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androxys · 5 months ago

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Comic Ages: Quick Breakdowns of the Dark and Modern Ages

Yesterday I wrote a quick writeup of the Golden, Silver, and Bronze Ages of Comics. Savvy readers may have noticed that those ages ended at 1986, and yet comics have continued to be published. So what Age are we in now? That's what this writeup discusses!

The Dark Age (1986-2016)

After Crisis on Infinite Earths ended in 1986, DC got to make a whole new continuity! The comics that came at this point in time form the foundation of a lot of the characters and stories that we know today. For a good bit of time, we called The Dark Age the Modern Age, because at that point it was modern! But now that we’re nearly forty years removed from Crisis and comics are still being published, there was a fair question about just how “Modern” it was. I’m using the verbiage that DC seems to be endorsing themself—I learned the phrase “The Dark Age” from 2022’s Batman—The Ultimate Guide reference book. Calling this period a Dark Age is not an indictment about the quality of work in this period, rather, it’s to reflect the doubling down on darker, grimmer stories. Crisis ended in 1986, followed almost immediately by Watchmen and The Dark Knight Returns, two stories very interested in deconstructing the figure of a hero with a cynical eye. While these stories were not in the main DC canon, they would reverberate on the tone of what was to come.

Within the main DC canon, huge shakeups were occurring. There were no more multiple Earths; instead, there was a single New Earth that incorporated the histories of several Earths. The Justice Society had fought in WWII and retired in the 50s, but were still around and able to mentor the younger generation of heroes. There was only ever the one Superman and Batman figure, though DC would later figure out a way to have a Wonder Woman both in the present and among the Justice Society. Many of DC’s biggest heroes were getting revamps to introduce their new continuity: The Man of Steel miniseries detailed Superman’s new origin and once again established him as the sole survivor of Krypton. The Batman: Year One story that ran thorough Batman #403-407 detailed the early history of this Caped Crusader, revamping Jim Gordon and Selina Kyle in the process. Wonder Woman saw her title relaunched with a new #1, with George Perez taking the helm of a sprawling epic that redefined the character. The darker tone of the Dark Age continued to manifest. The Killing Joke was published in 1988, depicting the shooting of Barbara Gordon by the Joker, followed quickly by Jason Todd’s murder in A Death in the Family. Major comic events of the early 90s involved the villain Bane breaking Batman’s back and the monster Doomsday killing Superman.

In the mid 90s, DC was forced to reconcile with the truth that while Crisis had mostly succeeded in tidying things up, things were once again getting messy. To solve this, DC published the Zero Hour event, officially titled Zero Hour: Crisis in Time! (DC really loves to slap the “Crisis” title on anything load-bearing) Zero Hour, published in 1994, featured the Silver Age hero Hal Jordan becoming the villain Parallax and trying to undo time. Heroes banded together to stop him, though the timeline was slightly altered. This introduced many soft retcons—retroactive continuity fixes—that aimed to make things make a bit more sense. The jury still seems to be out on if it succeeded.

By the early 2000s, DC decided that it was ready for a sequel to Crisis on Infinite Earths, which they helpfully named Infinite Crisis. This event saw the return of several characters from the original Crisis, and more crucially, the return of a multiverse to DC Comics. This multiverse would be refined such that rather than an infinite multiverse of infinite Earths, there were now 52 parallel worlds. Some of the new worlds were established as callbacks to previously depicted alternate Earths, while some were new. Other major events within the Dark Age were Final Crisis, which saw the “death” of Bruce Wayne by Darkseid, and Blackest Night, which saw deceased heroes and villains resurrected as zombies by Black Lantern rings to feast on the emotions of the living.

In 2011, DC decided it was time for another major revamp. They wanted the characters younger and less burdened, and decided to launch The New 52 and end the era of post-Crisis New Earth. This was done with the Flashpoint story, which featured Barry Allen, the Flash, attempting to go back in time and prevent the death of his mother. While well intentioned, this event created a wildly branching timeline that he then had to set right. Though he mostly succeeded, the world Barry returned to was not quite the same. The post-Flashpoint world was dubbed “Prime Earth,” and was… controversial. Much of the post-Flashpoint continuity seemed to harken back to previous Ages–as mentioned, the characters in general were younger. Barbara Gordon, the Silver and Bronze Age Batgirl, was returned to the Batgirl role while her two New Earth successors were written out of continuity. Barry Allen was made the primary Flash of the DC Universe, with the Golden Age’s Jay Garrick and the Bronze/Dark Age’s Wally West removed.

In 2015, DC would publish the “Convergence” event, which featured an extant Brainiac capturing specific slices from several timelines and pitting them against each other. This included seeing the pre-Crisis Teen Titans operating at the same time as the post-Crisis, pre-Zero Hour Suicide Squad, or the post-Zero Hour but pre-Flashpoint Batgirl. It was messy! But importantly, it showed DC acknowledging their older characters and characterizations, and restoring some of the multiverse that came before.

The Dark Age would eventually come full circle, with the Doomsday Clock event heralding the end of the Dark Age and beginning what we call (for now) the Modern Age. Doomsday Clock was a direct sequel to Watchmen, the iconic comic that helped set the tone for the Dark Age in 1986. Doomsday Clock suggested that part of the reason the New 52 was so different than the pre-Flashpoint New Earth was because Doctor Manhattan, the massively powerful Watchmen character, had removed several years from the timeline to observe how the world would change. Batman and the Flash discovered this meddling during “The Button” storyline, and DC subsequently began its Rebirth initiative.

The Modern Age (2016-Present)

It’s fickle to decide precisely when the Modern Age begins. DC Comics themselves states that the Dark Age ended in 2011, with Flashpoint, though I disagree. Many of the initial New 52 storylines hold on to the darker tone, though there is evidence that around 2014, DC began to pivot away. The DCYou initiative, for example, focused on refreshing some characters to a younger, more upbeat characterization–such as Barbara Gordon in her Batgirl of Burnside era–or by introducing new comics altogether–such as the more lighthearted Gotham Academy series. You may disagree with me on precisely where these eras begin and end, however, and that’s okay.

In 2016, DC began its Rebirth event that sought to reconcile some of the pre-Flashpoint elements into the Prime Earth continuity. This was spearheaded by the return of Wally West, and continued to gradually fold back in pre-Flashpoint elements into the Prime Earth timeline. The events of 2020's Dark Nights and Dark Nights: Death Metal finalized it, placing characters in a sort of super-state of having access to all of the memories of all previous versions of themselves, while still ostensibly having only lived the one life. It’s complicated, but it crucially gave writers the opportunity to have characters make reference to past events that happened on New Earth, canonizing them for the Prime Earth continuity.

The end of the Dark Nights saga resulted in DC’s Future State and Infinite Frontier projects in 2021. Future State’s premise was showing possible futures for various DC characters, and then Infinite Frontier launched characters on possible paths. The emphasis was on this being a new starting point for many characters, both old and new. Jon Kent, the son of Superman, had his own title launched during this time, and Yara Flor, a new Wonder Woman, got a miniseries. On the Nightwing title, a new creative team took over to steer the character out of the “Ric Grayson” amnesia arc, restoring Nightwing to his traditional hero status.

In 2022, DC would publish Dark Crisis, later rebranded Dark Crisis on Infinite Earths (see what I mean about them just reusing the same words for emphasis?) which saw many classic DC villains from across different eras brought together by a powerful force. This continued to delve into the DC Multiverse and establish that everything was metaphorically on the table, leading to the Dawn of DC initiative. Similarly to Infinite Frontier, Dawn of DC was about fresh starts, new beginnings, and updates so that new readers could jump in. The Justice League was disbanded in the wake of Dark Crisis, leading the Titans to become the preeminent Superhero team. The Superman title was relaunched at #1, and many books got new creative teams.

It’s always easier to retrospectively talk about something that has concluded rather than to actively analyze something ongoing. However, I think so far it’s fair to say that DC is attempting to use the Modern Age to craft a more expansive, perpetually new universe. Old characters are getting new attention, new characters are being created, and the depth and breadth of DC’s publication is getting highlighted. The current Modern Age has seen DC focus on expanding its Young Adult graphic novels since 2019, and DC announced in 2024 that they would be bringing back the Elseworlds imprint to tell alternate universe stories. DC has committed to telling more diverse stories in the Modern Age, which I think is crystalized in the various “Celebration” issues published. DC’s annual Pride anthology started in 2021, and subsequent celebration anthologies have featured Asian American and Black heroes and creators. While we don’t know when the current Modern Age will end (I’m already hedging my bets on this eventually being called the “Rebirth Age”) I do think the future is bright.

#dc comics #chit chat #meta

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onceinawhilemoon · 5 months ago

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The World Hinges on Small Details: Jon vs. Sherlock and The Hand-Me-Down Quest

This quest intrigues me so much. It not only raises questions about Jon's “nature”, but also gives us a glimpse of where Sherlock's focus on the small details, and therefore his struggle to see the big picture, came from.

If you're as intrigued by this quest as I am, read ahead, but before we continue, I highly encourage you to go read @spiteful-crow ‘s wonderful writeup on Jon and Sherlock and the Jungian concepts of “anima” and “persona” (here) if you haven't already. Not only does it explain a lot about them and what/who Jon is, but that analysis also serves as a pretty solid basis for most of this one, and it will help make it make sense, I hope!

Under the cut we go-

Quick recap of The Hand-Me-Down quest: Jon notices a first of three riddles engraved on top of a monument called “The Silver Hand” in Old City, and convinces Sherlock to solve them, saying that the riddles lead to a lost treasure. Sherlock is bewildered by how Jon was able to guess that something was on top of the monument in the first place but goes along with it. Eventually, instead of the treasure, they find a magnifying glass that belonged to Violet, buried under a rock. Sherlock is so confused by the discovery and has no clue as to how the glass made it there. Neither he nor Jon seem to remember ever burying it there.

The third riddle stands out the most here, as the last two lines of it read “you may find only one small detail, but that doesn't mean that you have failed.”

