#primarily roleplay based

[vegalocity]

I mentioned this in a server chat but i think it's funny-

now that i actually have been a dungeon master for Dungeons and Dragons im physically incapable of watching the gravity falls episode "Dungeons Dungeons and More Dungeons" because i cant possibly be expected to presume that the lesson was 'Stan and Mabel need to learn to get out of their comfort zone and might end up surprised' when Ford and Dipper are shown to be extremely inhospitable DMs to anyone with a different play style other than themselves

[merlin-wolfgang-trades-hale]

Title: The Sons Who Heed the Siren's Song

Fandoms: SEAL Team & Hawaii 5-0  Characters: Clay Spenser, Jack McGarrett(OC), Steve McGarrett, Danny Williams  Ships: Clay/Jack & Steve/Danno  Prompt: Clay Spenser ends up dating Steve McGarrett’s kid who’s also in the Navy 

@cowandcalf​ (b/c you tagged me in that beautiful prompt that possessed me all day today!)

[songoftrillium]

Werewolf: the Apocalypse 5th Edition and the Anti-Indigeneity in the Gaming Industry

reosted with permission from J.F. Sambrano

Dagot’ee!

Shii J.F. Sambrano gonsēē. My nations are Chiricahua Apache (Ndeh) through my maternal grandmother and Cora Indian (Náayarite) through my maternal grandfather.  I am a mixed race Indigenous person, and through my father my heritage is English and Scottish. I am currently residing and doing work in my community on the lands of Lummi Nation. I use both gender non-binary and masculine pronouns, but prefer the former. I have several published works in the TTRPG industry, and am probably most known for my contributions to Mage: the Ascension 20th Edition, Werewolf: the Apocalypse 20th Edition, and the Transformers Roleplaying Game, as well as being part of the Essence 20 development team. Further, I also work in higher education at an Indian college, both advising and teaching Indigenous students across the United States. My passion is education, and I believe that we all learn through play, and that TTRPGs are a valuable source of learning, especially on personal, cultural, and social levels. This has always been what has drawn me to TTRPGs since I started playing M.E.R.P. with my brother in 1996 (and before that HeroQuest), through to my “graduation” into more story-driven games such as those presented in the Storyteller System, until now, where I author and produce my own roleplaying games.

I was also part of the First Team (in-joke intentional) hired by White Wolf Studios/Paradox Interactive via Hunters Entertainment to develop and author Werewolf: the Apocalypse 5th Edition. After several months of work, Paradox Interactive chose to go in another direction in early 2021 (I believe it was either March or April) and in fall of that year, it was announced that Werewolf would instead be taken in house, with Justin Achilli as the Brand Creative Lead and primary author of the book. Going forward I will be describing my experience while I worked with Paradox Interactive, primarily through Karim Muammar, White Wolf’s Brand Editor, as well as the developmental editor for Werewolf. Although I worked in a team, both with hired authors and in-house representatives at Hunters Entertainment, I will not be speaking for the experience of others, except when specifically noting unanimous consensuses, and specific interactions (which will go unnamed) that are particularly relevant. My hope is that by highlighting some of the anti-Indigenous attitudes that are central to the foundational members and leaders of the White Wolf brand, that I can provide opportunities for growth and healing within the World of Darkness TTRPG community, but also in the broader gaming community, where these behaviors and attitudes are rampant. I also want the community to have a better understanding of what this experience is like internally, and the challenges that Indigenous creators, as well as other marginalized creators, are met with when they try to make positive change within nerd and geek communities clinging to inherited white supremacist values, even if they don’t realize they are doing so.

What I do not want to be doing in this article is creating fuel for edition wars.  I believe that both legacy and Werewolf 5th are rife with anti-Indigenous attitudes, and appalling amounts of appropriation. Both versions deserve criticism, I am not defending one over the other, I am only sharing what my experience was like working on the 5th edition of the book. Further, please understand that I was originally going to wait until I had read the final copy of the book, because I wanted to know how much of my work was used (based on previews I already know some was, just not the extent) and whether or not they decided to credit me for that work, and how I was going to be credited.  My belief is that I likely will not be, but I am genuinely uncertain.  Knowing how they handled that would have reframed how I addressed this. But more importantly, I want it to be very clear that even before Paradox ultimately pulled the plug on the Hunters team, I was preparing to exit working on the project based on the experience I will describe below. Not only did I find it frustrating, and personally disparaging, but I ultimately decided I was uncomfortable with my name being attached to the product based on the direction they wanted to go. So while I wanted to know whether or not I would be credited, because it would teach me something about their internal practices, I do not want or need the credit.

Finally, the reason that I decided to speak about this now instead of after having a chance to inspect the final product, was because my personal experience dealing with anti-Indigeneity coming from Paradox was just that: personal.  But since then I have witnessed a throughline of hateful and xenophobic attitudes wielded against Indigenous people across the globe, and we do not deserve this treatment.  I was outraged over the events that led to the segregation of the Latin American fanbase, which culminated from bottom-up criticism about how poorly their people and countries were being defined through World of Darkness products, and ended up with the firing of their Latin American Brand Ambassador, Alessa Torres, because she chose to stand with her community in those criticisms.  I was further appalled when the likeness of Tāme Wairere Iti was shoehorned into the Werewolf book, a blatant example of cultural theft: not only in stealing the literal physical identity of an Indigenous person, but also his sacred tā moko.  When Paradox Interactive issued an apology for this, it felt incredibly hollow to me in the wake of these events, the hateful attitudes I had personally witnessed coming from the top.

Whether from North America, Mexico, Brazil, Argentina, or Peru, or across the globe in New Zealand, not only do Indigenous people deserve better treatment from such a major company, but their Indigenous and Latino fanbases, who have twisted and worked themselves through difficult representation for decades at this point, deserve better.  Apologies are not enough, especially when they come with next to no real change.

Werewolf: the Apocalypse in Context

At the time that White Wolf Publishing began to produce its World of Darkness line, the TTRPG industry was dominated by white men, both as producers, developers, and authors, as well as the main characters in their settings. White Wolf's World of Darkness made an impact at the time, by defying these Eurocentric, patriarchal presentations, first by defaulting to feminine pronouns throughout Vampire: the Masquerade, and then by focusing on Indigenous representation and values in Werewolf: the Apocalypse, and as a young Indigenous nerd, it had a positive impact on me, as I know it has on some other Indigenous people who became fans of the World of Darkness at the time. This was because before opening the pages of Werewolf: the Apocalypse, I had never seen heroes that I could play who looked like me and my culture. It was off, and often offensive, but it was my first experience in which I could directly play a hero who shared my heritage--and I also had more than one option through two different Tribes to do so. This might sound a little like I was cheering for table scraps, but again, at the time, table scraps was more than I had ever seen before.

