenetrable due to a high concentration of wandering gravitational anomalies, which could turn your ship into an interesting collection of relativistic scrap metal.

This means that the "Unknown Regions" in the galactic west remained largely unexplored by the Galactic Republic, and local powers had to develop their own means of navigating the region. This suited the Chiss just fine, because they really, really don't like hanging out with other people.

The Chiss Ascendancy is a major power in the Unknown Regions, and it's highly isolationist, xenophobic, and authoritarian. A Secret Police force helps maintain internal adherence to the Chiss power structure. The average Chiss citizen in the Star Wars setting will never meet a non-Chiss in their entire life. That is, unless, they're stationed in the Chiss Expansionary Defense Force.

That's a hell of a name right there.

The CEDF takes an imperial pattern of national defense and turns it into doctrine: they never attack first. But if someone pokes the Ascendancy, the Defense Fleet will respond, and they'll make sure the poker can never poke again. But the Expansionary Fleet will scout out areas on their frontier, so, y'know, good luck to anybody who happens to be living there.

Within the Ascendancy, a rotating cast of Ruling Families run the government, noble houses that generally specialize in specific industries, space sectors, or resources. Most of the best positions go to those born into one of these houses, but a common Chiss can theoretically become a "merit adoptive", basically a probationary house member that can eventually become "trial-born" into the house proper, possibly achieving a status of "ranking distant". That is, unless you're found to be Force-sensitive, which during the SWTOR time period would either get you exiled, or you'd spend your life on Force-suppressing drugs.

This culture is, it should be noted again, not presented as nice or right by Timothy Zahn or SWTOR, though getting into the heads of Chiss characters can make it seem very sympathetic from their perspective.

Especially when SWTOR's backstory rolls around, and the Ascendancy had the misfortune of being "discovered" by the Sith Empire.

This led to a rather surprising pivot in Ascendancy policy: upon getting a whiff of what the Sith were about, their response was "Fantastic! Let's be friends," and swiftly negotiated a treaty to become a vassal state to the Empire, in exchange for the Empire leaving them the fuck alone.

Zahn's novels in the current Star Wars canon allude to this as a time that the movie-era Chiss are not exactly fans of, but it has an undeniable logic. The Sith are, frankly, out of their collective minds. They're also really focused on beating the snot out of the Jedi and the Republic, and they'll roll over anyone who gets in their way. Or might seem to be in their way. Or might, given the right paranoid squinting, one day maybe get in their way.

And given the Chiss and Sith tendencies toward similar, albeit factually incompatible politics around somebody being the most special thing in the universe, the two factions had enough in common to make the deal work. At least, up until the inevitable day when the Sith would presumably try and take a swat at the Chiss. This was a delaying tactic to defend the Ascendancy against an invasion from "Lesser Space", nothing more.

One might ask, if they're worried about the Sith, why not ally with the Republic? Well, there's two issues. One, the Republic doesn't have a damn clue where the Chiss are, and the Chiss want to keep it that way. The Empire has some clue where the Chiss are. That's more clues than the Chiss want anyone but themselves to have, really.

And furthermore, the Republic isn't really a better option from the Chiss perspective. It's an alien government, largely run by more of those weird Humans that are all over the Empire as well. Its history shows periods of aggressive colonization and expansion, and, the Sith would be very quick to tell anybody, the Republic sometimes decides to just completely obliterate their foes. Do the Chiss also do that? Yes, but they're Chiss, dammit, they're allowed.

So really, the ideal outcome for the Chiss would be that the Empire and the Republic beat each other senseless, with the Empire eventually imploding and the Republic never finding out where the Ascendancy is at all.

As Star Wars will eventually bear out, that's what happened. The Sith Empire falls apart at some point past SWTOR's time period. And in fact, the Republic would eventually go on to implode twice before anyone in the wider galaxy remembered that Chiss existed, when that funny little guy named Thrawn showed up. So, the Chiss might be the only ones who technically achieved their goals with this whole fiasco. How did they pull that off? And how funny is it to watch someone turn imperial chauvinism on the Sith Empire? The answers are: improbably, and extremely.