Upong finding this riddle, Jon commends Sherlock on his admirable ability to notice the details. This evokes Sherlock's memory of one of his mother’s core teachings:

S: “In such moments I often recall Mother's voice teaching us of the importance of the smaller details. The world hangs on small hinges, Jon.”

J: “Even the most chaotic miracle becomes sequential when you take a closer look. I remember.”

Sherlock’s keen eye for detail is something almost everyone he meets praises him for, and it's an inherited trait from his mother, who was an authenticator and a truth seeker, she taught him that "the truth lies in the details." Consequently, his struggle with seeing the big picture due to focusing too much on the details sometimes stems from his mother's teachings, which he clearly holds in very high regard. She was also the source of his strong moral stance against lies and obfuscation of truth. He was closer to his mother than his brother, even during her worst days. It's no surprise that Violet had a huge and deep influence on Sherlock-she shaped all of his moral views, many of which are being challenged by what he's discovering on Cordona.

The title of the quest, the quest being strongly tied to Violet and her teachings, specifically the third riddle, and of course the magnifying glass, all lead me to believe that Sherlock put the glass there and made up those riddles and the silver hand treasure, inspired by his mother, the monument, and the pirate it was erected in honor of.

Maybe it was also a ritual like burying Siger’s “skull” to help Sherlock process things and move on. Maybe it was to help him process and reconcile with the negative feelings associated with Violet's abusive nature or with her death, or maybe it was simply just child's play. But, as with everything else, after the pond incident™, his memories of Violet and most of his time on Cordona were suppressed and lost to time, including the magnifying glass and the “ritual”. And since Jon seems to remember or at least seems to have a gut feeling about the past and those lost memories, he recalled the riddles and the legend about the treasure, which, interestingly, can be considered as the “creative” aspects of the ritual. Jon may not have remembered the magnifying glass itself but remembered the steps to get there because Sherlock created them with his help. I do believe he is Sherlock's creativity and imagination personified. I've written a (much shorter, thankfully!) theory about that and how I think it's tied to Sherlock calling him his "anima" (here) if you're interested.

And maybe it was something more, if you think of Jon as a Tulpa or one of Carl Jung's thoughtforms (like Philemon, who Jung described as a "guru" possessing of transcendental knowledge and wisdom) this quest could be an example in which these concepts are explored. Jon does act as a guide in the game. He also seems to notice things before Sherlock does sometimes, and points out things that Sherlock has no way of knowing or verifying with empirical evidence at the time, sometimes even despite his physical limitations, like the “engraving” on top of the Silver Hand monument.

I personally don't think there was ever an engraving on top of the monument. I think the idea was for the first riddle to be memorized by Sherlock while the rest to be written down and hidden. This, I think, makes the whole “ritual” much more personal and special to Sherlock. Of course, after what happened, he forgot everything, and Jon was left to remember the first riddle and made it look like he read it on the monument to entice Sherlock to solve it and remember, just like how he invented the fiction that the skull belonged to Sherlock's father.

Then there's their conversation after discovering the glass, which I think perfectly captures the “rational” vs “irrational” parts of Sherlock, or the "persona" vs. the "anima" :

Jon, the “irrational” and creative part that wants to believe in magic and miracles, tells him that sometimes he just needs to let things happen, that some things can't be explained and we should let them be, and Sherlock, the "rational" part that strives for logic and objective truths, has a hard time accepting that, because to him, everything needs to have a logical explanation and a tangible root in reality.

J: “The whole world is one big unresolved chaotic miracle" - That's the part of Violet's teaching that Jon chooses to follow. Jon finds beauty in leaving mysteries unsolved, in the “who knows?” which leaves the door wide open for imagination, in non-linear thinking which leads to originality and uniqueness. He thrives in chaos.

S: “But they will become sequential if you take a closer look" - And that's the part that Sherlock wants to follow. He finds stability in order. He sees the need to investigate to uncover what's hidden and verify facts with evidence to restore structure into the world.

The two parts are both sides of the same coin. They shouldn't be separated because they balance each other out and make up one whole. Thanks to this balance, Sherlock eventually concedes and lets this particular mystery remain unsolved. It must have been freeing for him to just leave it to "fate" and focus on the beautiful feelings that this strange experience has evoked-him feeling closer to his mother by remembering her wisdom and honoring her legacy.

Which makes me wonder how differently Sherlock would have faced the horrors in The Awakened if Jon was still with him to hold his hand and remind him that it's okay if things didn't make sense, that sometimes you just need to let things happen and free your psyche from the weight of fervently searching for logical explanations. Some things are just meant to not make sense, just like that magnifying glass.

Then there's the title of the quest.

“The Hand-Me-Down” I think, refers either to the magnifying glass itself, being a precious heirloom inherited from Violet which later becomes Sherlock Holmes’ signature crime solving instrument, or the mindset of “the world hinges on small details“, also passed on from Violet and the reason why Sherlock is so keen on the details that he sometimes struggles to consider them within a broader perspective-the big picture-which can cause him to tunnel vision on isolated facts and possibly risk making ill-informed decisions. A notable example is concluding that “Richter tried to save my mother; therefore, he was an innocent man who was wrongly accused,” while disregarding the fact Richter and his medical malpractice caused his mother to deteriorate in the first place.

Finally, there's what Jon wrote in his diary after discovering the glass:

“But when Sherry looked at me through that glass, I was suddenly struck by terror. For a brief moment, it felt as if I weren't there at all, his gaze passing through me and over the horizon.”

Jon rarely gets “deep” in his journal, so this line stuck with me. Jon is pretty aware of his “non”-existence and even seems pretty in peace with it, so why would he be struck by terror at the idea of him “not being there at all”?

The choice of words in “his gaze passing through me and over the horizon” signifies the future; Jon is terrified of a future in which Sherlock doesn't see him anymore; when he favors his rational and mature side so much, that it ends up consuming him and severing Jon, his anima, his irrational and creative part that clings to his childhood, from the whole. If Sherlock stops seeing Jon, only then does Jon truly cease to exist.

I think this means that at this point in the story, deep down in his unconsciousness, Sherlock knew that when he leaves Cordona this time, he'll be leaving Jon with it, and this gut feeling, this terror at being fractured and fragmented, possibly with no way of ever getting mended, manifests through Jon as he constantly tries to alert Sherlock to the danger of the situation, that once he steps through the threshold, there's no turning back.

#sherlock holmes chapter one #frogwares holmes #frogwares sherlock #shco #frogwares sherlock holmes #jon #frogwares jon #thoughts & rambles #shco meta

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victorianpining · 1 year ago

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The Game is Now

(Well The Game is over a year ago, if you want to be technical about it)

I finally took the time to write up my notes and reactions to the original BBC Sherlock Escape Room Experience! Sorry in advance if things are a little vague at points, we only played through the room once and am mostly running off of iphone notes I wrote 13 months ago. I hope to be able to go back to try out the new Mind of Moriarty room during its run, if this one was anything to go by, it should be a fun time!

My usual disclaimer that while this is a TJLC slanted writeup, I'm just playing The Game for fun at this point, I really am not expecting any of this to lead anywhere. Enjoy your television responsibly, don't idolize television writers, eat your veggies, etc. etc. etc. And spoilers for the room, obviously.

Oh, and huge thank you to @watermotif @betweendoctorsanddetectives and @647763 (and her girlfriend) for playing the room with me! I had a blast suffering with you all <3

The way I'm getting myself to finally actually write this up is by telling myself it's okay if my thoughts are a little informal, especially after this long, so this is going to be written the way I usually structure my outlines in the format of chaotic bullet points. Hopefully it's still readable!

I'm starting my recap of the experience outside of the escape room itself, which was located in what was, for all intents and purposes, a random, abandoned seeming mall in London (it wasn't actually abandoned malls are just like that now)

So imagine you are just walking through what looks exactly like your local, very dead, mall, when there's just this massive wall with dark damask wall paper and the most DFP Sherlock quotes you can conceive of plastered on it. Think "I may be on the side of the angels but don't think for a second I am one of them" "heroes don't exist and if they did I wouldn't be one of them" "I'm a high functioning sociopath" etc. It's already hilarious

You come around the corner from that and there's the gated off "Doyle's Optometrist" office, where you have to page in (I think we had to state our group name, I can't remember exactly how we got in)

Once you're inside the staff helping you are named Stamford. Yes like Mike Stamford. Yes all of them. If you didn't know you were in for psychological torment, you do now

[brief intermission here because some of us arrived early, so they actually let us through to the Mind Palace bar while we waited. It was pretty cool, apart from the guy working there being really pushy about ordering drinks. The bar is Victorian themed with framed pictures from TAB and the biggest one in the room, like by far, was a framed picture of Sherlock and Moriarty's little gun standoff, so you know, that was fun.]

[here we are trying to be normal about it]

[also I went to the bathroom at this point and there was a little sign in the stall which said that the Sherlock theme song was exactly the right length to wash you hands to which was the most ridiculous thing I have ever seen in my life]

Anyway back to the intended order of the experience, Stamford led us back to the optometrist waiting room where we sat calmly while John Watson's voice read out random advertisements. (The only one of these I wrote down was "the eyes are the legs of the face" because it was so random, but there was a set of them)

Also as you will see in the following picture, the posters in here were Bananas

(In case you can't see it since it's small in dash, the purple one behind Mia says "Doyle's Audiographs: for those who hear but don't listen" very evocative of the "I did tell you but did you listen" motif, 0/10 very infuriating)

Stamford came over at this point and brought us back and gave us the rules, which included no photography so photos end here unfortunately

So we were taken to a projector room where John Watson addressed the players, saying that while it says the office belongs to Doyle, this is actually a front for one of Mycroft's plans (ha ha ha (deadpan)) and that he's coopted John into helping. (hah. do you get it? the author and the narrator? hillarious)

It was so clear that Martin did not want to be there. Like yes John in character also doesn't want to be there but Martin literally looked like he was being held at gunpoint. His eyes were dead. Poor guy.