Werewolf: the Apocalypse 1st Edition was originally published in 1992 via then White Wolf Publishing (not to be confused with Paradox Interactive's White Wolf). From its inception, the premise was interwoven with what its then-authors believed to be Indigenous praxis and representation.  Like many pop-culture presentations of Indigeneity from this time period (see Fern Gully, Dances With Wolves, Disney’s Pocahontas, or in TTRPGs, the NAN from Shadowrun) it was rife with problematic and even offensive stereotyping. The most obvious examples thereof are within the two "Pure Tribes" Uktena, and W****** who I will henceforth refer to as Older and Younger Brother. However, Indigenous inspiration was at the core of the game's spiritual premise as well, where animism and "Totems" are central to the setting and gameplay. The way these concepts are presented is trivializing and dehumanizing, but it is important to acknowledge that the appropriation present in Werewolf: the Apocalypse goes a lot deeper than the two Brother Tribes (even the term "Tribe" was meant to invoke a vision of Indigeneity compared to the previous setting in the line's use of "Clan"). Additionally, there is art throughout every generation of these gaming books that represents humans, wolves, and human-wolf hybrid forms wearing Indigenous regalia, including sacred items such as headdresses, or engaged in sacred rituals such as the Sun Dance. The list of problematic representations goes deep, and my examples only scratch the surface, but it is also important for me to note the positive impact that this had, particularly in the 90's.

Even though the primary contributors to these narratives were non-Indigenous authors, or in one case, a Pretendian, and another, a culturally disconnected author, by the time the Revised (or Third Edition) era of the books came around, White Wolf Publishing was actively engaged in cultural consultation.  While I do not believe cultural consultation makes a big difference on its own, it matters that the attempt was made, to a degree: while these efforts fall short of what needs to be seen in cultural representation, this was still ahead of most other gaming companies at this time.

Hired by Hunters Entertainment

In February of 2020 I was approached by one of the co-owners of Hunters Entertainment to be one of the primary authors for Werewolf: 5th Edition due to my work on other World of Darkness projects, and let's be honest, because I was capable of bringing a much needed Indigenous perspective to a gameline that was rooted in Indigeneity and rotting with appropriation and racist stereotypes. I was overall receptive to the invitation, largely because I was very passionate about the World of Darkness setting overall, and Werewolf in particular, due to the impact that 90's representation had on me when I was a younger gamer. I also felt hopeful that with a really hard rewrite of Indigenous aspects of the game that I could shift a lot of really painful aspects of the game into something that was a net positive for Indigenous representation. I will tell you now, more than anything, I was excited to rewrite the Younger Brother Tribe, because when separated from racist authors, their message is very empowering and real to my lived experience.

That said, I did not agree to join the project without first asking for reassurances. I said that I was not willing to write negative Native stereotypes. I would not use appropriative language, or generally engage in appropriative writing (which meant at minimum that the names of the Pure Tribes would need to change), and most importantly, that I would not not engage in writing that contributed to erasure. While the person who recruited me to work on the project was eager to work with me, he acknowledged that he was not sure he could get everything I wanted to see approved, but also promised to fight for everything I suggested as hard as he could. Additionally, he shared with me that the original setting pitch for W5 involved all of Younger Brother being slaughtered en masse in a massacre. I made it clear that this was exactly the kind of thing that I would not write.  I cannot remember if this was something he suggested to be changed before or after I was invited onto the project, but with some pushback it was changed.  However, I point this out because I want you, the reader, to understand how eager Paradox Interactive was to start with mass genocide and erasure as a foundation to the setting.  All that said, I cannot stress enough that I have had nothing but positive experiences with Hunters Entertainment, and none of the following concerns fall upon them.

The Sword of Heimdall

The first encounter the Hunters Entertainment team as a whole had with problematic guidelines for the W5 draft was the direction that Paradox Interactive wanted to go with the Sword of Heimdall. At the time, the suggestions from Paradox and Karim Muammar were that the Sword of Heimdall was going to represent the new major villain of the Werewolf setting, and that they were to also represent the far-right, fascist direction that Werewolf society so often turned toward. They were meant to be representative of how far the new concept of Hauglosk could take entire communities. However, the Sword of Heimdall was discussed interchangeably with the Get of Fenris as a whole, and more than once Muammar seemed to suggest that every member of this Tribe was guilty of the same attitudes espoused in previous editions from the Sword of Heimdall. Now let's not beat around the bush: the Sword of Heimdall are literal Nazis. They believe directly in white supremacy and don't shy from it. They wanted to cleanse impure elements from the Get of Fenris, including BIPOC people, other non-white ethnicities, women, neurodivergent Garou, and other disabled Garou.

The writing team found this approach problematic for several reasons. The first, and most obvious, was that the direction seemed to want to turn one of the most popular Tribes into a horrific stereotype of its most abhorrent faction. Whether or not Muammar’s goal was to turn them into villains, we could not imagine a world where fans of previous editions would get their hands on this book, and not look for a way to play one of their previous favorite groups, thus creating the issue of making a guide to playing Nazi. Even beyond that, it’s not as if historically there were not players who used the tools of the setting to play Black Spiral Dancers, why wouldn’t this draw people who actually wanted to role-play through these toxic, harmful politics? Further, and while this is less important, it left a bad taste in my mouth, the justification for this major shift in Werewolf lore seemed to change over each pass. At first, Muammar suggested that all Fenrir were Nazis/SoH.  Then, when he was provided with evidence that it was a small faction that was eliminated in the early 2000’s, he started to shift toward the idea that we should not follow the lore. Finally, when every single member of the writer’s team flatly refused to provide what would essentially be “a player’s guide to being a Nazi werewolf” the writing was on the wall about the end of our involvement with this product. More than once, he suggested that we were cowardly social justice warriors for being unwilling to work with this concept, even though there were several attempts to write a heroic version of the Fenrir that were focused on undoing these ills of the past.

Indigenous Erasure in Werewolf: 5th Edition

While the entire Hunters Entertainment writing team was handling the major, glaring issue of Paradox’s fervor to include a major Nazi element in Werewolf, I was personally dealing with the problematic approach to the Indigenous issues in the setting. The largest problem, for me, was in addressing Younger Brother’s issues, the history of non-Indigenous writers creating horrifically racist stereotypes, and what was valuable in the Tribal identity that should be saved and recentered. However, my attempts to do so were thwarted with every approach. I rewrote this Tribe four times, and offered three different versions of it to try to earn approval for a final write-up, but each time there was a lot of negativity directed towards my attempts and all them boiled down to this: Muammar felt that having two Tribes (both Younger and Older Brother) representing the “Indigenous population” was too many, and wanted them to only be focused on Older Brother, and that Younger Brother’s connection to a central, Indigenous identity, was undesirable because “other sources wrote them as having Siberian and European connections” and that future writing on this Tribe would require a lot of sensitivity…suggesting that one, Muammar wasn’t interested in doing the work to handle that level of sensitivity, and further, that he wasn’t interested in including me in future work, since I was involved with doing that at the time.

I want to take a moment to remind you that the work that was put into recovering Younger Brother started with “Let’s Kill Them Off” and at this point, through a combination of convincing and pleading, had been walked back to “They can live, but now they’re not connected to being Indigenous anymore” which is just representative genocide of a different variety. “Kill the Indian in him, and save the man.” It was also explicitly something I said I would not write about going into this project. Ultimately, my efforts did not get much further than this, with some specific exceptions I will cite below.