Throughout the initial war between the Empire and the Republic, the Chiss served as an unseen aid to the Sith. They provided resources and covert services, but they were utterly unknown to the Republic. They were also making moves unbeknownst to the Empire—if they were going to be breaking their usual isolationism, well, why not take up some territory that nobody else wanted while nobody else was looking? And even when they did let the Empire know they were on a planet, they didn't actually tell them where, or how many. Because really, the Empire wasn't too jazzed about somewhere like Hoth. But the Chiss? With a frozen homeworld, their cities dug deep into the glaciers and bedrock? Perfect! Just like home, but with more wampas. They built a sizeable forward base there, and kept that to themselves for decades.

In fact, if confronted about the existence of the base by an Imperial agent, the man in charge of the base will respond "Our presence here is legal, based on all existing treaties. The fact that you never noticed us is immaterial."

Lol. lmao, even.

By the time we get to Hoth in SWTOR, that base is still secret, but there's a sizeable CEDF detachment that are embedded with the Imperial forces on Hoth. And it's a decent little slice of folks, at least within the EDF. You get a whole range of people, from utter jerks like Warden Khel who tries to detain precious Jawa angel Blizz, to well-liked and respected commanders like Captains Yunaali and Yudrass, the later of whom has to patiently deal with the dumbest white man in existence.

Yudrass is also interesting for a further reason: his voice actor Tony Armatrading was from a British Afro-Caribbean background, and his accent comes through in his performance. In the context where the Empire is firmly Evil Space Wizard Britain, the accents of the Chiss stand out. They're a much more heterogenous mix. Yudrass speaks fluent Basic, but some of the others don't. One speaks Huttese, because he was originally assigned to the Outer Rim and hasn't had the chance to pick up a further language since then. A few speak limited Basic, best illustrated by the guy who gives a delightfully unenthusiastic response to finding out a non-Chiss player character has survived an attack by Imperial traitors: "You're still alive. Huh."

Hoth is also a fantastic place for turning around the chauvinism back on the Imperials, if you're playing as a Chiss. You can summarily ignore human officers in favor of engaging with their Chiss subordinates. You can work to have Yudrass promoted, both because of his competence and because you transparently don't like the other guy's face. You can privilege information gathered by the CEDF, because obviously they don't deal in bad intel. If you're playing an Imperial Agent, you can end up siding with the Chiss so comprehensively that you become a merit-adoptive of a Ruling Family. You can even reveal that you were never earnestly working for the Empire at all.

On the other side of the war, It's unclear when the Republic learns about the Chiss. Probably at some point during the quagmire over Hoth, but they're never thought of as a major player. Nobody in the Republic off Hoth really mentions them. They're treated with extreme suspicion, with a couple lines that are pretty eyebrow-raising. A Chiss defector dies while trying to trade information for asylum, and a Republic major responds to the news with "It's just as well. I'm not sure the men really wanted a Chiss hanging around here." Yikes, my dude.

Still, with their presence revealed, the Chiss seem to have slowly started taking more active roles liaising with the Imperial military, working in Imperial space, or even joining Imperial organizations. This begins as projects by the Ruling Families and other prominent Houses, but individual Chiss also started taking swings at making it in Lesser Space. Some of them may have been average Chiss trying to get ahead outside of the traditional Ascendancy power structure, and some of them might never have fit in well back home in the first place.

This is, for the record, why Chiss are a playable option for the Bounty Hunter class. It's not often remarked on though, and Bounty Hunters don't get much Chiss-specific dialog options.

And it's not like bounty hunters or Chiss are exactly welcomed in Imperial space, though. After all, the Empire has their blood purity laws and all that, if you're a non-human or non-Pureblood, you're constantly subjected to microaggressions and, frankly, macroaggressions. Possibly even megaaggressions. They'd never let Chiss near positions of power, or access to their secrets.

People who've played already know where this is going. And any curious souls who read my last post may recall a really odd evil space wizard gimp who decided he did not give one single fuck about those blood purity laws.