Stamford led us through another room into the 221B living room! Being in here was surreal. Because there are a few groups lumped together at this point, we had a bit of time to look around the room. Rachel found a book about fetishes on the mantle, which was something.

We took our group picture, they let you pick from a few props. I went for the white queen chess piece for Dracula reasons and got bullied into wearing the deerstalker, which was homophobic.

Also the skull was the Yorick version, and I took a moment to stare into ACD's eyes, out of respect, as one does.

At this point the game proper begins! Sherlock's voice comes on (Ben is not on camera other than one brief exception which we will be coming back to later) and starts prepping us for our mission.

I don't remember the context but I think while telling us to be careful in the flat he told us "don't scrape your knees, or do." which was funny considering "the state of her knees"

Mycroft then addresses the audience (hah) only to be interrupted by Moriarty (hah) hacking the TV (hah hah hah)

The mirror above the fireplace? Also turns into a TV that Moriarty hacks. Ha. Ha ha ha ha.

Moriarty informs us that he has kidnapped Mycroft so the point of the game is to save Mycroft from Moriarty (I was fighting the urge to bash my head against the walls of 221b at this point, like I was expecting M Theory but like Come On you're killing me here)

You may be wondering how exactly Moriarty has kidnapped Mycroft considering he is dead. Great question! You don't get an answer apart from Moriarty saying "remember I am definitely dead" in the most sarcastic voice I have ever heard come out of Andrew Scott's mouth. Full psychological warfare at this point. Having a great time. The usual.

Also at this point, while talking about Mycroft, Moriarty compares him to Sherlock, and he definitely listed off a bunch of things but the part that most stood out was he said verbatim "Mycroft is like Sherlock without the fangirls or sex appeal" so uh. Um. Yeah. M Theory Time!!! All Aboard!!! Choo Choo!!!!

We were taken to the first of our three puzzle rooms: the morgue at St. Bart's. Moriarty is introducing the room and jokingly refers to the brief time he spent dating Molly, lets us know that our goal is to break into the computer system (a development which had me thrilled, you know I love the Moriarty as a Virus angle)

Not one full minute after Moriarty joked about Molly being his cover, Molly voice over talks to John (who by the way has a beard at this point, that I had not mentioned) and goes "nice beard!" Hah. Hah.

To get into the computer we needed to put in a date, I don't remember the context for this puzzle but the answer was 2012, the year of Season 2.

The case in the middle of the room then lights up and you're able to see the corpse. On the computer, a database comes in, and in order to get into the server, we need to fill out a series of questions about the identity of the corpse.

One of the filters is the relationship status of the corpse with three options, single, married m/f, and married m/m. I let out the most exhausted sigh of my entire life and hit married m/m without even looking at the corpse. (we briefly removed it because the room was giving us clues out of order that made us think for a moment that this was wrong, it was not, the corpse is gay, you have to not assume he's straight. Do you get it?) (war and strife on the planet earth)

So the clue for that is that the corpse has the name Stephen tattooed on him (really? of all the names? Stephen????) and you're meant to figure out that he wouldn't get a tattoo of his own name. Or just be so mentally exhausted that you intrinsically know the corpse is going to be gay because of course he is.

If that wasn't enough, the corpse was also a member of the Royal Navy who was left handed. Hi John.

At this point my friends in the room with me pointed me up to the TV in the corner, which was showing random news feed but the ticker tap at the bottom was advertising BBC Dracula, which was fun.

When we were finally getting into the cage the server was in, Moriarty kept ominously chanting "let me in"

Again, don't remember the context, but one of the clues in this room was identifying the heart

We discovered the corpse died of a horrific virus (hah) just as Moriarty hacked into the server thanks to us (once again was genuinely enjoying the code stuff, this is a 10/10 from me, makes fadow better for everyone who has done this silly escape room sdhgakjdsg)

The second room was Mycroft's underground office and our task from Moriarty was to locate where his agents were stationed throughout the world and once again send off his virus. I was giggling.

Flipping around with switches on Mycroft's desk, we found that the mirrors on either side of the room were actually windows! Because of course they were!

Sherlock comes in with a clue at this point and lets us know something to the effect of "Mycroft likes to hide clues in photographs" which was uhhhhhhhhhhhhhh.... normal.

Those are my only notes for this room and I don't remember literally anything else about it so sorry about that on to....

The final room: The Victorian Operating Theater! Oh boy!!!

Moriarty has been using us to access the genetic code (hah) for a virus (hah) last scene in the Victorian Era (hahahahahahahaa). He literally phrases it as "an old treasure brought into the modern day." Hillarious.

Then the absolute highlight of the experience: there's this giant console thing in the middle of the room that comes to life with all these screens, and on them including Moriarty taunting us and, the absolute 12/10 winner, footage of Sherlock wandering around 221B. This is the only Ben footage you get and not only does it confirm the "Moriarty is always spying on Sherlock" part of M Theory, it's very similar to the wall of monitors I came up with for fadow. Fellow Moriarty fan Mia and I were dying at this as much as we were able to while still trying to solve the room.

Moriarty freed Mycroft but had infected us with the virus (this is why I joke that Moriarty gave me COVID, because I caught it this day and it might as well have been from him)

His plan was to unleash the virus on the world unless we could stop him

This room was more physical puzzles than mental, and we had to cure the brain, the heart, and the lungs respectively. The brain and the heart are obviously big Sherlock meta staples so since then I've been like "why the lungs tho?" My best guess is it has something to do with breathing new life into an old story, but that's just a guess

While we were solving it and making progress Moriarty came on to rant something like "the game was over! You should have known when to give up!" Flames, flames on the side of my face.

When we won, Sherlock insulted us, but Mycroft then came on to compliment our efforts and talents, which was a great way to leave off.

Apparently only 20% of people actually solve the room, and we were in the top 20% of that, all while trying to take in the meta of it all, go League of Furies!!!

Final thoughts: this really was like if watching the show was a thing you could live through in real time. If you've ever wanted to be tormented by Mofftiss in a more visceral way, this room is exactly what you're looking for. Also shoutout to Andrew, who acted his absolute heart out, 15/10 thanks for all the M Theory, it was delicious

Also once again to reiterate, I can't believe James Moriarty gave me COVID, after all I have done for him, rest in pieces except he isn't even dead all the way.

I guess 4 months of not being able to breathe fully was the real lungs meta all along.

Can't wait for the Mind of Moriarty game next though for real, that's gonna be Bonkers, if one of the scenes is a virtual version of the waterfall scene from TAB I think I would combust on the spot

Thanks for reading!!! Sorry this took me forever only to be such a casual writeup in the end, but hopefully this recreation of my mental breakdown in a mall was entertaining.

#rebs blogging #the game is now #tjlc

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shithowdy · 1 year ago

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i'd really like to see someone do a full writeup on the sheer glut of specifically "black genre art" amongst generative image spammers. it's at the point where if i see something tagged with any iteration of the word "melanin" i'm automatically hunting for generative artifacts and usually end up being disappointed and right.

i think at least part of it has to do with the prompts that are used; just due to the general disparities in representation in art, the pool of art on which black characters can be trained is a lot smaller and often made by black creators themselves. the ai datasets all think "woman" means the same nebulously asian woman with porcelain skin and huge tits, which means that if they want to specifically generate a "black woman" they have to do a lot more inputs with a lot more specific references to the artists they are trying to mimic.

this means that if someone wants to portray a black character with AI, most of the data they are using is from a genre of art that specifically celebrates blackness ("black girl magic", african themes/patterns, lots of yellow, big natural hairstyles, etc.), so anything generated also has that same unrepentant theme to it, just without any of the actual pride and joy that would have gone into an original work, defeating the purpose and saying literally nothing.

the prevalence of this stuff is just kind of overwhelming, though. it somehow feels more predatory than your usual ai stuff.

that person on the radar is a pretty peak example of it. you can see the ghost of a signature on this one... i wonder from whom they stole.

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scarlet--wiccan · 6 months ago

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Hello! I wanted to ask a potentially hardish question. How do you feel about non-Romani engaging with Tarot, doing paid reads, and such? Do you think it's okay for everyone to partake in it? Would you at least want people to be more informed of its origins?

My general attitude, when it comes to anything related to magic, fortunetelling, etc, is that we should be focusing more on cultural restitution and historical authenticity than trying to make a list of who can do what. When it comes to tarot, there's a lot to learn, and a lot to unpack in both of those areas. The short answer is that I don't believe that tarot is, or should be, a closed practice. There is, however, is a deep legacy of racism in the evolution of tarot as a fixture of mainstream culture, and the fortunetelling industry is rife with Romani exploitation. I believe that understanding this, and integrating it into your actions and conduct, is key to developing an ethically and spiritually holistic practice. And I think that applies to all forms of magic and spirituality-- racism and colonialism are very common in magical spaces where historical understanding is not encouraged.

If this is something you'd like to learn more about, I would highly encourage you to pre-order Secrets of Romani Fortuntelling, which is an upcoming book written by my friend Jezmina von Thiele and their Romanistan cohost, Paulina Stevens. Preorders make a huge difference for small publishers and new authors.This book is an authentic new look at fortunetelling practices in Romani culture and I, personally, think everybody who reads tarot needs to buy a copy.

If you'd like to receive a reading from a Romani practictioner, I am running a donation drive for Palestinian families and offering online tarot readings with personalized writeups and graphics as rewards.

My understanding is that tarot, and cartomancy in general, are closely tied to Romani culture and history because they were trades that Romani families developed and practiced as a form of survival work*. The same is true for several other types of fortunetelling and folk magic practices. There is an element of cultural preservation and ancestral custom in a lot of these skills, but ultimately, this is something that was meant to be shared with non-Roma, so it's not a closed practice, in that regard. And it's worth mentioning, of course, that many of these skills and devices were adapted from existing aspects of Western culture. The original tarot deck was, after all, just a set of European playing cards.