Karim Muammar’s Anti-Indigenous Positions

Muammar consistently and repeatedly communicated to the team in ways that were condescending and dismissive of our collective accomplishments and capabilities, but from my perspective, no one suffered as much significant derision as I did while discussing the changes I wanted to make to Younger and Older Brother in order to make their representation empowering and exciting.

In the pulled quote from the previous paragraph, I want to point out to you that Muammar, who had the title of Lead Editor on this project, refused to capitalize Native American. Further, he would often redline my work with edits to decapitalize my own uses of Native American, as well as the word Indigenous when referring to Indigenous peoples. While there are plenty of people who might want to argue about this, I will point out that both the AP style guide as well as the Chicago style guide (the one which I am most familiar with in my academic historical work) both call for Indigenous to be capitalized when referring to a people. Further, I challenge anyone to defend the consistent decapitalization of Native American. More importantly, the reason that these are standards in respected style guides, is because the English language has been used historically to oppress and erase ethnic identities, including Indigenous identities. By transforming adjectives into proper nouns, we are declaring that Indigenous and Native aren’t descriptors that can be applied to animals, plants, and soil, but real lived identities and culture groups.

When I was explaining to the Paradox team (which was mostly just Muammar) why it was important to change the names of these two Tribes from the appropriative (and offensive) ones used in the past, Muammar pushed back by defending the previously used Younger Brother name, even after reading my extensive research and explanation about how this would harm Indigenous communities and fans.

While doing so, he also decided that it was appropriate to refer to this entirely Native American tribe by the word “savages” a slur that has been specifically used to dehumanize Native Americans, and then mocked my rewrite that focused on presenting them as stewards of the land using Indigenous methodologies and praxes, instead of the “savage” racist stereotypes they were presented as in previous editions. Further, as in the above quote, even after it was communicated that the use of this term was problematic, he kept doubling-down to use it to refer to the Tribe.

Even though I worked hard to redefine Younger Brother through Indigenous theory, such as place-based theory, relational theory, and communal theory, Muammar either refused to recognize this work, dismissing it as simple, or else simply could not understand the importance of these changes. Either way, the choice is that he didn’t want them to change, or couldn’t comprehend why the change was important because of how entrenched in white supremacist thinking he is. Further, after the massive effort that I put forward to attempt to educate him and the rest of the Paradox team on these issues, the insistence on using offensive terms and belittling my work felt intentional. So let’s talk about the work I did that was above and beyond my job description: free cultural consulting work.

“Sensitivity” and Consultation

I have seen several misunderstandings of my role working on this project going around, so I want to make something very clear. I was hired to work on this project as an author, and nothing else. I was not ever hired to be a cultural consultant. I do not do cultural consulting work. While I feel that there are many creators and companies who hire cultural consultants with the best intentions in mind, their responses often fall short of what is needed, as no one is ever obligated to actually follow the advice of cultural consultants. Further, I think there are also many companies who choose to hire cultural consultants only to say “we did this minimal step, and that is enough” in order to ward off naysayers.

However, anyone who hires me gets some level of cultural consulting for free, because it comes out in my writing–in both what I won’t write and what I choose to center my writing around. In the case of Werewolf 5th Edition, however, it was far more involved than this. I came with a plethora of “I will not write X” because I knew the setting was so problematic.  A short list of my demands besides not being willing to write Indigenous erasure, was that we needed to change the names of the Pure Tribes (and the term Pure Tribe itself), we needed to change the word Totem to Patron, and also the Patrons of the Pure Tribes. We needed to move away from the term Metis for obvious reasons, and we needed to move away from the term Skin Dancers. I also specifically noted that there was a lot of cultural theft happening from the beginning of Werewolf until now that I wanted to address. The only way these issues were going to be addressed was to convince Paradox they were actual issues on the level of PR concerns, because nothing else was likely going to be considered. So in order to achieve this, I put in weeks worth of research, writing, and meetings with top level administrators with Hunters Entertainment so that they could bring this information to Paradox.  I never documented my hours, but I would guess that I did approximately 80-100 hours of what I could only describe as cultural consultation work for free that was outside the contract work I was hired for. Let’s be clear: I did this willingly because I was passionate about the positive changes I wanted to see in this product, because I believed that Werewolf’s historic ills could be turned toward non-toxic representation.

Besides my actual words, such as naming the Ghost Council, and arguably the name Gale Stalkers came from a combination of names I pitched to Paradox after Winter’s Teeth was denied, and several sentences and paragraphs that I have seen so far that appear so close to what I originally wrote that you could imagine they were just edited versions, my largest contribution toward the final version of Werewolf: 5th Edition was this work. The only reason the offensive, appropriated names were changed were because of hours of my work to convince them it needed to happen. The reason that the Gale Stalkers aren’t just dead and gone: again, I pushed against this. The reason that Skin Dancers, Totem, and Metis will not appear as canonical titles? I pushed against their unwillingness to alter these things (see Karim’s defense of Wen**** Tribe name above).

Further, and this is the biggest reason I decided to write this article before seeing the final version of the book, I want to mention that I was also included in discussions with Hunters Entertainment to potentially be part of the art direction team, especially to oversee depictions of Indigenous characters, regalia, and art, to ensure that it would be represented either respectfully or not at all. I decided I needed to speak as soon as possible after the artistic portrayal of Tāme Iti appeared in the Glass Walkers preview without his permission. There are many arguments surrounding this issue and I am not going to address everything, but ultimately, I can tell you that had I remained as part of the art direction team, and saw that, I would have questioned it immediately. Even if I didn’t recognize Tāme Iti immediately, I would have asked what the source was on the depiction of moko in that piece, because I am aware that this is a sacred form of art–and I had already discussed wanting to make sure things like Crinos in headdresses didn’t appear in the book (as had often happened in previous editions, particularly on a certain white-skinned character whose name rhymes with Steals-the-Past).

As time working on this project went on, and I went through rounds and rounds of trying to convince Muammar and Paradox that it was important to not steal Indigenous identities, art, and stories, and that a greater effort needed to be put in powerful and empowering Indigenous representation, and I constantly ran into refusals and criticisms that were clearly hateful toward Indigenous identities and peoples, not to mention the push to represent Nazism as a major part of the game setting, I grew increasingly frustrated and restless with feeling like I was trying to work on a challenging project while also defending my right to exist as the person I am at every turn. Eventually I turned to another Indigenous TTRPG and game creator to ask for advice, and after a long and difficult discussion, I came to the conclusion that I was going to talk to the Hunters administration team and tell them that if Muammar kept using slurs and other anti-Indigenous language and attitudes, I was going to need to step off of this project, because it was harmful to me on a personal level. In furtherance of this point, I have been avoiding doing any contract work at all where I can tell that I am wanted for my specific cultural perspective ever since, because this situation was so harrowing for me.

Unfortunately, before I could have this conversation, after one final draft of Younger Brother and Bone Gnawers (which had its own issues, but that is not the point of this discussion), before we received any other specific feedback, the Hunters Entertainment administrators announced to the writing team that Paradox had decided to take the book in-house, and would no longer need our services.