Darth Jadus, blessed maniac that he is, opened Imperial Intelligence to alien recruitment with all the political grace he was known for, which was none, with a side order of self-aware cultic rambling: Everyone should have equal opportunity to access the misery that is the Empire, because the Dark Side likes it when you do that.

And in so doing, he created a very interesting proposition for motivated Chiss willing to take the risk, and an even more interesting proposition for the Ascendancy's Secret Police: they could now embed sleeper agents within an enemy security force by submitting job applications.

And this is why new players can chose to be Chiss when they play as Imperial Agents. You get a lot of Chiss-specific dialog as an Agent. The game supports player choices to explicitly say you reject the Ascendancy, or that you're secretly working for it. Or, hell, you could play a Chiss who says they're in it for themselves, and then secretly confides later that they're actually an Ascendancy spy!

I am so, so tempted to describe the Agent plot in its absolutely bonkers entirety, but let's stick to the Ascendancy view… for now, at any rate. I probably have another of these essays in me somewhere.

So! Sleeper agents. If the Empire won't ever fuck off by itself, then the Ascendancy wanted to make sure that they had options to give it a push. That would allow them to go back to their usual isolationism, if they still wanted it—You hear at least one Aristocra intimate that the Ascendancy might go all British Empire on the rest of the galaxy, if they see the opportunity. Some Chiss now rather like the idea of being the tiny little backwater kingdom that suddenly owns literally everything, as great powers around it weaken.

Complicating their ambitions, things did not turn out that way. Well, not the way they expected. The Ascendancy was out there playing spy chess, while the Emperor was gearing up to eat the entire chess tournament.

Honestly, there was no way the Ascendancy could've predicted the crazy shit that was going to go down in the Empire. Like, really, nobody saw that coming, not even in the Empire. Except for Darth Jadus, if you're weird enough to let him take a swing at running the entire government. Hell, if you're an Ascendancy sleeper agent, maybe he's precisely the sort of destabilizing force you want in the Empire.

So, when it turns out you accidentally allied yourself with an eldritch monster that wants to Pac-Man all life in the galaxy, what do you do? Well, fortunately for the Ascendancy, the Jedi took care of that one for them! Unfortunately, the Jedi didn't count on the MMO having expansions. Turns out, the Emperor was not entirely dead, just a little dead. And also he had a spare Empire hiding elsewhere, just in case the first one didn't work out.

No, I'm not joking, this really happened.

Meet the Eternal Empire, the Sith Emperor's side project where he put all its points toward a cultural victory and military automation, so when he lost control of that empire as well, his usurper was able to just kind of fling remote-controlled fleets at the rest of the galaxy.

With the Republic and Empire all war'd out, they were pretty emphatically steamrolled by the Eternal Fleet. And because the Emperor had known where the Ascendancy was, they were also in the line of fire.

And so the Ascendancy said "Wow! We hate it! Kindly take some planets and fuck off."

And it worked! They had to pay some exorbitant taxes to the Eternal Empire, but not as crippling as what the other powers suffered—because invading them hadn't been as expensive and they made early moves to placate this new empire and its alien human madness, they mostly flew under the radar, and weren't targeted for reprisals.

After that, there was a whole song-and-dance that included a suspiciously protagonist-shaped person uniting the rest of the galaxy against the Eternal Empire, overthrowing two or three usurpers who'd taken over (depending on whether you count the evil mastermind droid who was just kind of there to vibe), and killing the Emperor again for almost the last time, the galaxy could finally stop with that whole nonsense and come to a realization: Everyone was flat broke.

The concessions to the Eternal Empire had crippled the major powers. The Republic was reeling once again, and the Empire had lost most of its leadership and was currently in a very funny series of events that canonically end up with an 87 year old who loves shenanigans assuming the title of Emperor. the Hutt Cartel was probably still having its own problems because it was only a few years since their Supreme Mogul decided to become a raid boss and got killed, then the next one was a violent Hutt supremacist who threw a tantrum that ultimately dropped his own palace on him, and we have no clear successor after that.