Over the centuries, tarot has really taken on a life of its own outside of Romani society, as both a popular practice and object of cultural fascination. There are other cultures who practice divination and fortunetelling for very similar reasons, and because tarot is so universally known, it's become a tool that is shared by many, and I think it informs the way folks approach cartomancy even when they're using other devices. And I think that's really beautiful! Unfortunately, there is also a more painful part of this history that also needs to be acknowledged.

Most modern tarot decks, and much of the basis for how we read them, are the products of 19th & 20th century occult and esoteric movements in the West, which often held an Orientalist fixation on Romani, Jewish, Middle Eastern and East Asian cultures. When you look at the works of Levi, Crowley, Waite, and so forth, you'll find a lot of fabricated histories and colonial fantasies about these cultures, and that informed the symbology with which they designed the formative modern decks we know today as the Thoth and Waite-Smith tarot. In my opinion, Jewish and Romani peoples were the most heavily exploited by this movement. It just goes to show how deeply our histories a diasporic people are connected.

Here in America, many states have legislation intended to police or even outlaw the fortunetelling trade, and you will often find that these laws are based in anti-Romani racism. Furthermore police are known to profile Romani citizens and families as scammers, and a lot of the language used to describe these "scams" in both police documents and the media employs racist language and stereotypes. Despite this, non-Roma, particularly white people, are often able to turn fortunetelling into a lucrative business by using their privilege to safely navigate the legal system's impositions-- and many of these white people love nothing more than to dress up in an approximation of Romani costume in order to give themselves an exotic, mystical air-- just like Levi and Crowley before them.

So, it's my opinion that the modern fortunetelling industry and the last several generations of tarot knowledge were built, both directly and indirectly on Romani oppression. People need to understand this history, and their place in it, in order to understand how they, personally, have arrived at their own relationship with tarot. Once you do understand that, you can begin to incorporate anti-racist intention and action into your practice. If you want suggestions, providing historical acknowledgement and Romani resources to your clients is a great place to start. Being an ally and being in community with us in our fight for human rights is even better. If you own a business or a shop, you can divest yourself from problematic suppliers, or learn how to identify racist books and decks, and stop selling them. Make sure you're not exploiting or perpetuating Romani stereotypes and call other people out on it, too. And if it's possible, really reevaluate the way you have arrived at your understanding of the cards, and how you communicate with them. Look past information that has been sold to you and seek personal authenticity. You'll be a better reader for it.

*What I am describing here is not a universal experience. Some people and some families practice these trades, not all. Romani people are not a monolith, and this is not a defining aspect or Romani culture.

#tarot

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156l · 1 year ago

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sample concept redraws of Ancient Dragons Ice / Fire / Shadow, + Shade-afflicted versions... + Lore Rewrite

HUGE WRITEUP what I would fix overall lore / storywise / physical traits under the cut

I might also post this in Creative corner for my own lulz, but yeah. I just needed this out of my system lmao. I don't think I will do the other breeds but here's a sample gist of it

Bigg TL;DR : Too much potential wasted

FR places huge emphasis on how the Shade was a huge force to be reckoned with. At the end of the Third Age, the Shade had broken the barrier and clearly destroyed "their best ward", before leaving.

In the Gaoler story, there is a huge emphasis on being "Shade-touched", and the Gaolers make it a serious duty of imprisoning Horrorbeasts, which are massive Shade creatures. There is massive potential of what these beasts could be and from just smelling it, anything from just a drop of Shade to full corruption is taken seriously.

Think of Code Corrupter from Halo : they are to be eradicated as swiftly as possible because they are just that strong.

Bounty Of The Elements Core Rewrite :

What I'm saying is, Bounty of the Elements could be the events of the Lightning Flight screwing a massive leyline that runs through Sornieth, causing a HUGE shockwave that causes the other stories to happen.

This could inadvertently reawaken many elemental energies and lines, but also cause Shade fragments to awaken, and also revive Ancients that have been extinct for a long long time. Some are properly reawakened and normal, but most of them have already fallen prey to the Shade of a war long long ago...and become monstrosities...thus what we have in the Fortress of Ends!

The result, the uncorrupted / still sane Ancients try to find their way to get help / help the poor Modern dragons and Beastclans that are confused by all these Horrorbeasts. The Ancients,Moderns and Beastclans can then share their knowledge to try at the very least contain the Shade's influence.

[ GAOLER ]--------------------------------///

To me, the Gaoler are almost perfect lore and designwise. The only things I would change would just be the stubby wings and fully convert them to muscular arms that are for beating down enemies. They are jailers and they would need a TON of power to muscle rampaging Beasts.

This makes them formidable warriors, but should any ever be corrupted, they are hell to deal with.

[ BANESCALE ]--------------------------------///

Chicken was the literal first thought to mind and that thing hurt to look at. The banescale are mentioned to be huge fans of crafting and armour and this is a huge massive point -- they could have been capable of things that bested the Shade's attacks.

I would make their design to be more stocky akin to a typical Wyvern and have more armour plates all over. They are bulky at the top, but their wings would be leather as the Flamecaller. The armour they make would augment their already ridiculously buff scales and massive spike tail.

The Banescale would have been revived underground by the elemental energies, and would have carried on creating everything, as if time was just frozen from them. Only in the events of Temper, Temper do they realise that they can get out and realise the world has changed drastically, and on learning the situation, work with the Fire Flight's denizens to create fantastic armour with modern materials.

[ Veilspun ]-----------------------------------///

Just bug on the wings??? Come on man. A portal is a powerful device and there would have a been a reason they were locked away. The energies would have awakened them, and there could be a elemental reason; Shadow flight is ironically more susceptible to Shade influence than the rest of the other flights, bar maybe Plague.

The Shadowbinder is a huge huge trickster and the flight reflects that, but even more to the design of everything. Nocturnes are a, personally, imitation game gone wrong. But they have something right and it's them mimicing behaviours when needed.

The Veilspuns could have been utter masters of deceit right down to the design, based off a Leaf Insect and legs of a chameleon. Since they are tiny, they can be in the THOUSANDS, and this force would even make a Shade touched go down for the count. The massive drawback would be that the Shade easily "infects" them by the numbers, leading to whole wars between infected and normal Veils under the darkness of night.

They can teach other dragons the art of stealth, even when they are massive creatures, but requires a lot of magic, and the massive energies would be a huge help...

#flight rising #flightrising #art #writing #fr lore #the even shorter TLDR; Shade is Underutilised. Makes for scary plot points. Use it

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getvalentined · 19 days ago

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I think it's time to do a proper Angeal analysis writeup. It will probably take a couple days, but I finally feel like I understand him enough to do a proper analysis of the character with regard to motivations and how that impacted the storyline, the way I have for others in the past. (Genesis, Gillian, Claudia, Lucrecia, Sephiroth, the Beaker Brigade, I do this a lot.)

I've held off on this for a long time, not only because I've literally been told to kill myself for talking offhand about how a large portion of the tragedy in his story was self-inflicted, but also because I didn't really feel like I understood his motivations enough to do that level of analysis. Most of my fandom rambles related to the character are very much rambles, meandering monologues for which I don't have a particularly organized thesis, but with First SOLDIER I really think I've finally figured him out.

And...honestly, it just makes me really fucking sad. Like the more I think about it, the less anger I have toward him as a 'person' and the more pity I feel toward the guy. I've always thought he was well-written, but I was missing this one piece, this one implication that serves to explain literally everything—and it's a piece I personally, intimately understand.

Mind you, others have done this before, and probably better than I will, but the points I want to hit aren't really discussed in other places, so I feel like it would definitely add something to the conversation.

I dunno, man, I just think he's a really good character, and that people are doing him a huge disservice by pretending he really is everything he says he is. I think writing off his flaws and negative aspects reduces him to less than a caricature, and he's so well-written he deserves better. Those flaws are what make his storyline make sense, and what make it so fucking sad. Those flaws are what justify his behavior, such as it even can be justified, and they make him so much more than the "good guy in a bad situation" that most people portray him as.

#nashi has an opinion #not tagging this with the character because lol #I will tag the proper #fandom ramble #when it's up #but not this one #also not tagging this as critical tho #because it's literally not #and if THIS looks like HATE to anyone #I am so fucking jealous of the life you've led so far

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seaofreverie · 2 months ago

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Sparkstember Day 4: Propaganda (Never Turn Your Back On Mother Earth)

At first I was going to open my Propaganda writeup with something to the same effect of "unPOpULAr oPinIOn!: propaganda > kimono!!!!" but you know what, even something as tame as this (prefering one album over the other, you know) feels wrong to say when we're dealing with two masterpieces (and even then it's probably not that much of an unpopular opinion anyways, lol). And yeah, I'll admit, that as I hinted at yesterday, for the longest time I really did fully stand by my opinion that Propaganda is not just something I like more than KMH, but it's just objectively BETTER. Well, the funny thing about opinions is that they can change everyday and again, I really don't feel about this quite as strongly as I did before! Not to say that Propaganda isn't still my personal favourite out of these two: it very much is, and it's also much more beyond that.

It used to be EXTREMELY rare for me to listen to an album and and get super obsessed with it and listen to it on repeat, I always needed something else to mix it all with, so when it did happen, it was a very big deal. Even bigger the deal gets when such obsession leads to becoming even more obsessed with everything else put out by the band behind the album over many following months, which only happened to me twice so far... And sure enough, with Sparks, that historic entry point was Propaganda.

I think I should call this album simply addicting: that's how it felt in the beginning and honestly still does to this day. It's impossible to listen to it just once. Something about it just grabs you immediately and completely and it just NEVER gets old or overplayed, I could try to figure out what it is exactly but I've no idea, it's just that Sparks magic I suppose! But as for some of the things I can definitely say that make me love this album this much:

It just flows sooooo well. For the longest time I had no clear favourites and least favourites, they all work so amazingly as a whole package and individually too of course. I think it's a perfect album in the way that you don't even think about it when you listen to it: the sequencing and all the different ideas just work so well together, it's kind of, seamless?