The main point I would like to leave you with, besides these few specific quotes (out of dozens and dozens) that Muammar made that were anti-Indigenous, is that there is often a big call to have more BIPOC voices in various entertainment industries, so that both our stories, perspectives, and unique views on how the universe and life works, can be included; so that an industry that is historically, harmfully Eurocentric, might turn toward new, healthier, and inclusive directions. And I agree with this call for change, but I implore you to consider the conditions that BIPOC creators often have to work under: doing cultural/identity work and consultation for free as part of being present, being subject to vicious refusals of our experiences and perspectives, and straight-up having slurs lodged against our work. I want to see these changes in the industries we love, including the gaming industry, but currently the people who are in charge, who have the most power, are severely hostile to our work and our perspectives. This is why, for example, works like Coyote & Crow were done with an almost entirely Indigenous group of creators, and led by Indigenous creators, because trying to work for and with this ugly, hateful, and xenophobic group of people is so often exhausting, both mentally and spiritually, and because no good changes end up being made.

I am glad the harmful, appropriative terms were removed from the setting. I am glad I was part of the fight to make that real. I am not so glad that I was treated with hostility and racism by Muammar for the effort and love I put into this work, and I am not so glad that I will certainly be reviled by one of the two communities I did this work for–the gaming community, and certainly the people in power in this industry–and I am also not so glad that I didn’t have the opportunity to properly acknowledge how much of Werewolf’s base themes and setting are twisted and tied-up in Indigenous appropriation without giving the proper acknowledgments.

More than anything, I hope that this story will help you, the fans, realize that there is a lot of darkness in these communities, and they won’t change unless you hold their feet to the fire.

Ánaagodzįįhł

J.F. Sambrano

[ivorycello]

An Introduction to the Lifesteal SMP - Season 6 Starts on July 6th

The Premise 

Lifesteal is a competitive, PVP based soft-anarchy server, with one core gimmick: In the server, if you kill somebody, you can steal one of their permanent hotbar hearts, with a maximum of twenty hearts. If you drop down to zero hearts, you are banned off of the server, unless another player revives you with an expensive item called a revive beacon.  

One of the biggest draws in the fandom is the incredibly organic improv storytelling that arises from the server, with the competition extending past simple combat. Players clash as they all attempt to enact their own plans, creating moral and emotional conflicts that draw in stream viewers and make the server incredible to follow as events unfold. 

Watching Lifesteal Streams and attempting to have a complete picture of what is going on is very time intensive. Luckily, starting in season five, they do weekly sessions where the most important events usually happen.

How seasons work

Each season runs independently of each other, and the entire world resets when they move to a new season. 

There is no in-universe lore explanation for what happens during a season reset. Some streamers may choose to treat it like they’re playing a different character, but most choose to leave things that happened in previous seasons in the past while still acknowledging it. Knowing what happens in previous seasons may help you understand things more, but is not necessary in the slightest.

Is Lifesteal a roleplay server? Kinda, kinda not. 

Please respect that creators have different levels of interest in rp and are primarily on the server to make youtube videos of a particular niche.

Lifesteal is unscripted, though different players will create and enact elaborate plans with insane amounts of effort, but all of this is with the goal of a genuine, entertaining reaction. 

Most members enter every situation with the primary goal of creating a good video, and their actions often reflect this. Videos are designed to be standalone content. Each video tells a complete story, and doesn't often tie into other videos or arcs. Lifestealers will also twist the narrative in order to create a linear storyline, including changing the order of events, or even just straight up lying. (We’re looking at you, Mapicc.) Due to this, with few exceptions, it is near impossible to gain full context of an arc or event via video alone, as so much context and information will be glanced over or covered up. Streams are a much more reliable way of understanding the full story. 

New and leaving members

The eight new members announced so far for season six are:

Derapchu

Ecorridor

Chiefxd

Kaboodle

Flamefrags

SB737

Hannahxxrose

Manepear

Members who have left over the past season are:

ItzSubz_

Vitalasy

Parrotx2

Rekrap2

Poafa

Midmysticx

Branzycraft

Where to watch Lifesteal

There are a few active streamers and uploaders, who we will introduce below, and there is also a fan-run archive of all Lifestealer vods that you can access here.

The archive runs as far back as 2020, though only becomes mostly reliable around July 2022, when the project started. The archive also has links to every members’ youtube and twitch account, as well as any vod channel they may run themselves!

POV Recommendations Frequent Streamers: If you want a consistent pov to watch, and be able to follow a consistent storyline here are your best choices. PrinceZam: Zam was lifesteal’s most consistent streamer in previous seasons and puts a very large amount of effort into his rp and storytelling. Goes live at random times for long hours. Kaboodle: Kab is a new addition this season, but she consistently puts an incredible amount of effort into rp and storytelling. She streams most days at 7pm EST! ChiefXD: New Member who streams daily at 11am EST. HannahxxRose: New member, frequent streamer, but we don't know how her streaming style will adapt to lifesteal yet. Derapchu: He’s a little bit of a freak. Australian but has a bad sleep schedule so he streams at US friendly times or earlier. Does pretty long streams. Pangi: Has been on hiatus, but usually streams regularly around 2-4 PM EST at an EU friendly time for shorter hours. He typically does sillier, shorter projects. 4CVIT: Frequent streamer when he does stream, but may go inactive for long periods of time. Kinda roleplays, one of the better builders on the server and likes to keep projects secret from chat.

Honorable Mention: Follow these people anyway, they’ll probably go live for big events or random streams. Minutetech: Typically streams large events and sessions Mapicc: Occasionally streams, mostly important events Ashswag: Occasionally streams, mostly important events Jumper: Occasionally streams Bacon: Occasionally streams Woogie: Frequent streamer at the start of the season, but will become less active when college starts again for him Roshambogames: Occasionally Streams, mostly important Events

Youtube: Current Season: Frequent Uploads: Mapicc: Uploads frequently on main and 2nd channel, however he is known for lying a lot in his videos. It’s a little bit funny. Minutetech: Long videos about huge arcs, mostly truthful but may simplify some stuff. Wemmbu: Long videos about huge projects. FlameFrags: Medium length SMP videos. ChiefXD: Has an episodic style, we are not sure how that will change for lifesteal as he is a new member. Jumper: Mix of long form videos and short videos about a variety of topics. Squiddo: Fun, High Effort and Energy videos about a variety of topics. Lots of custom art. SB737: Uploads often but unsure if he will upload Lifesteal.

