#nO aUTHORITY

[makapatag]

tabletop role-playing games, as a medium i think, are predisposed to crafting reals, on top of it being largely an exercise of language.

i'm using "real" right now as a basic "something that is completely true thing." in a sense, role playing game design is reality-crafting.

this means that every mechanic and every word used in the game, down to the language, is a way of crafting a real wherein the players must accept that is real (within that space). the reality is the bounds of the fiction and also the major expressive influence into the player's minds. however in a very weird positivist way, what mechanics exist in a game reify what the game says is real, and what doesn't exist doesn't exactly mean something isn't real. so instead of a real/unreal dichotomy we have a real/real (in fiction)/implication(pseudo real)/unreal

so for example: a game might have Stats, Classes, and mechanics for making attack rolls. all of these are Real, and they inform the fiction (a high STR might mean your character is strong, being of a FIGHTER means you're good at fighting and you can pull off maneuvers, making attack rolls is you committing physical violence on another). So they're both real and real in fiction. the localized reality around player characters now exist and they interact with the game through these reals.

now these things might be non-diegetic (frex, a FIGHTER (CLASS) might not actually exist within the game setting, they're archetypical representations, which is something D&D 4e and D&D 5e do), but that doesn't matter: those things are now real due to game design. this means there ARE fighters in your game, even if there is only one kind of fighter that the PC is, there are still fighters.

going further, these Reals also imply something about the established game world. these are not yet the pseudo-reals: so for example, a game that has CAP Skills (skills that cap any other skills you might use while doing something within their field, such as Horseback Riding [a Riding Skill 3 might mean you can only add +3 to when you're doing Melee Combat despite your Melee Combat being at +7, etc.]) this presupposes then that someone who isn't good at Riding cannot be as effective with their martial skill despite having been skilled at martial skill for years.

is this realistic to real life? it doesn't matter: with that established within the game mechanics, that is now what's Real there. and in role-playing you must follow along the Reality crafted there. this has a number of pseudo-reals (implications) such as (cavalry are all good at horseriding, etc.) but the importance of pseudo-reals is that these are things the table (the player aspect) can interface with as they wish. those things which the player has no choice but to interface with are the highest of reals in a roleplaying game

your choice of language informs this even further. not just the fact that you choose to write it in english (tagalog, spanish, etc. expresses things and imposes different priorities when it comes to real) but the wording choice you choose. frex: having INTELLIGENCE as a Stat can be somewhat ableist. what does high INTELLIGENCE mean? aren't there different kinds of smarts, is knowledge the same? or is this an abstraction? but is it a meaningful abstraction or an abstraction brought about by historical momentum (it's what D&D used). why is INTELLIGENCE a meaningful abstraction but STRENGTH and CONSTITUTION are split? these are all arbitrary until it isn't, and you must establish a real to live in the imagined space (that is, the fiction). i'm not saying the 6 stat array is a bad thing mind you but i think it's useful to understand why you have it in there in the game. if it's just because it's the most well known stat array then that's fine i guess

finally, what reals you put into the game is inherently informed by your own worldview. it actually doesn't have to be (that's the point of creation) but commonly game designers simply inject their worldview into the games as real and recreate that real into their tabletop rpg (frex, misogynists who think its realistic for men to be stronger than women, capping women's STR stats etc.) so choosing what is real and what isn't is a matter of paradigm shifting and realizing that not all realities irl are the same (not to go into metaphysics and sociopolitical philosophy)

[fantastickkay]

From BB, January 2000.

[imstuckin1999]

So many BoyBands!! {Seventeen magazine December 1999}

[dorianbrightmusic]

guys i did it, it's here

[i-used-to-be-a-spy]

"you should be at the club" I should be working on my fanfic

[hayatheauthor]

10 Non-Lethal Injuries to Add Pain to Your Writing

New Part: 10 Lethal Injury Ideas

If you need a simple way to make your characters feel pain, here are some ideas: 

1. Sprained Ankle

A common injury that can severely limit mobility. This is useful because your characters will have to experience a mild struggle and adapt their plans to their new lack of mobiliy. Perfect to add tension to a chase scene.