Something about it feels very modern to me once again, and I must say that I still do think that it's a clear improvement over KMH in many ways: more variety, more interesting turns and twists, more energy for sure too (and I have a very big bias for high energy and "intense" music, so I can't pretend that this isn't something that matters to me a lot). And even then we have some slower tracks that don't break the flow at all, I mean, ok, maybe only one such track really, but still, that applies even moreso in that case

So all in all, yes, this is definitely one of my favourite albums in existence. It continues what KMH started while bringing in even more of that special Sparks flavor that feels completely unimitable. And it has lots of cool keyboard lines, as do... most Sparks albums, but maybe it feels more prominent for me on Propaganda since it was the first Sparks thing I listened to on repeat for hours and days on end, so that was also definitely a big part of what drew me in initially. I guess I could really just try to figure out what makes this album as freaking good as it is for hours on end but it feels like I'm already running in circles a bit here so let's give this a rest for now.

Favourite songs (and other highlights):

Propaganda: he-LLO SOLDIER BOY! perfect opener and lead in into the next track. I'm a HUGE fan of when Sparks do these kind of intros (gratsax.... EXOTIC CREATURES...)

At Home, At Work, At Play: not an EARLY fav but I truly think this is one of the best Sparks songs. Peak intense energy and everything else, very special all in all

Reinforcements: another very early big Sparks fav so I'm pretty partial to it and also somewhat nostalgic about it for that reason

Thanks But No Thanks: love the keyboard line especially....

Never Turn Your Back On Mother Earth: the bridge especially is peak, and is that a mellotron I hear here? Or something very similar, either way, that's another certified Iconic moment

Achoo: this song makes me SO nostalgic, I don't know if it's the chord progression or something else but listening to it makes me seriously so unexplainably happy and I love the bridge here an absurd amount too. The baseline is so good also

Bon Voyage: this and Never Turn Your Back are a bit of a duo to me, both more grand in sound than the rest here perhaps, and absolutely showstopping live too

#propaganda.... fav album time. seriously sooo special to me. completely lifechanging #sparkstember 2024 #my art #goose monologues

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inaconstantstateofchange · 10 months ago

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I come to you on my hands and knees (relevant to the topic right lol) begging for any and all info on Bane, Banites and how it all ties in with Gortash. I love you in advance. <3

Bane and His Cult

Alright, so after twelve and a half hours of research I still don’t fully feel like I have enough, but at a certain point I just need to get this out there, and if there is anything you – or anyone else – would like to see explored in more detail, please feel free to ask!

Note: I love getting asks like this! There is such a vast quantity of Realmslore that having some sort of specific focus for my deep-dives is a huge help, and knowing the topic is of interest to others is a huge motivator. I also greatly enjoy getting to put my training as a historian to work, as there is so much to interpret and archive alike.

As ever, these writeups will align with current 5e lore, and draw from 3.5e for additional supporting information. On rarer occasions – and always noted – I will reference 1e and 2e, but with the caveats that there is much more in those editions that is tonally dissonant with the modern conception of the Forgotten Realms, and thus generally less applicable.

We’ll begin with one of the most recent conclusive descriptions of Bane, from the 5e Sword Coast Adventurer’s Guide, an overview of the current world-state of, well, the Sword Coast:

Bane has a simple ethos: the strong have not just the right but the duty to to rule over the weak. A tyrant who is able to seize power must do so, for not only does the tyrant benefit, but so do those under the tyrant’s rule. When a ruler succumbs to decadence, corruption, or decrepitude, a stronger and more suitable ruler will rise. Bane is vilified in many legends. Throughout history, those who favor him have committed dark deeds in his name, but most people don’t worship Bane out of malice. Bane represents ambition and control, and those who have the former but lack the latter pray to him to give them strength. It is said that Bane favors those who exhibit drive and courage, and that he aids those who seek to become conquerors, carving kingdoms from the wilderness, and bringing order to the lawless.¹

This gives us the briefest summation of what draws people to the Cult of Bane: the desire for power and control, often deriving from a sense that they lack exactly those two things. Bane is the quintessential deity of lawful evil, which – if you’ve read any of my previous posts on the sociology of the Nine Hells – bears a striking similarity to Baator itself, the realm of lawful evil, and the place where Enver Gortash spent at least a portion of his formative years.

The majority of the following excerpts derive from 3e, which went into far more detail on the specificities of the Faerûnian gods, including their dogmas, holy days, et cetera. One important point to note, however: any discussions of Bane’s scope of power are no longer accurate, as the time period in reference is about one hundred and twenty years before Baldur’s Gate 3 is set, at a time when Bane had just returned to life – and godhood – as nothing less than a greater god. By comparison, during Baldur’s Gate 3, he is a quasi-deity, having abandoned most of his previous godly power in exchange for the ability to directly meddle with Faerûn – forbidden to the gods by the overgod Ao – and gambling that he would be able to regain his lost power and prestige in so doing.²

The dogma of Bane – that is, the core tenets and philosophies that his followers seek to emulate – is as follows:

Serve no one but Bane. Fear him always and make others fear him even more than you do. The Black Hand always strikes down those that stand against it in the end. Defy Bane and die — or in death find loyalty to him, for he shall compel it. Submit to the word of Bane as uttered by his ranking clergy, since true power can only be gained through service to him. Spread the dark fear of Bane. It is the doom of those who do not follow him to let power slip through their hands. Those who cross the Black Hand meet their dooms earlier and more harshly than those who worship other deities.³

Even were there nothing else to go off of, this would tell us a great deal about the group dynamics of any followers of Bane, whether established church or fragmented cult. Just as in the Hells, hierarchy is everything to proponents of lawful evil. Any cult of Bane would have a strict order to its power structure, and there would be limited – practically nonexistent – tolerance for any questioning or insubordination of that order. To the minds of Banites, such is simply the natural and superior ordering of the world. These interactions are detailed below:

Within the church, the church hierarchy resolves internal disputes through cold and decisive thoughts, not rash and uncontrolled behavior. Bane’s clerics and worshipers try to assume positions of power in every realm so that they can turn the world over to Bane. They work subtly and patiently to divide the forces of their enemies and elevate themselves and the church’s allies over all others, although they do not fear swift and decisive violent action to help achieve their aims.³

The manner of tyranny that Bane holds to is similarly calculated – he is not interested in mere shows of force, but rather in insidious plots that twist and make use of existing rule of law to legitimize tyranny wherever possible. A social tide operated ostensibly within the laws of the land is far more troublesome to fight back against than a simple army.⁴

As far as specific ritual and day-to-day workings of the cult, some can be evidenced here, in broad strokes:

Bane’s clerics pray for spells at midnight. They have no calendar-based holidays, and rituals are held whenever a senior cleric declares it time. Rites of Bane consist of drumming, chanting, doomful singing, and the sacrifice of intelligent beings, who are humiliated, tortured, and made to show fear before their death by flogging, slashing, or crushing.³

In this sense, rituals seem most likely to be used as a display of power and a test of subservience, leaving lower-ranked members of the cult at the whims of their superiors, expected – as noted previously – to attend to their commands with the same alacrity they would use were Bane himself to speak. The rites themselves are designed to reinforce and glorify the primary aspects of their god’s domain: the tyranny of forcing submission and pain from the weak.

Faiths & Pantheons, published a year after the Campaign Setting supplement, provides a similar description of the rituals of the cult of Bane, along with some intriguing and flavorful additions (noted in bold for ease of comparison):

Their religion recognizes no official holidays, though servants give thanks to the Black Hand before and after major battles or before a particularly important act of subterfuge. Senior clerics often declare holy days at a moment's notice, usually claiming to act upon divine inspiration granted to them in dreams. Rites include drumming, chanting, and the sacrifice of intelligent beings, usually upon an altar of black basalt or obsidian.”⁴

As, in the “present day” of Baldur’s Gate 3, Bane has lost much of his foothold on power and his Faith’s old domains, the specifics of architecture of Banite keeps are no longer quite so relevant. However, in times past, when his Faith worked far more openly and held much greater power, the philosophy of Bane was expressed through the architecture of his churches and strongholds:

Tall, sharp-cornered stone structures featuring towers adorned with large spikes and thin windows, most Banite churches suggest the architecture of fortified keeps or small castles. Thin interior passageways lead from an austere foyer to barrackslike common chambers for the lay clergy, each sparsely decorated with tapestries depicting the symbols of Bane or inscribed with embroidered passages from important religious texts.⁴

The social capital of a Faith – a broad term used to encapsulate all followers of a single deity – is often heavily intertwined with the power of its god, a mutualistic relationship that runs in both directions. More social weight behind the Faith means its god’s name and will is conveyed to more people, some or many of whom might apportion some worship or act in alignment with that god and empower them by so doing. More power for the god means more divine actions that can bolster their own image and the reach of their clergy. At its height in the late 1300s, the Faith of Bane was one of the most prominent and powerful, with comparable might to that of a small kingdom.⁵

Something that is important to bear in mind in a setting such as the Forgotten Realms, not only polytheistic, but an environment where the gods being worshiped are demonstrably existent, is that the followers of evil gods are not likely to be obtrusive with the less savory aspects of their dogma. Not only would that, in the majority of cases, do more harm than good to their deity’s long term goals, in the words of Elminster:

A dead foe is just that: dead, and soon to be replaced by another. An influenced foe, on the other hand, is well on the way to becoming an ally, increasing the sway of the deity.⁶

All of this aligns with what we see of the Cult of Bane and its operation in Baldur’s Gate 3. While it does not have the same sway and might behind it as it did a hundred years before, through manipulation of law and carefully applied pressure – of whatever form most likely to yield the desired results, be it threats, bribery, blackmail, or use of hostages – Gortash has enacted a steel web of delicate, ensnaring tyranny across the entire city.