Do Not Upload as Frequently But Its Good When They Do Planetlord, Roshambogames, Ashswag, Spokeishere, Princezam, Baconnwaffles,     ECorridor, Pentar, Clownpierce

Past Seasons, we linked povs that cover full seasons or large amounts of a season, but other non listed members still have fantastic one off videos about single events or arcs. Link All Videos Playlist (updated infrequently)

https://www.youtube.com/playlist?list=PLiRXq4v6FXPn8D15UEAY6oZuPF23-NTG8 Mer S4 Summary Document

Lifesteal Season 4 Directory (public access version) Cog S4 Summary Doc

https://docs.google.com/document/d/1E0Mi2s64to6BzoAJuWHw16lnJpdEdYBXfd62tC7O0jY/edit?usp=sharing Minute S5 Videos: https://www.youtube.com/playlist?list=PL6xtt50MzkHWil_vQbgkll9rZTDyfI5k1 Spoke S4: https://www.youtube.com/playlist?list=PLYmAm1lW6hlgK3WHPORSYeC80PVNUuUcZ All Parrot Videos: https://www.youtube.com/playlist?list=PLu0onnEWPanttCW1zIfh25bQ_b5sBo8_p Clownzy S3 Videos: https://www.youtube.com/playlist?list=PLCUTLKqDTev0e1y9Paex97_KP-TpF6QIs

Squiddo S5: https://youtube.com/playlist?list=PLlWJegiCG6X_iKkO-CEd6J9GMAhkzYjVn&si=Kx6lLPLZQeexGdio Baconnwaffles1: https://www.youtube.com/@baconnwaffles1/videos

Princezam S3: https://youtube.com/playlist?list=PLmPnYnLs0WLoJTEdRpFBMTS21X631LKtu&si=37bk0Gs1haPYOSEd Mapicc, warning. Unreliable Narrator. https://www.youtube.com/playlist?list=PLsiSq_WYMOAV7HPEqn8QY_981n19u2qO0 Roshambo: https://www.youtube.com/playlist?list=PLaa_QQN2V8hZ78ACgXFOGt4tGcfDPTp_B

Stream Etiquette

Do not stream snipe / metagame, which includes sharing or hinting at any info whatsoever, even silly things, about another creators playthrough that the streamer wouldn’t know otherwise, you will get banned in all lifestealers chats. Information revealed via videos is considered fair game.

Do not backseat game or backseat lore Lifesteal Members on Tumblr

Several Lifesteal members have public tumblr accounts they use to varying degrees. Because of this, we use the #Lifesteal Spoilers tag to mark posts they shouldn't see because of metagaming reasons or when we just don’t want them to see it. They’re mostly chill, please just block them if you don’t want to deal with them. hdusa - Princezam lowkeywaffling - Baconnwaffles0 Neverpoor - Ashswag TheRealSquiddo- Squiddo BigPangolinMan - Pangi

Fancontent:

Lifesteal has a big fanartist community and we encourage you to join in!

Duo Name List

Lifesteal Animatics and Edits Wormhole Zine

Minecraft Roleplay Analysis -  Barrier Blocks

[indie-ttrpg-of-the-week]

Trans made TTRPGs

Due to… recent events that I would rather not talk about, today's post is a highlight of different tabletop games made by trans peeps! These games are fantastic in their own right, of course, but you can also know that they were made by incredibly cool and attractive people

(Also, these are flyover descs of the game, they'll get more in-depth singular posts later, this is because I am lazy)

Perfect Draw is a phenomenal card game TTRPG that was funded in less than a day on backerkit, it's incredibly fun and has simple to learn hard to master rules for creating custom cards, go check it out!

Songs for the dusk is fucking good, pardon my language, but it's a damn good post apocalyptic game about building community in a post-capitalist-post-apocalypse-post-whatever world. do yourself a favor and if you only check out one game in this list, check this one out, its a beautiful game.

Flying Circus is set in a WW1 inspired fantasy setting full of witches, weird eldritch fish people (who are chill as hell), cults, dead nobility, and other such things. It's inspired by Porco Rosso primarily but it has other touchstones.

Wanderhome is a game about being cute little guys going on a silly adventure and growing as the seasons change, its GMless and very fun

https://weregazelle.itch.io/armour-astir Armour Astir has been featured in here before but its so damn good I had to post it twice. AA demonstrates a fundamental knowledge of the themes of mech shows in a way that very few other games show, its awesome

Kitchen Knightmares is… more of a LARP but its still really dang cool, its about being a knight serving people in a restaurant, its played using discord so its incredibly accessible

https://grimogre.itch.io/michtim Michtim is a game about being small critters protecting their forest from nasty people who wish to harm it, not via brutal violence (sadly) but via friendship and understanding (which is a good substitute to violence)

ok this technically doesn't count but I'm putting it here anyways cuz its like one of my favorite ttrpgs of all time TSL is a game about baring your heart and dueling away with people who you'll probably kiss 10 minutes later, its very very fanfic-ey and inspired by queer narratives. I put it here because its made by a team, and the expansion has a setting specifically meant to be a trans "allegory", so I'll say it counts, honestly just go check it out its good shit

https://willuhl.itch.io/mystic-lilies

Mystic Lillies is a game inspired by ZUN's Touhou Project about witches dueling powerful foes, each other, and themselves. Mystic Lillies features rapid character creation and a unique diceless form of rolling which instead uses a standard playing card deck.

https://preview.drivethrurpg.com/en/product/141424/nobilis-the-game-of-sovereign-powers-2002-edition I… want to do a more general overview on Jenna K as an important figure in indie RPG design, but for now just know that Nobilis is good

https://temporalhiccup.itch.io/apocalypse-keys Apocalypse Keys is a game inspired by Doom Patrol, Hellboy, X-men, and other comics about monstrousness being an allegory for disenfranchisement. Apocalypse Keys is also here because its published by Evilhat so its very cleaned up and fancy but I love how the second you check out the dev's other stuff you can tell they are a lot more experimental with their stuff, this is not a critique, it is in fact a compliment

Fellowship! I've posted about this game before, but it is again here. Fellowship has a fun concept that it uses very well mostly, its a game about defining your character's culture, and I think that's really really cool

Voidheart Symphony is a really cool game about psychic rebellion in a city that really does not like you, the more you discover for yourself the better

Panic at the Dojo is a phenomenal ttrpg based on what the Brazilian would call "Pancadaria", which basically means, fucking other's people shit up. Character Creation is incredibly open and free, meaning that many character concepts are available

Legacy 2e is a game about controlling an entire faction's choices across time, its very fun

remember to be kind to a trans person today! oh also don't even try to be transphobic in the reblogs or replies, you will be blocked so fast your head will spin

[simwithshan]

BARISTA GIG LOT TRAIT *GIFT*

The "Barista Gig Lot Trait" is a mod for The Sims 4 designed primarily for storytelling and roleplaying purposes. This versatile lot trait can be added to a café lot, or any location of your choice, though it's most at best in a coffee shop setting. When applied, it provides your Sim with a fixed payment of 100 simoleons upon arrival. The real charm lies in the departure – when you press the house icon on your Sim's photo at the bottom of the screen, they receive an additional bonus pay tip, ranging from 0 to 300 simoleons (sometimes you'll get no tips for the day).

This mod allows you to create captivating narratives for your Sims as they take on the role of a barista, immersing themselves in the day-to-day operations of a cafe. You can greet customers, tend to the cafe, or even form a group of co-workers (particularly if you have the "Get Together" expansion pack), roleplaying the entire day as a barista. Without specific goals or a list of tasks to complete, this mod offers a simple and enjoyable way to engage in immersive roleplay.