The Ascendancy responded to Imperial inquiries with something along the lines of "Oh, yeah, sorry, we'd really like to help, but the Eternal Empire, wow! They really did a number on us. We can't spare any resources right now. We totally would if we could, though."

Literally no one believes them, but because no Imperial ships have ever landed on Csilla, nobody could call them on their bullshit.

And that's about where things stand! There was a kerfuffle where one of the Ruling Families put their drama on display to foreigners, which was a big faux pas. The result is a brief series of missions that actually take place on an Ascendancy world.

But otherwise, the Chiss have maintained their isolationism up to the present day of SWTOR's story. Are they right to do so? I mean, the game remains pretty consistent with the rest of Legends on the Ascendancy: they're a bunch of very pretty jerks who only look better in comparison to their competition, who are grand champions of jerkassitude, and because we're not in a position to see the Ascendancy inflict itself on other people. If they were a major power on the level of the Sith Empire, we'd probably see a lot more of their ugly side.

And what about playing the part of being one of these people? It's not good, certainly. Turnabout may feel like fair play, but it's not great at actually improving the situation overall.

…But it can be fun to indulge in a bit, in the fantasy of an MMO. Especially when the Empire is just so, so dunkable. It's like a less dangerous version of when the English cricket team of 1932-1933 decided it was entirely sporting to give Australians skull fractures, right up until the West Indies cricket team said "Now hear us out—what if we attacked you with the ball as well?"

And beyond that, this is the game where you can get the chance to shoot lightning at people while your eight foot tall cannibal thrall-maybe-turned-husband approves on the sidelines. If anything, the Ascendancy might suffer from being less goofy than that. But taken in full context of the MMO, they're often standing in as the reserved or reluctant bunch who got collectively dragged into this whole mess and are just trying to ride out the chaos with all clothes, dignity, and eyebrows intact. When subjected to the galaxy's shenanigans, the Ascendancy would rather take the advice of the skeleton meme:

And that can be deeply funny to play around with.

[theresattrpgforthat]

THEME: RPGs for Accessible Gaming

The RPGs for Accessible Gaming Bundle is currently live, and it's raising some money for a great cause: DOTS Braille Dice, which makes tabletop gaming more accessible for blind gamers. Here's a few great games that you can find in this gigantic bundle!

Arkyvr, by Alewood Games.

ARKYVR is a multimedia MOTHERSHIP 1E setting & toolkit to play documentary filmmakers in space for 1-4 players and 1 GM.

Equipped with only their camera gear, ARKYVRs will attempt to document life in space and expose corporate client atrocities while surviving the void’s unspeakable horrors. Players will make ends meet through corporate media contracts but with each assignment they will also find horrible truths hidden just under the surface of their mission. If the ARKYVR crew survives their film shoot, they must then decide how to distribute their footage. Some clients will pay a handsome price to cover up their atrocities while others will use it to lead a revolution. How will players use their recorded stories to shift the balance of power? Will they even live long enough to tell the story?

Created by and in collaboration with industry filmmakers! ARKYVR is a 60 page zine that brings a unique vision to deadly space adventures through the lens of a camera!

ARKYVR only works if you have a copy of MOTHERSHIP to play with it with, but since the core rules of MOTHERSHIP are free to access, this shouldn't stop you from being able to pick up the game and enjoy it's film-making twist. Each character concept comes with duties: elements of the role's job that help you define your character and give them some bones to build a personality off of. The core rules of the game are re-contextualized around missions that involve capturing footage, rather than investigating jobs gone wrong.

I feel like ARKYVR has the potential to combine the horror of space with the lovely irony present in horror movies that involve artists getting in way over their head for the pursuit of the art that they love. How much will they sacrifice for the perfect shot? What kind of art does their team want to make? What kind of art can their team afford to make? What dark secrets will they uncover in the process?

Fang, by Joel Happyhil.