We can even find present-day expressions of the interactions of the cult members, and find that they hold true to what their forebears experienced, further proof of the consistency of lawful evil. A personal note found on the body of a dead Banite guard at the Steel Watch Foundry calls the Black Gauntlet in charge of the Foundry Lab, Hahns Rives, a “disgrace to the Tyrant Lord”, and notes the writer’s intent to “compile a list of Rives’ shortcomings for the Overseers.”⁷ These shortcomings include:

1. Rives failed to reprimand Polandulus for making jokes about Lord Gortash! 2. Rives missed the morning mass to Bane - twice! 3. Rives didn't punish Gondian Ofran when she missed her gyronetics quota merely because she'd lost a finger that day in the punch press.⁷

We can see evidenced here the constant scheming for position and recognition consistent with this manner of lawful evil hierarchy. Both devils and Banites orient their day-to-day lives around how to prove themselves to their superiors, while also undercutting them at any chance they have to prove their own superiority, with hopes of being raised above them.

This is only reinforced further by another text found within the Steel Watch Foundry, Bane’s Book of Admonitions. Its text is not written out for us, but described as such:

A book of adages and precepts for Banites, providing the basic tenets of worship of the Lord of Tyranny, with suggested prayers for common situations. The heart of the book is Bane's Twelve Admonitions, a dozen rules for proper Banite conduct, with punishments specified for failure to comply. The book opens easily to a page with two of Bane's most popular admonitions, number six, the Reprimand for Leniency, and number seven, the Rebuke for False Compassion.⁸

The most likely scenario is that this book was used by the “Overseers” referenced by the anonymous Banite writing of Rives above. The exact position of the Overseers is not made clear, but from context and knowledge of Banite hierarchy, we can infer that they inhabit a place in the hierarchy above both the guard and Rives himself, and that their role is to ensure all those below them uphold the tenets of Bane at all times, never losing sight of his will.

In that context, it makes sense that they would both have a book of specific punishments for specific infractions – rule of law, after all – and that, given the attempted report on Rives, punishments (“admonitions”) for the crimes of leniency and false compassion – and all compassion is false when your conception of the world does not allow for its existence – would be those most referenced. It would be incredibly important to the unity of the cult, as well as to Gortash’s plans, to harshly punish any observed leniency or break from Bane’s law among members of the cult.

Not only would failure to control the situation at the Foundry potentially spell failure for the schemes of Bane’s Chosen, any unpunished step out of line by members of the cult would be seen as tempting others to do the same, a trickle of dissent quickly becoming a flood. Better to ensure that all adherents live in merited fear of the consequence of failure.

After all, it is said of Bane himself: “He has no tolerance of failure and seldom thinks twice about submitting even a loyal servant to rigorous tortures to ensure complete obedience to his demanding, regimented doctrine.”⁴

And, in an appropriately lawful hierarchy, the same rule must apply from the bottom, to the top.

¹ Sword Coast Adventurer’s Guide. 2014. p. 26.

² Descent into Avernus. 2019. p. 231

³ Forgotten Realms Campaign Setting 3E. 2001. pp. 237-8

⁴ Faiths & Pantheons. 2002. pp. 15-16.

⁵ Forgotten Realms Campaign Setting 3E. 2001. p. 93

⁶ Ed Greenwood Presents: Elminster’s Guide to the Forgotten Realms. 2012. pp. 135-6.

⁷ Rives’ Failures as a Banite. Baldur’s Gate 3. In-Game Text.

⁸ Bane’s Book of Admonitions. Baldur’s Gate 3. In-Game Text.

#voidling speaks #asked and answered #realmslore #meta #my meta #bg3 meta #bg3 #bg3 gortash #bg3 bane #enver gortash #bane #baldur's gate 3 #forgotten realms #cult of bane #d&d 5e #d&d 3.5

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canmom · 1 year ago

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Animation Night 163 - Yokohama Kaidishi Kikou

Good evening everyone! It's time at last for Animation Night. And what do we have this week... did you guess an OVA from the 1990s? That's always a safe bet with me and sure enough that's what we have tonight: ヨコハマ買い出し紀行 Yokohama Kaidishi Kikou, or in English, Yokohama Shopping Log.

I'm going to keep my writeup tonight brief, because I am fully kvin's homework on this one and I think rather than paraphrase what he wrote, lemme link the article. Here is an introduction to the series...

Nearly 3 decades after it was first published, Yokohama Kaidashi Kikou remains the poster child of mono no aware works in otaku media. Vaguely set after a catastrophe that collapsed both the planet’s ecology and human civilization as we knew it, an event that the series has no intention to explain, YKK stars android Alpha as she runs the desolate café that her long-gone master entrusted her with. Her episodic adventures are all about the appreciation of the moment, often with an emphasis on the evocative environments she casually comes across; after all, author Hitoshi Ashinano was inspired to pen this work by his fondness of taking a stroll or riding a motorcycle without a specific goal. Despite being an ode to spontaneity, YKK is also a thoroughly focused work—and the recipient of that focus is the passage of time, as well as how different beings process the ephemerality of things.

The manga is beautiful, and highly influential in establishing a certain genre of gentle post-apocalyptic works like Girl's Last Tour. But tonight we're here to see the OVAs, each of them just an hour, pulling out a selection of favourite episodes from the manga.

These two adaptations, despite coming just a few years apart, come at a point of major historical change: the first part is in the cel era, the second in digital.

For the first, we have director Takashi Anno, veteran of The Hakkenden (AN122) and magical girl anime such as Magical Emi. His characteristic direction style puts a huge emphasis on setting and atmosphere, lingering on quiet moments - something he truly ironed out in Semishigure, which returns to the protagonist of Magical Emi years after the events of the story. Which made him a perfect fit for Yokohama. kVin is full of praise for the colour design, the strength of the layouts, and especially the soundtrack.

The second OVA Quiet Country Café dir. Tomomi Mochizuki takes a radically different approach, skipping forward in the manga and introducing a boldly experimental style:

Though its color design can’t match the exquisite work of the preceding series, it makes up for it with the radically distinct art direction by the late legend Shichiro Kobayashi—best known for the likes of Utena, Gamba, Ashita no Joe 2, Castle of Cagliostro, Beautiful Dreamers, Windy Tales, and unarguably being one of the most important figures in the history of stylized Japanese animation. In contrast to the grounded scenery of the first OVA, Kobayashi’s evokes reality with stark forms, implications of movement, and downright expressionistic paintings. Compared to the gentle embrace of the first series, his work feels like it’s demanding your attention in a more proactive way.

kVin describes the second episode's direction as characterised by more active and layered camerawork and a more 'involved' score - he's particularly taken with the sequence where Alpha returns to her café after the devastating storm that sets the OVA going. He compares it to Mochizuki's direction of the Ghibli film Ocean Waves.

So two approaches to the same material, two different vibes, but it sounds like both should be very strong. Tonight the plan is simple enough: we'll watch both OVAs back to back! (Apologies for the late start, as mentioned I've been having tech problems.)

AN 163 will be going live shortly at twitch.tv/canmom. Both OVAs are pretty short so we'll be watching from about 11pm to 1am UK time. love to see you there nya~

#animation night #yokohama kaidashi kikou

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a-flickering-soul · 1 year ago

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How I Stopped Worrying And Learned To Love Bones: The Harrow Cosplay

Or: I felt like doing a little writeup of the making of my Harrowhark Nonagesimus cosplay because I worked hard on it and this is also basically the first cosplay I actually completed. And I'm also just very proud of it.

I knew from the start I wanted the silhouette to essentially be a triangle, since I deeply believe that Harrow in full vestments is like a little walking cone. This is also deeply influenced by the many years I spent in church choir wearing those dinky little robes.

The first thing I figured out was the headpiece. I knew I wanted the hair to be covered (both in a religious way and also so I wouldn't have to wear a wig), but when it comes to hair coverings, there's a lot of ways it could go. I initially considered mantillas, to go with the whole Catholicism of it all, but unfortunately I was possessed with the spirit of half my ancestors and decided to drape a scarf like a dupatta (I considered making maang tikka to go with it, but had a hard time with the logistics of that). I found a drapy, thin black scarf at a thrift store and held onto it for a while. You can tell from the picture that it's pretty sheer and also a good length.

I szuszed it up by hand-stitching some white lace to it (since I'm very taken with the idea of the Ninth producing lace like all good nunneries did), as well as some seashell beads in a suitable bonelike color and these very cool tiny silver skull beads. These are only on the front of my scarf as a nice little decoration.

For the rest of the jewelry, Sculpey really came through. I used it to make some (outsized) teeth to create a rosary, along with some very cool volcanic rock beads. Individually knotting each bead and tooth was a huge time sink, but definitely worth it visually. Nine teeth for each of the houses.

I also made some bone bangles out of Sculpey (although this was towards the end of things when I was kind of losing steam).

My metamour @benthicbimbo was fucking amazing though and literally?? made thee most beautiful phalanges choker out of Sculpey and velvet ribbon and they're weathered and textured so beautifully and it's such a wonderful piece I genuinely wear it around places quite often.

And because they're incredible they also made these beautiful faux earrings for me that I tragically forgot to wear during Halloween but do look genuinely stunning!!! Like what!!!!!

For the big layers, I genuinely got the best luck at Goodwill in one fell swoop and I have no idea how I got this lucky. The dress is Shein (and once you touch it that fact is very obvious) and the overcoat is a CQ by CQ trench coat someone didn't want anymore (sans belt). These combined with the dupatta really solidified the silhouette and both the pattern of the dress and the brocade on the overcoat really were exactly what I was looking for and it was a sheer stroke of luck that I found both of them in one go.

And now, the big boy: the ribcage corset. I wrestled with this thing for what felt like ages and I'm decently pleased with it, but I definitely have plans for improvement. I started off with a wire frame just to see what kind of shape I wanted-- I took inspiration from the book cover, but slutted it up a little with the titty cups because I felt like having fun. This was made with floral wire and duct tape.

Once I had it to a point where it was reasonably symmetric and fit to my body, I added a very thin layer of quilt batting. The goal of this step was to add bulk without weight or necessarily a gajillion layers of plaster or paper mache. As a friend of mine described it, it looked like low-poly gore.

From here, I added two layers of paper mache since I really wanted it to be rigid-- I did not want this to flex with me as I moved or really flex at all. I wanted to really sell that this was made of bone.