Whether you want your college-bound Sim to earn part-time income on a fixed schedule or seek an extra income source while pursuing a career, the "Barista Gig Lot Trait" is a perfect addition to your Sims 4 gameplay for those who enjoy storytelling and roleplaying. It allows you to shape your Sim's life and create unique narratives.

Its a very simple mod I was using personally for my own gameplay and thought you'll love it too!

Base Game Compatible

TOS

DO NOT Re-upload my mods,cc.

DO NOT Modify or edit my mods,cc.

DO NOT convert my mod to any game without my permission.

DO NOT claim my work as your own. Please give me credit!

DL - https://www.patreon.com/posts/91518953

[thydungeongal]

In regards to the "D&D is good because it doesn't get in the way of roleplay" thing, I think you have correctly identified the desired play of the people who say that, but have misattributed WHY they think this thing.

Based on conversations I've had with a lot of players who feel this way, I think the core thing with D&D is this:

Those players really only want to sit around and play pretend with their friends. But they feel for one reason or another that they can't just Play Pretend because they are Adults Now (this is obviously wrong but, discussion for a different post). So they look to D&D primarily as a tool to lend a sense of "legitimacy" to wanting to play pretend.

D&D is good for fulfilling that role for a couple reasons. First, it does what Brennan describes: adjudicates the intricacies of combat, but "gets out of the way" for non-combat activities, which is desirable when the actual goal of the thing is freeform roleplay. Second, it lends a lot of legitimacy because it is by far the biggest TTRPG and a household name cultural icon.

I think that the vast majority of people who refuse to play anything besides D&D are likely responding to those two things by saying, in the first case, that adding non-combat roleplay rules is stifling because then they're not purely playing pretend and instead having to actually engage with a text; or in the second case, playing a less culturally dominant game doesn't lend as much perceived legitimacy as playing D&D does.

And also, critically, none of that camp can admit this is what's happening because then they'd have to admit they just want to Play Pretend, and they can never admit that.

I don't know how to solve this! Getting over this hump has proven virtually impossible to me. But at the end of the day I think this is what's actually happening.

(And again it's fine to want to play pretend, this isn't a dig in any way towards that group.)

I think there's truth to this, but I think it can be both: in part it is, as I said, that there's this toxic meme of roll-play vs. role-play (which despite being old and stupid and bad keeps being resurrected by much the same type of people), but I think there is also a desire for basically freeform roleplay but with procedural scenes in between. But also, because actual play has a disproportionate effect on this playstyle, there's a widespread disinterest in actually engaging with the actual text of the game and instead trying to mimic the type of carefully curated narrative experience presented in actual plays, which are often largely disconnected from the actual text.

I think the best solution is to play good games with people interested in engaging with games.

[jiubilant]

if you want to start writing in the elder scrolls setting

uesp is your best friend now—it lists the entirety of most characters' dialogue and compiles every in-game lorebook into an easy-to-browse directory, among other things. it's been exceptionally well-kept for years and horrible ads will not jump out at you. just remember to check the footnotes before you take something stated in a particular article as gospel since some of the included information is extracanonical (i.e. sourced from developers' roleplays and personal projects) or, infrequently, speculation based on a misreading of a line of dialogue or questline event

there's a thriving community of people here who are primarily interested in the stories that people tell about their original characters so if you want to write about your dragonborn or nerevarine or hero of kvatch or ivarstead turnip farmer absolutely do that. there's an audience for that

tes summerfest 2024 is coming up in august! the public vote on this year's creative prompts will take place soonish

[laurenwalshart]

Hey

I have always wanted to rp and while I haven't been playing wow in a while it sounds really cool to dive further into the world that way? Would you have an idea on how one could could get into that? C:

Hi!

The Roleplay community in wow is definitely a hidden one so happy to share and help you get your footing!

Do you want to play Horde or Alliance? That choice may influence which server you will pick. Moon Guard is primarily Alliance, but it does have a small horde community. Wyrmrest Accord is the inverse with a big Horde community and smaller Alliance one. However now that guilds are cross server AND cross faction the barrier between these servers is starting to thin. Essentially you are really picking one server over the other for random chance world rp encounters and even there rpers have “anchor groups” for people to hop servers or phases and be in the same space for big events.

How do I find people to roleplay with? You can always walk through Stormwind or Orgrimmar on MG or WrA but the best way to get consistent rp is through guilds. Each guild is essentially a massive dnd group. Some are so big they basically have guilds within their guilds.

On top of guilds there is a massive network of discords that communities use to coordinate server wide events like the Tournament of Ages or Conquest on Moon Guard. Guilds will also advertise in these discords and open events usually advertise there as well!

You can also search the WoW forums of these servers for events and guilds to join.

Do I need addons? Yes! Addons are essential for rping. Three addons are a must Total Roleplay 3, emote splitter, and Listener/snooper.

Total Roleplay 3 or TRP is essentially a character sheet that players can mouse over you and read. You can describe your character, the way they sound, or act in glances, write a short bio, and more.

Emote Splitter - This addon with allow for you to write and post long emotes and it will split it up for you based on wow’s chat character limit.

Listener/Snooper - wow rp can be an overwhelming amount of text sometimes. This addon will ping you if someone says your name and will allow you to mouse over a character and see exactly what they said.

What lingo should I know?

OOC - out of character

IC - in character

(Text) - This is a comment being said oocly

Para - this player likes to write in descriptive paragraphs

Mirror - this player will mirror your style

Any other tips? Elune yes. Write your emotes on a google doc or something connected to the cloud. Crashes happen and you will lose an emote you spent 3 minutes writing in a flash.

/e - this creates that descriptive orange text. There is a range on this so if a player is out of range they may not see your emote. If you would like to remove your name from the descriptive text type “/e |”

Grab a bunch of elixir of tongues! They are always good to have on hand in case you run into an opposite faction player.

There’s a lot of toys and potions out there that do cool stuff! Keep your eyes open for them!

I hope this is helpful for you and others!!

================

Discord Servers to start!

Moon Guard

Grand Alliance: https://discord.gg/t4keucKH

Stormwind Crown Association: https://discord.gg/ZZD9j3xj

Horde Vanguard: https://discord.gg/R4tkuAUT

Wrymrest Accord

Wrymrest Community Project: https://discord.gg/wrawcp

Other servers

A Druid Community ran by me: https://discord.gg/w3Q7chtM

[icarussmp]

Welcome to Icarus!

IcarusSMP is a SCU-based MCYT crossover modded roleplay server, running on fabric 1.20.1. The server is 16+, and friendly to all playstyles and primarily focused on the roleplaying aspect!

The server lore is based on Slimecicle Cinematic Universe and EpicSMP, with multiple plotlines incorporating other projects related to the MCYT scene. Knowledge of a specific source isn’t required to get involved, and you’re welcome to bring any character related to the sphere! (We mean it — Minecraft server with a huge fanbase? Independent youtuber with a cool backstory? Your streamer’s DND oc who you miss SO dearly? That one character from that one-off thing that you swear people should talk about more. You get the picture.)