You’re a Fang, an ageless super-powered being living among humans, you live in city that doesn’t matter surrounded by people who won’t live to see a fraction of your life, yet you can’t help but be intrigued. You are driven by your desire, an ever-growing thirst that has the power to reduce you to something less than human, but who knows how long that could take.

Here's a game for the vampires and their human companions. FANG has a lot of common hallmarks when it comes to what you think about ttrpgs: stats with ratings attached (in this case in the form of dots), playbooks that define your character type, and a method of advancement, to show how your PC grows over time. Similar to Blades in the Dark, there's dice pools and staggered resolution levels. There's also a thirst track that increases and decreases as your vamp experiences the visceral parts of life, like physical harm, strong emotions, or the thrill of victory.

What I love in games like this is when you see what happens when you hit your character's limit. In FANG, this limit is Starvation - when your Thirst track hits 12. Your character has an outburst, or breaks down, pushing you closer and closer to getting taken out of the scene. On the other side of the coin, Human characters have a Passion track, which is less powerful than Thirst, but also exempts them from the consequences of Starvation.

If you want a game about a desperate character having a terrible time, you'll likely find some really satisfying moments in FANG.

Be Seeing You, by Tanya Floaker.

This roleplaying game contains dangerous levels of dystopian science fiction, social allegory, and psychological drama.

Influenced by fiction in the vein of The Prisoner, Stalker, and Utopia, and real struggles against mass surveillance, the Hostile Environment, and the alienating effects of capitalism.

Be Seeing You is a game about surveillance and dystopia, but it's also a collaborative world-building exercise, building a story through a series of short vignettes. No character is controlled by one single person; each player will pick up the role of the Prisoner throughout the story, focusing on how this central character is treated by the village and its residents.

The game itself is diceless; things change in the story based on the kinds of choices you make when it comes to answering the prompts and following the parts of the story that are interesting to you. This is a game that thrives with a group that feels comfortable in the dystopian genre and loves hitting thematically resonant story beats.

Pretty Beastly, by Em Hubbard.

Calling all disaffected furniture, oppressed appliances, and humble housewares ready to rise up against monstrous monarchists! You were once simple servants in the household of an overbearing oligarch. Years ago, you were victims of an unfair curse and now you really are objects - dishes, chairs, mirrors, and ornaments. The time has now come to rise up against your Prince, defeat the vile sorcerer, and fight back against an oppressive social system!

Pretty Beastly is a collaborative roleplaying game for 2-5 players. Players work together to create a story of cursed household servants struggling against their oppressive social system. A deck of cards will help determine your challenges, successes, and failures.

Taking inspiration from animated musicals and dramatic historical epics, a fantastical (problematic) fairy tale collides with the French Revolution. Quirky and political, this game will take you on a wild anti-establishment musical adventure.

Welcome to the story of Beauty and the Beast, from the furniture's point of view. Set firmly in the setting of 18th century, this is a game of rage and revenge; working as a group to escape, defeat, or break the chains you find yourselves under as the servants of cursed and cruel monarch. The game is played over a series of scenes, using playing cards to provide inspiration for challenges as well as the means by which you can overcome those challenges. There's also a hilarious addition of musical numbers, where your characters break into song if you draw a low-enough card.

Corporate Fae, by ryland.s.

You’re a really weird fae, as far as everyone knows, you’re the only one who’s got an obsession with human corporate work life. Fortunately for you, you can stand in as someone’s secretary, manager, or the barista across the building. Unfortunately for humans, they don’t remember you before and after you temporarily take up someone’s position.

A close human friend asks you to attend some company galas and parties to do some corporate espionage and learn some gossip your friend can monopolize.

All you need is a deck of standard playing cards without the jokers, a way to record, and some time to play.

Hello solo gamers, I haven't forgotten about you! Corporate Fae is a prompt-based solo game that uses a deck of cards to generate details that allow you to imagine a story about a fae trying to commit corporate espionage.

The game is rather simple; you draw to determine the role you've taken and the kind of party you attend, and then continue to draw various juicy pieces of gossip that your fae will overhear. I think it might be interesting to try and piece the bits of gossip together, to paint a portrait of a slowly unraveling secret being pieced together from the various bits of information you gather while socializing at the party.