It was at this point I realized I fucked up enormously because the bottom was very asymmetric and I never did a final fit to myself, but it turned out okay anyways, especially combined with the overcoat. I slapped a few layers of acrylic paint over it and used a black ribbon to just tie it around my back-- it was going to be covered by the overcoat anyways so I didn't think too hard about that part.

And that's pretty much it! The black leather gloves are my usual winter gear, and the shoes are my everyday officewear black heels. The face paint design was a mix of the book cover, some fanart I'd seen, and some mockups a friend of mine made for me.

Overall, I had a ton of fun putting together what I feel like is my first con-worthy cosplay, and it was a massive upgrade from last year's cosplay. I'm not 100% satisfied with the ribcage-- I believe I can do better-- but this method was pretty solid (I'd recommend overestimating spaces between ribs though when making the frame). The face paint also wasn't my best work-- thick cream paint is a huge bitch to work with and I didn't have any brushes, but it got the point across. Either way, this cosplay was enormously fun to put together, actually quite comfortable to wear and move around in, and very satisfying to look at. As a reward or perhaps punishment for reading this far, a mandatory couples' cosplay with my beloathed Gideon (my dear @laserlesbians). Happy belated boneday!

#flickerthoughts #tlt #cosplay #flicker's face #the title is such a lie i loved bones wayyyyyy before i read tlt but anyways #harrow cosplay harrow cosplay i lvoe her so much #enormously pleased with how this came out and already have thoughts on making it Better #i love her so much i also love making things this was so good for my brain #everyone look at my cute butch. look at her. mwah.#LOOK at the beautiful jewelry my metamour made. insane. insane. they're insane.#i look at it all the time #this was so fun and so self indulgent!!! cosplay is so epic arts n crafts r so epic #RAAAAHHH!!! harrow cosplay!!!!#i also partially wanted to post this bc i dont think ive seen anyone make the ribcage corset quite like this and i wanted to post my method #people do CRAZY shit to make that thing. tazmuir you were nuts for that costume choice.

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amadeusgame · 5 months ago

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A Small Developer's Next Fest Retrospective

This write-up is mostly intended for people working on their first indie game who have no idea what to expect from an event like Steam Next Fest going in with a relatively small following and wishlist count. Almost all of the advice and available information I have seen is geared for games that have wishlists in the 4-5 digits, which is decidedly not me. So I am publishing my numbers for reference.

For full transparency and disclosure, Amadeus: A Riddle for Thee ~ Episode 1 ~ Waltz went in to Next Fest with 137 outstanding wishlists. This number was huge and hard-earned for my standards, even if it's a number that most studios consider "nothing." If there is one takeaway from this writeup, I hope it's that "nothing" is highly contextual, and any number you worked hard for is substantial.

As the Fest wraps up, the current outstanding count for Amadeus is....

259.

That is almost double what I started with. THAT'S HUGE!

It is incredibly important to keep perspective in mind when analyzing numbers like this. If you go in to Next Fest with 40k wishlists, getting ~120 more will feel like absolutely nothing. But if you go in with under 150, 120 is remarkable and significant. So whatever amount you have in anticipation of Next Fest, set your expectations based on that. Don't compare yourself to a super polished game made by a team of 30 people and a budget.

What follows is a lot of numbers and strategies and analysis of what I tried and how I think it went.

This write-up is going to be split into three sections.

The first is "Strikes Against Amadeus," in which I will outline all of the things I did that were not-optimal. You can decide whether to learn from that and avoid the same issues, or understand that doing them anyway means your numbers will suffer (as was my approach). This first part is very writing-heavy and has a lot of speculation and subjective commentary from a small solo dev POV.

The second section is "What Apparently Went Well," discussing the things that I think contributed to the game almost doubling its wishlists. Clearly, I did something right!

The final section is just numbers and data. Numbers on wishlists, wishlist deletions, correlations between stream viewership and wishlists/stream viewership and timeslots, etc. Feel free to skip directly to this part if you just want data.

I. Strikes Against Amadeus

Things that certainly contributed to it not doing as well as it might have.

Unpolished demo

Capsule art doesn't really show what the game looks like

Inconsistent gameplay

Streaming mistakes

1. Unpolished Demo

First things first—I ignored a very key piece of advice about getting the most out of Next Fest. Ignoring it was the correct choice for me, but I am aware it almost certainly had a negative impact on the numbers.

The advice: do not enter Next Fest until your demo is basically release-ready, as polished as it will ever be.

Next Fest is showing your game to a massive audience who are checking out hundreds of games. If you want your game to have a chance of standing out it should be the best it's going to be. And you only get one Next Fest for your game.

Why did I ignore it? Because I am a solo developer with limited time making a game that will never feel polished, and I wanted to focus on the big picture of my game's eventual release.

I am aiming to release the full game in October. If I waited until the following Next Fest, that festival would also be in October. I already know from releasing the demo that a release is MASSIVELY time-consuming and stressful. Do I want to deal with the stress of participating in a week-long festival while I am also dealing with the stress of a release? Absolutely not. I decided it was better to enter the June festival so when October comes my attention is not divided.

Given that I'd decided on the June festival, I was faced with another decision: I had already made many mechanical and writing improvements in my test build since the released demo. Should I update the demo build with those improvements before the Next Fest, so the demo feels better?

For similar reasons, I decided no.

Pushing an updated demo build would probably require a dedicated week just to test & troubleshoot all platforms in case something broke, and I am deep in the middle of development to finish the full game. Taking a week off of development to release a slightly more polished build for Next Fest felt like bad prioritizing.

I already know my game is a bit scrappy, and unlikely to do Big Numbers no matter what. More importantly, it doesn't matter HOW many wishlists I get if I don't actually finish the full game for release. So I focused on just continuing to work on my game.

If you choose to enter the Fest with an unpolished demo, as I did, you do need to accept that this means a lot of people will pass on it who may have given it a chance if it was more finished.

If you are anything like me, you might also need to prepare yourself for getting stressed out when you find yourself with 200+ people watching your unpolished game in real time, in silent judgement, causing you to become hyper-aware of every flaw and imperfection.

2. Capsule Art Doesn't Showcase Game

I knew that my game's store visual assets are not, shall we say... optimized. You can barely read the game's subtitle in it. It's also one of the only capsules in the whole Visual Novel category of the fest that doesn't clearly show what any of the characters actually look like.

I DO think that it looks unique, which is a large point in its favor, but I should probably consider making the protagonist or other discernible-at-a-glance art visible so people can see what the game actually looks like. There are so many hundreds upon hundreds of games in the Fest to scroll through, and a lot of people might scroll right past mine even if it's a game they would like because the thumbnail shows them nothing about how the game itself looks.

I'm not a graphic designer and my budget for this game is $0 + all my spare time, but it might have been pertinent to learn a little about graphic design principles in much the same way I have learned a little about animation principles to create Amadeus's walking animation, etc.

...That said, I am kind of attached to the non-optimal thumbnail just because it really does look different from all the others. Sometimes standing out isn't a good thing, but hey. This game exists because of unmarketably niche self-indulgence. I still feel that it suits it in a way.

3. Inconsistent Gameplay

This is something inherent to my game that I will absolutely not be fixing, but it is worth addressing.

Amadeus has scenes that are pure visual novel with minimal, if any, player input. These largely just feature text, character sprites and/or CGs, music/sound, and... that's really it. There are barely any choices or interactions to speak of.

It also has scenes where you control Amadeus and interact with the environment via point-and-click (or WASD) gameplay. These portions were inspired by my love of games like Zelda and Paper Mario, and for better or worse, I basically refused to compromise on the vision of actually walking around and controlling a little guy in my game.

These two gameplay experiences, in all honesty, have very little in common with each other.

Important note: I scripted every mechanic in the game myself, which means that neither of these very distinct scenarios feel polished (the visual novel scenes don't have pauses after punctuation in the shipped demo - I only figured out how to do this very recently; and the point-and-click scenes have janky pathing where Amadeus walks against walls not-infrequently). This means both gameplay types introduce potential friction/frustration because they're unpolished. This also makes the player experience very inconsistent between scenes.

The reason I draw attention to the inconsistency is that I noticed, during my livestreams throughout the week, a particular pattern in viewership.

It seemed at first that I would accumulate viewers during the point-and-click segments and they would drop off dramatically during VN segments. I attributed this to an elitist "VNs don't have GAMEPLAY" attitude and shrugged it off, until I noticed on a later stream that the exact opposite pattern was happening.

On that later stream, I accumulated viewers during long VN segments with no "gameplay," and they dropped off dramatically when it transitioned to a point-and-click gameplay segment.

That's when I realized that it's not a matter of one part of the game being Better To Market than the other; it's a matter of people generally valuing consistency. This bodes very well for people making pure visual novels, or otherwise hybrids that are more cohesive than mine is. The fact that my game feels like two different games awkwardly shoved together is, understandably, off-putting.

This is also not an aspect of my game I have any intention whatsoever to fix. The jarringly different gameplay experiences in it are a core part of its identity as a visual novel inspired by Sonic Adventure. However, it is probably worth noting that this doesn't make it very marketable.

(Maybe I should put Solea in a mech in Episode 2?)

4. Streaming Mistakes

This is probably the #1 thing to fix for next time I participate in a Next Fest, and the easiest adjustment to make now that I know better.

Before Next Fest, you are encouraged to sign up for 2 hour-long slots during which your game will receive a spotlight on the streaming schedule. This grants it a significant boost because the stream schedule is right there on the main page of Next Fest.

I've seen a lot of debates about when to schedule these and I do not have enough data points to draw any strong conclusions other than "definitely take advantage of this and schedule two, on two separate days." I've published my own numbers in the data section.

If you take no other advice from this write-up, take the following:

Test streaming to Steam before the Fest.

Publish your scheduled stream events before the Fest, so they appear on the schedule in advance.

Start streaming at least an hour before your spotlight time begins.

Continue streaming until you are back down to what an average, no-spotlight stream viewership for your game looks like.