The overarching story is written by the organizer/DM, with tons of room for input, player-driven plotline, and interaction between characters. Roleplay is done through in-game voice chat, and consists of both casual + unplanned roleplay, and events planned and written by the DM.

If you'd be interested, check out the discord!

[rainbow-neko-artblog]

I've seen a couple art pieces and other posts for your polyverse au now and I think it's neat!

I know next to nothing about it but that's OK! I will learn more about it soon

It's okay not to know much about it! The reason you've only seen bits and peices is because polyverse au is actually based on a 3-4 year old roleplay with me and my friends- it started as a regular fnf roleplay but as we added MORE and MOOOORE modded characters it became so convoluted with story that it might as well be an au because it sure ain't like the og game.

The best way to recognize it is by the Bf- obviously! His angel form + jacket and miku inspired look are original to him in this au, as well as a the polyam pin on his hat! I often draw him with his partners- which....are ranging OFBDKDBFND

Fun fact: originally my friends and I called this fnfverse. We still do actually- but I switched to calling it polyverse online because I would primarily post about the fun relationship development between polyverse's Bf and every other character in his polyamory.

Also it was easier to keep apart from other fnf aus when I called it polyverse.

That's not to say that the polyamory is all we talked about- that would be boring. Flat. Nothing like this should focus only on the romance plot-

So there's a lot more going on like Bf being a living weapon made for war by a giant toothpastey biblically accurate angel glob- and how the war is basically a giant CIVIL War because demons and elangels are actually the same race created by the two "gods" who help the computer work.

Or the entire eddsworld/tankman/picoschool/newgrounds subplot with a giant fuck off portal into the internet and everything scary.

Or the ENTIRE lore of garcello we made before it was confirmed how he actually got the cigs- which included whole ass ocs at that point.

It's a time.

At this point explaining a single plot in fnf polyverse au takes me ranting to everyone for 2 hours about the whole thing- taking everyone in the call on an unwilling adventure via my autistic rambles.

[jayesprite]

hello here are my system headcanons. flag used is this one. i am part of a system. my hcs are under the cut

dirk - small system (4-5), alters front for long periods of time. has good communication but fucking hates each other so that isn't really any help. horrible amnesia but works through it. dirk didn't even figure out he was a system another alter did. passed them off as bots he made out of shame but everyone figured out pretty quickly (roxy.)

jade - large system, polyfragment with subsystems. fictive/introject heavy. frequent switching but it stabilizes on earth C when she's in a more steady, social environment. alters often talk out loud or leave notes for one another, very little internal communication most of the time. people know she's a system

jane/jaye - medium system (at max has had 12 active) and was completely unaware that's what they were experiencing until dirk told them. system is primarily internal, so like lots of shared thoughts/experiences rather than outwardly talking to people. a lot of people are unaware they're a system without them mentioning it. barely any switching.

tavros - medium system, fictive heavy. switches semi-frequently, but he got really good at masking. system mainly communicates either internally or through leaving notes/etc. only learned what he was experiencing was a system thanks to nepeta, thought he just had "overactive imaginary friends". most have his typing quirk.

nepeta - smaller system and a lot are introjects based on rp characters, or rp characters are based off alters. not HIDING the fact she's a system but for a long time ppl thought she was just roleplaying. equius knows all of her alters and was the first to start meeting them. they mainly communicate via a custom trollian mod by sollux. they have unique typing quirks.

damara - large polyfragmented system. only tend to front during extremely strong emotional distress or other strong emotions. alters never really hid themselves; the others know she's a system and the names/pronouns/etc. heavy amnesia and not a lot of communication at all.

[keepingstabs]

𓈒ㅤ 𑁯ㅤ 🌿     hello!    i'm on the lookout for   new roleplay partners   to collaborate on rich,    detailed roleplay stories and   worldbuilding.    if you’re passionate about storytelling and love diving into character-driven plots,    let’s connect!

𓈒ㅤ 𑁯ㅤ 🌿     about me.

i prefer writing   literary threads   with in-depth character development and dynamic interactions.

my writing often leans toward   angst,    but i’m open to adding elements of fluff or other tones to balance the narrative.

i can write mxf,   mxm,   &   fxf.   i have no specific preference.

𓈒ㅤ 𑁯ㅤ 🌿     what i'm looking for.

partners who are   21+   (maturity is essential for the themes i enjoy exploring).

writers who can write on either   tumblr   or   discord.

someone who loves plotting something new,    and will not let me plot alone.   roleplaying is a two way street.   if i do all the yapping,   i lose interest easily.

𓈒ㅤ 𑁯ㅤ 🌿     fcs i write.

i primarily write   musicians,    k-pop idols,    and   k-actors,    with a focus on asian faceclaims   (not limited to east asians).

i do also have   western fcs   &   muses   and am always open to exploring and discovering new fcs that will fit the plot.

𓈒ㅤ 𑁯ㅤ 🌿     themes & genre.

i love writing angst,    diving into the complexities of relationships,    emotions,    and struggles.

open to   fandom-based plots   or universe adaptations.

interested in exploring a variety of genres,    including:

sci-fi:   futuristic worlds,    dystopian societies.

supernatural:   mythological beings,    paranormal elements,    curses,    or magic.

horror:   psychological tension,    dark mysteries,    survival scenarios.

royalty:   political intrigue,    forbidden romances,    historical or fantasy settings.

if this resonates with you,    feel free to   like this post   &   i'll message you.

[indie-ttrpg-of-the-week]

Thirsty Sword Lesbians

Anyone here ever play Get in the Car Loser? anyways

Touchstones: Queer fanfic and media, Premade settings have many different touchstones

Genre: Swashbuckling action, can vary from group to group

What is this game?:  Thirsty Sword Lesbians is a game about being swashbuckling queers of all colors and sizes, it's got a very generic setting, as long as your setting has combat, queer romance, and evil to be defeated, TSL can run your setting

How's the gameplay?: TSL is a powered by the apocalypse game, primarily based on the classic Monsterhearts, with its Strings mechanics being outright named after the mechanic of the same name from it. It's a classic PBTA (which you can read more about here) system with the core difference being the game's mechanics, which encourage the players to do things that are not the healthiest, or to fall fall in love with the other PCs or NPCs. For example when a character falls in love, they may ask a question about that person according to your playbook, this is your trait of heart, and when trying to figure someone out mid-fight you may ask one extra question from your playbook, this is your trait of blade! and this mechanic exemplifies what everything the gameplay in TSL wishes to lead to: Heart (falling in love) and Blade (Combat)

What's the setting (If any) like?: TSL at first seems like it doesn't have a setting, and it kinda doesn't, while there are many, many, many very fun premade settings within the book, the average TSL setting only has to have 3 things: Combat, Romance, and 2 Toxic Powers, toxic powers being two entities within the universe (be it a faction, religion, power, etc) that may not Necessarily oppose the players, but are definitely a bad thing.

What's the tone?:  Tone is generally decided by the players, but there will always be two universal things: Queer Rebellion via community and people trying to put down this rebellion.