2. Rib Contusion

A painful bruise on the ribs can make breathing difficult, helping you sneak in those ragged wheezes during a fight scene. Could also be used for something sport-related! It's impactful enough to leave a lingering pain but not enough to hinder their overall movement.

3. Concussions

This common brain injury can lead to confusion, dizziness, and mood swings, affecting a character’s judgment heavily. It can also cause mild amnesia.

I enjoy using concussions when you need another character to subtly take over the fight/scene, it's an easy way to switch POVs. You could also use it if you need a 'cute' recovery moment with A and B.

4. Fractured Finger

A broken finger can complicate tasks that require fine motor skills. This would be perfect for characters like artists, writers, etc. Or, a fighter who brushes it off as nothing till they try to throw a punch and are hit with pain.

5. Road Rash

Road rash is an abrasion caused by friction. Aka scraping skin. The raw, painful sting resulting from a fall can be a quick but effective way to add pain to your writing. Tip: it's great if you need a mild injury for a child.

6. Shoulder Dislocation

This injury can be excruciating and often leads to an inability to use one arm, forcing characters to confront their limitations while adding urgency to their situation. Good for torture scenes.

7. Deep Laceration

A deep laceration is a cut that requires stitches. As someone who got stitches as a kid, they really aren't that bad! A 2-3 inch wound (in length) provides just enough pain and blood to add that dramatic flair to your writing while not severely deterring your character.

This is also a great wound to look back on since it often scars. Note: the deeper and wider the cut the worse your character's condition. Don't give them a 5 inch deep gash and call that mild.

8. Burns

Whether from fire, chemicals, or hot surfaces, burns can cause intense suffering and lingering trauma. Like the previous injury, the lasting physical and emotional trauma of a burn is a great wound for characters to look back on.

If you want to explore writing burns, read here.

9. Pulled Muscle

This can create ongoing pain and restrict movement, offering a window to force your character to lean on another. Note: I personally use muscle related injuries when I want to focus more on the pain and sprains to focus on a lack of mobility.

10. Tendonitis

Inflammation of a tendon can cause chronic pain and limit a character's ability to perform tasks they usually take for granted. When exploring tendonitis make sure you research well as this can easily turn into a more severe injury.

This is a quick, brief list of ideas to provide writers inspiration. Since it is a shorter blog, I have not covered the injuries in detail. This is inspiration, not a thorough guide. Happy writing! :)

Looking For More Writing Tips And Tricks? 

Check out the rest of Quillology with Haya; a blog dedicated to writing and publishing tips for authors!

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[inkskinned]

please i love you i'm begging you bring back suspension of disbelief bring back trusting the audience like. i cannot handle any more dialogue that sounds like a legal document. "hello, i am here to talk to you about the incident from a few minutes ago, because i feel you might be unwell, and i am invested in your personal wellbeing." "thank you, i am unwell because the incident was hurtful to me due to my childhood, which was bad." I CANT!!!!

do you know how many people are mad that authors use "growled" as a word for "said"? it's just poetics! they do not literally mean "growled," it's just a common replacement for "said with force but in a low tone." it's normal! do you hear me!! help me i love you please let me out of here!!!

[limelemonchi]

freak Pines

[brightbluedot]

to succeed in adult friendship you must remember the key tenets of child friendship:

Play Toys

Play Pretend

Snack Time

[roseworth]

i think theres this idea in the general public that the "best" fanfic gets turned into real books like 50 shades of grey. but the truth is that the best fanfic can never be published as an actual book because its intricately woven into the canon material so its inseparable even if you change the names

[dyke-ass-fujoshi]

How I found out about trump getting shot

[goodluckclove]

Hey guys be cool and normal but reblog this with the homemade meal that would get you the most hyped as a child. I need it for reasons.

[fantastickkay]

From Pop Star!, December 1999.

[monsoon-of-art]

[def-not-kaz-brekker]

crazy how fanfic authors drop the most beautiful and gorgeous pieces of work ever, leaving you speechless and sobbing at three in the morning as you quietly contemplate the masterpiece you just read

and they don’t get paid for it they just do it because they’re having fun and they want to share their joy with you

like I would literally die for all of you fanfic authors out there reblog to swear your allegiance to fanfic authors