My biggest "mistake" was really that I had no idea what average, no-spotlight stream viewership looked like because I scheduled my first stream at the start of the fest. I did start about an hour before the spotlight, and was steadily climbing in the double digits of viewers. I assumed this was with no boost (as my spotlight hour hadn't started). During the spotlight I averaged around 200 viewers, which felt insane. After the spotlight, I kept going for another half hour and it went back down to a little over 100, and since I was kind of exhausted and stressed I cut stream.

The next time I did a stream with no spotlight.... I averaged, um, maybe 8 viewers.

This was a very important lesson.

I still tried to do streams just about daily, mostly at night when I had time (and since there were fewer streams total, these seemed to do very marginally better anyway; maybe averaging closer to 10 viewers); but not very long ones. I didn't want to stress myself out trying to maximize exposure when I knew my game would never be a smash hit on release anyway, especially since the story won't be finished until all 5 episodes are out.

These smaller streams were really key in helping me figure out what viewers were looking for, though. I kept a close eye on viewer count while playing to look for patterns. More on that in the "What Went Well" section.

My second spotlight stream was on Saturday, and this time I started streaming about an hour and a half before it started. The beginning was pretty average, maybe slightly above average, but right on the hour-before mark I saw a pretty sizeable boost to an average of 30ish viewers (compared to 10ish, that's significant!), and then the hour itself saw a peak of around 400 viewers and an average of around 350, which is almost twice as good as the first stream, and just totally nuts. After the spotlight hour ended, I stayed live for another 2 hours because it was still in the triple digits and I knew that I would never get those numbers again. I eventually cut stream with still over 70 viewers because I was exhausted and needed food, but boy, was that a learning experience!

If I had kept going for another hour or so on Monday's stream (not that I knew better at the time), I really think the numbers from that day could have been even stronger.

II. What Went Well

This section covers the 4 major things that I think are working in my game's favor and helping it gain some interest.

Unique aesthetic identity

Additional marketing efforts

Good tagging

Adapting Livestream Approach

1. Unique Aesthetics

It's impossible to put a number on this, but I believe the fact I am a musician and an artist well before I am a programmer means the game has an aesthetic vision that stands out. It looks and sounds very unlike almost anything else I can immediately think of, including its clear influences. And because I have coded the mechanics myself instead of using an engine built for that purpose, I have made my life harder for no reason, and also made a game that feels unique.

If you can't be marketable, be memorable! Not a lot of people proportionately are going to find or be interested in Amadeus, but I like to think some of the people who saw it were captivated by the heart I've put into it and the clear vision I have for it.

2. Additional Marketing

This will be further outlined in the numbers section below, but on most days of the Fest I did some shilling elsewhere (mostly on Twitter) to try and get the most out of it. I have no way of knowing whether this was successful, but I will note which days I did which external shilling in case it is insightful.

I sincerely apologize to all of my Twitter followers for all that spam, by the way. You only get one Next Fest...

3. Good Tagging

This was almost certainly invaluable. There are SO MANY games participating in the Fest that anyone just scrolling through upcoming games will never see mine, as it's almost at the bottom in terms of wishlists. But the whole point of the Fest is to connect gamers with games they want to see, including really specific ones.

Steam has an awesome tagging wizard to tag your game on their store to identify really specific factors that people might look for. People browsing the Fest can use tags to filter for games that sound appealing to them in particular. So even if there are thousands of games, someone looking for a very specific type of VN/point-and-click that Amadeus fits the bill for should be able to find it.

(Even before the Fest, I am certain a nonzero number of wishlists came from my game being tagged "werewolf.")

4. Adapting Livestream Approach

Related to a point above, on what didn't go so well... in my second spotlight stream, I was able to get a lot more eyes on my game from knowing full well how much the spotlight hour mattered, by starting earlier and continuing later.

I had also learned from paying close attention to viewership patterns during the smaller streams over the week that certain behaviors on stream tended to drop viewers like flies. Opening menus too much instead of just letting VN scenes play out turned out to be a big no-no! I thought they'd want to see GAMEPLAY AND INTERACTION(TM), but it turns out viewers do not want to see adjustment of text speed sliders or opening of a backlog on someone else's pace; viewers want to see the game so they can decide if it's one they want to play or not.

I learned from this, so by the time my second major spotlight hour came around, I knew that the optimal way to play for viewers was just to toggle on the auto button and watch the Sonic Adventure 2: Battle 180 emblem speedrun world record VOD on another tab until a point-and-click segment came up.

III. The Numbers

Data from streams, wishlists, demo plays, etc.

I showed the overall total wishlist numbers from "demo launch on Steam store" to "right now" at the top to show just how much Next Fest has helped, but here is another view of that: wishlist adds and removals per day, since demo launch through Next Fest:

The big peak you see on the right, from Day 1 of Next Fest, is the single biggest day ever for wishlists the game has ever had. INCLUDING LAUNCH DAY.

I saw so many people say "Next Fest isn't going to help you if you're a tiny game with 50 wishlists," but, I mean.... I'm a tiny game with ~130 wishlists, and it has helped massively.

Zooming in on the Next Fest week:

I'll transcribe the exact numbers, for both wishlist adds and deletions, because the deletion number is interesting too:

Sun Jun 09 - 3 adds, 0 deletes Mon Jun 10 - 38 adds, 1 delete - Scheduled Stream 1 Tue Jun 11 - 19 adds, 4 deletes - Unscheduled Evening Stream Wed Jun 12 - 16 adds, 0 deletes - Unscheduled Evening Stream Thur Jun 13 - 9 adds, 1 delete - Unscheduled Daytime Stream Fri Jun 14 - 10 adds, 0 deletes - Unscheduled Evening Stream Sat Jun 15 - 24 adds, 4 deletes - Scheduled Stream 2 Sun Jun 16 - 16 adds, 0 deletes - No Stream

Adjusting for Additional Marketing:

It is probably worth noting that on the following days I made a lot of annoying Twitter posts shilling my game trailer on blue check accounts asking people to post their #indiegame. I have no idea if this influenced the numbers, but here is the amount of shilling per day:

Mon Jun 10 - 1 original post advertising the stream Tue Jun 11 - 2 original posts advertising Next Fest, 11 replies to "show me your indie game in Next Fest" blue check engagement bait posts (I am sorry) Wed Jun 12 - 1 reply to "show me your indie game in Next Fest" blue check engagement bait post Thu Jun 13 - 1 reply to "show me your indie game in Next Fest" blue check engagement bait post Fri Jun 14 - 1 original post advertising the stream Saturday. Lots of unrelated posting about Sonic the Hedgehog Sat Jun 15 - no posts Sun Jun 16 - 1 original post saying "it's my birthday play my game" that got more engagement than usual (5 RTs)

Important data points:

The two biggest days for wishlist deletions - ever - were Tuesday and Saturday. Presumably Tuesday is because it is the day following the most adds ever, and people got around to playing and decided "nah." Presumably Saturday is because it was the first weekend day where people got around to trying the demo and decided "nah."

The two biggest days for wishlist adds were Monday and Saturday. These correspond exactly with the days of my 2 scheduled streams. While I have heard that generally wishlists start high and taper off as the week goes on, the Saturday stream clearly had a massive impact on wishlists. That said, although it had almost twice as many viewers, it did not have nearly as many wishlists, implying the stream was far from the only factor.

Sunday performed above average and I did not stream at all that day.

Thursday performed the lowest throughout the week, and I streamed around midday (other days I streamed at night).

My extrapolations from these data points:

Small non-promoted daily streams... may not really matter; considering how well Sunday performed on a day I didn't stream at all, it seems that the boost I got from doing those small streams could be negligible.

That said, I recommend streaming late at night and not at midday if you are a smaller game for unscheduled streams.

It is difficult to tell if Thursday's low performance was due to the lower-than-average stream attendance from streaming at a more competitive time, or if that is just expected on a Thursday. Also, with numbers this small, some fluctuations may simply be statistically insignificant.

The "worst" day of the fest was still WAY above average for the game, and 4 days of the fest did better in wishlist adds than any other day except Day 1 of demo launch.

I obviously cannot say how well this scales to games that go in with 400-1000 wishlists, or games that go in with 50-100. But hopefully this helps!

I also want to show some metrics from the streams, including the times and whether they were spotlight streams or just extra streams. BEHOLD. DATA:

That comes out to the following "average viewers" (total/length):

(All times in Pacific.)

Mon: 53.0 viewers/min - 1:15PM-3:33PM - spotlight 2PM-3PM Tue: 5.04 viewers/min - 9:00PM-10:31PM Wed: 2.68 viewers/min - 9:40PM-10:41PM Thu: 2.09 viewers/min - 10:54AM-12:53PM Fri: 3.21 viewers/min - 9:14PM - 11:45PM Sat: 33.6 viewers/min* - 9:34AM - 2:46PM - spotlight 11AM-12PM * this is much lower than monday only because the stream started well before spotlight and continued for another 2-3 hours after the spotlight ended, whereas Monday the stream only lasted a little longer than the spotlight hour.

Here's how the spotlight hour affected the Saturday stream, so you can see the boost in the hour before as well as how even with the drop-off after, it's a significant boost:

The boost at that first vertical boundary is it going from ~10 viewers to about ~30 viewers on average, then it is probably obvious where the spotlight hour itself starts. Notice that even with the sharp decline after it ends, it still tapers off to well above the average before the hour.

This is why I think it's essential to stream an hour before your stream starts, and continue well after the hour ends until viewers have truly tapered off to nothing significant. You'll get way more eyes on your game than you would any other time of the Fest!

I honestly have a lot more data points, but this post is getting long enough as it is. If you have any particular questions please feel free to send them my way. My primary goal is to put numbers out there for a game with a very small following, because I want small creators to have some data points on which they can base expectations for their own experience.

I hope you find this helpful or insightful! And if you're interested in a visual novel/point-and-click hybrid about a shithead teenager werewolf getting trolled by Witches in a super metanarrative-y game about memories and trauma, you know where to find it.

Good luck out there!

#Steam Next Fest #indie game marketing #indie game development #indie game #devlog #misc updates

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