Session length: Very very variable, but usually speaking you can do a lot in the plotline in 3 hours, though at minimum I think it'd be an hour long each session

Number of Players: TSL can be run with very few players, 3-6 is preferred but there's rules for solo or even two player play

Malleability: TSL is designed to be malleable, not really having a  defined setting, its themes are designed around lesbian romance, but the game itself has MLM rep and explicitly states that trans stories can also be run within this.

Resources: TSL has free playbooks, organization sheets, a google sheet that's pretty good, and a pretty decent amount of homebrew, most of it is fanmade but its there

TSL's my favorite tabletop game. While not doing too much new, it polishes what was already established in prior games to a very very high quality extreme, it's a great time, even if you're not a lesbian.

remember to kiss girls, inject estradiol, and have homoerotic swordfights with people whose worldview and/or neuroses are injected within the fight itself!

[theresattrpgforthat]

Any games thematically similar to Fallen London? Blades in the Dark helps me scratch that itch on the tabletop, but there are probably others.

THEME: Fallen London.

Hello friend! So first of all, I’d recommend checking out the free ttrpg Skyfarer, written by Grant Howitt & Chris Taylor, and released by Failbetter Games, as it’s the canonical Sunless Skies TTRPG. So it’s set in the same universe! I’ve talked about it before in one of my Free Games posts.

Now that that’s covered, let’s see what else is out there.

Do Not Fear, by Hella Big Claws.

Do Not Fear is a Forged In the Dark Tabletop Roleplaying game, about accepting the fleetingness of life; and using the strength that gives you in order to combat a growing stagnation.

Fight as a Hunter, a person who has been given a Gift of Bloom; a fungus like infection that allows for incredible strength and regenerative ability; in exchange for subsuming your flesh as you die.

Combat or save the Rusted; living creatures infected by a growing viral stagnation; marbling their bones and rusting their flesh; sculpting them into horrifyingly beautiful creations.

Ascend the Tower; a large, multilayered structure which you call home. Interact with the factions and people within, as you set down roots.

This game is on my to-buy list for sure, as I love FitD games and I’m intrigued by the themes of infection and stagnation that appear in this game. This game is still very much in-progress and so there might be some bugs to work out, but thanks to the Itch.io Summer Sale, this game is currently half-off! Honestly the cover art draws me in as well, and I’m hoping that the designer has more in store where that came from, because I find it very evocative, and I’m interested to see where this game goes.

Beneath a Cursed Moon, by Karrius.

Beneath a Cursed Moon is a Gothic fantasy game that uses a system based on the Apocalypse World engine. Take the role of monster hunters and slay vampires, werewolves, mermen, and more in a game inspired by Castlevania and Bloodborne.

I’m seeing a lot of ties between Fallen London, Blades in the Dark, and Bloodborne, which is why if a game has Bloodborne in it’s list of inspirations, I add it to the list. Beneath a Cursed Moon is a pay-what-you-want PbtA game that focuses primarily on monster-slaying. Because it expects you as a group to create and tailor your own unique setting, I can see creating a space that evokes the same tone as Fallen London as pretty feasible. There are 11 different playbooks to choose from, and a whole section of monsters and monster-creation guidelines that give the GM plenty to work with. You should absolutely check out this game.

Vigilant, by Ill Advised Gaming.

Vigilant is a Gothic Victorian world of monsters and churches and eldritch secrets. Of Blood and Beasts and Hunters. Of Dreams and Nightmares.

Using a combination of rules from Caltrop Core and Powered by the Apocalypse, this should be a pretty easy-to-learn system. You’ll make moves similar to PbtA games, but you’ll roll pools of d4’s, similar to Caltrop Core. Characters also have a shared resource called Momentum, which represent show you can affect the narrative using assets present on your character sheet. Setting-wise, the world of industry is introducing new monsters to a world already fraught with the terrors of the ancient. Your characters are monster-hunters who find themselves empowered by the Covenants: knights, scientists, hunters, and more.

The game is still in early-access, so not all of the character options are available yet, but the setting itself fucking slaps. You should check it out.

Unhallowed Metropolis, by Strix Publishing.

It has been two hundred years since first the outbreak of the Plague, when the dead rose to feed on the flesh of the living. Countless millions perished in the chaos that followed. It was the dawn of a new dark age.

London, the capital of the Neo-Victorian Empire, is a vast, densely crowded city. Beneath the towering walls and crackling Tesla towers, where the fallout of a thousand crematoria darkens the streets, ten-million souls live in squalor. Predators, human and inhuman, stalk the slums and rookeries, preying on the unwary and the helpless. Beneath the haunted streets, resurrection men and body snatchers hock their grisly wares at blood-stained meat markets. Their clients are degenerate ghouls and amateur anatomists who practice the outlawed science of reanimation.

This game inspired by authors such as Mary Shelley and Edgar Allen Poe. It uses a point-buy character creation system, and allows you to play Dhampirs, Mad Doctors, Aristocrats, Criminals and so much more. This is a game about noir tropes, a Victorian post-apocalypse, and zombies. One of my favourite pieces of this game is the character class of the Mourners, who are a group of women hired to stand by the bedsides of the recently deceased, ready to decapitate them at the first sign of re-animation.

If you want to hear an actual-play of this game, the long-standing AP podcast Fandible has a campaign that is one of the longest-running games on their feed. You can hear from their play how much of a dearly-loved game this is.

What Lies Beneath the Darkness, by Cezar Capacle.

What Lies Beneath the Darkness is a gaslamp fantasy game about intrigue and struggle. 

You play as a Horror employed by a faction to expand their dominance over the victorianesque city of Ravenswatch, while you fight to balance the human and supernatural natures that inhabit you.

You will face the dark streets of Ravenswatch performing missions for your faction. You live an internal battle between your human links and your dark instincts, between what you want and what your faction demands.

This is a GM-less game that puts factions front-and-center, with both solo and multiplayer options. The game uses the Push system, which allows you to push-your-luck for better results, with a possibility of going too far, which I really really love. The game is gaslamp-gothic and supernatural, and puts the characters in fraught positions where they must work for more powerful masters, struggling not to fall into their personal darkness. I’m very very intrigued by this game.

Games I’ve Recommended Before

Slayers, by Gila RPGs.

18XX Night, by Deep Light Games.

The Between, by The Gauntlet.

[audioroleplayconfessions]

I saw a couple of confessions of lesbians saying that they like listening to M4F/M4A and I honestly don't think that's weird. I'm a straight cis male and I primarily enjoy M4F audios. Desmond ASMR, Escaped Audios, Saku, Scythe Audio, and Good Boy Audios are my favorite VAs just because I love their stories and I enjoy roleplaying as their characters even if they aren't tailor-made to specifically appeal to a straight man.

There are some F4M and F4A VAs I like (WhatGiraffe and Shiaides are great) but I really enjoy audios with big stories and most stuff made by female VAs are fluffy one-shots or continuous fluff of the same character with no real overarching plot, where most of the really good plot-based stuff is made by male VAs who write their own scripts.

IDK why that is. I'm not saying I only listen to male VAs out of desperation either, I'd probably be open to listening to them anyway if the story was good enough.

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