The only criticism I have for this game is that there isn't a great way to wrap up the game in a neat little bow at the end - I think I would have loved some kind of tension underneath getting found out, or perhaps a timer that gives you a hard limit on how much time you have to gather information before you need to leave the party - maybe like a clock-strikes-midnight situation or something like that.

Darkest Hour, by Emmeryn.

Here, a night like any other.

Rays of sunlight slowly recede over the wilds, the cabin, the steeple, the mausoleum. A gathering of friends, allies, comrades, hunters, united in their cause. They may not yet realize the danger they are in, but a cruel eye turns upon them. Something cursed awakens, stirring to life with the fall of dusk. A hunger claws free from the pitch black.

In the darkest hours of night, hearts tighten as untold horrors bear down. Fangs, claws, the glint of rusted steel and the scrape of bone. Howls and screams resound in the darkness, creeping ever closer.

Will you live to see the light of day?

Darkest Hour is a horror tabletop game designed for one-shot horror sessions. It can be played as a GMless game or with a GM, and can accommodate 2 to 5 players (with or without a GM) for one to two play sessions totaling 2 to 5 hours. It can be played with as little as the book and three six-sided dice.

Say hello to a one-shot horror game that can provide multiple sessions of fun, thanks to the various settings and horrors you can combine for a different theme each time. Your characters are hunters, pursuing a monstrous and terrible haunt that has trapped them somewhere. You use six-sided dice to try and overcome the challenges this story throws at you, each obstacle becoming harder and harder to overcome the longer the story goes.

The author refers to the work of Avery Alder, but I feel that in some ways, there's also a little bit of Ten Candles hidden in the roots of this game, especially with the rising doom the further into the story you go. That being said, the Haunt does have a weakness, and defeating them is much more likely to happen than in a Ten Candles game. If you want a game that's dripping in monster vibes, you probably want Darkest Hour.

Other Games I've Recommended in the Past…

Teenagers With Attitude and Post Apo Calypse, by CardboardHyperfix.

A Witch, A Gallows Bird, by Jellyfishlines.

Protect the Child and Copper Shores by me!

Wrath of the Undersea, by EfanGamez.

If you like what I do, you can always leave a tip at my Ko-Fi!

[regretevator-confessions]

I actually really love the storytelling in Regretevator from a sort of multimedia standpoint! Its unconventional, but it's not a bad way to tell a story. Folks need to stop approaching the lore like its functionally identical to their comics and shows.

I think it's helpful to think of regretevator as a hangout minigame collection first and a Story as a secondary. Dont forget, we as the players are just overhearing conversations! I think that is so fucking novel and I've never seen it done that way!

My one actual gripe is I wish all the twitter fun facts were added to be read in the game. But we're on the internet and can click over to the wiki, fine...

Actually it'd be cool if regretevator just had it's own website also? Because I hate fandom wiki plus itd be a great Bonus Info repository and fit with the nonstandard storytelling. Yuecc and co. make a neocities full of secrets. Now!

.

[mikotos-nape-nibbler]

MILGRAM genuinely only works in its current ARG format. ARGs don't present themselves as games (TINAG [This Is Not A Game]) which increases the scope of audiences that engage with it.

A Visual Novel (VN) format would be ineffective in (1) MILGRAM's social experiment aspect, (2) the interactivity as it fails to address live reactions of the players through multimedia means, and (3) the security that VNs offer, in which there will always be one scripted plot regardless of when you play, due to its unlimited playability fails to drive MILGRAM's point that your actions have permanent consequences—your push of an electric button has fatal consequences in real-life and virtually. Not to mention there's gendered bias regarding what demographic of people play VNs which would dissuade certain genders in engaging with MILGRAM.

VNs are scripted games that make a player feel like their choices matter but, in reality, it's the illusion of choice. Whereas ARGs bind both player and creator to one another, where the creator must respond to the players' choices and, together, both create the game through this interactive dialogue of engagement.