#they're alternative/folk

[lulusoblue]

Small edit I did of a song by Amarante, removing the ending monologue and replacing it with the instrumental, and decided to upload it for anyone else.

The ending monologue was spoken by a fairly popular youtuber who in recent years turned out to have been a child groomer. I used to love watching his let's plays and just sticking them on in the background, he had some chill playthroughs. Then the truth was revealed, and like many I was disgusted and heartbroken. Thus the danger of parasocial relationships, unfortunately.

It sucked because a lot of the music in my library came from his outros, and Amarante were one of the artists I really enjoyed listening to as a result. Rest of the music I can still listen to, but the problem I had listening to Amarante was that he was in a couple of their songs. Two I replaced with their instrumentals, because they were justt album intros with just him saying monologues, but one song had Amarante's vocals and his voice at the end. I really can't listen to his voice now without feeling disgusted, I'm sure a lot of people can't stand to, and I finally decided to make this edit to replace the original in my library.

The intros and song were all made when this youtuber was getting very popular, long before the initial allegations and truth came to light, and far as I can see he just lended his vocals to Amarante (as stated in a tweet nearly a decade old). Don't know their stance in what happened but they don't need to take responsibility just for having worked with him. As far as I can tell, Amarante aren't associated with him beyond said vocals for 3 tracks in their whole discography, so right now I don't feel much guilt for still enjoying their music, same as any music from MonsterCat.

I wanted to upload this in case anyone else was in a similar mindset, and if someone hadn't done this already. It's not really my place to forgive his actions, but it's definitely my place to forget him, and this easy edit at least keeps him completely out of my music library and lets me enjoy my Amarante library in peace.

[front-facing-pokemon]

[frau-wilhelm-klink]

I mean this in the most affectionate way possible, of course.

But hey, that's okay! Somebody has to keep the people in Geneva busy😂

[pastafossa]

Honestly I’m choosing to be an optimist and believe that Elden Henson at the least could still be in DD Born Again (haven’t heard anything about Deb so not sure there). As best I can tell, all the current rumors that he and Deb aren’t there trace back to a single article stating Elden and Deborah aren’t on the current call sheet. And having known folks who worked in TV, this doesn’t necessarily mean they aren’t on the cast list. It just means that what DD is filming right now doesn’t require them - think action scenes, solo scenes. It could mean that, say, Jon’s on a time crunch and so they’re just going to shoot everything with him and Charlie first so he can leave and then they’ll hit everything else. It could mean, ‘yeah ok we buffed all our dudes up so we’re just gonna get the hardcore fights and the shirtless scenes done ASAP’. Kevin has been open about how much he loved Netflix DD, and the fact that he’s already pulled in Charlie, Vincent, and Jon, along with - seemingly - Krysten if the hints on twitter are right, makes me hopeful that this is just a, ‘They’re being secretive and are filming things in a certain order’.

I’m keeping my fingers crossed, anyway.

[diathadevil]

There's something charming about being on tumblr and seeing people abroad be fans of our local balkan Eurovision artists from this year (Luke Black, Joker Out, Let 3, etc.)

I'm glad y'all like their songs! It really makes me happy when others like our popsynth and altrock bands as well. I'll recommend some artists/bands in the tags if y'all want some other balkan pop/rock/synth bands to listen to.

[schoolbusgraveyard]

So I just realized two things about the finale

They can't go back to the graveyard. Not before they despawn, and not safely if they despawn and respawn. Not until they lose or deal with that giant... Thing.

How is the inertia of the jeep gonna work here. If they despawn while Ashlyn's hitting the gas as hard as she can, that jeep is just gonna keep going. If they slam the brakes seconds before they despawn and get the jeep to stop fully, then, considering things are still active in the phantom dimension when they're not there... The jeep would probably get totaled by that thing.

I don't really think they're gonna despawn while driving, especially not since it was supposed to be a two hour trip out--and they didn't even make it all the way there. So they've still got a few hours to go in terms of waiting it out. But. I'm just dying to know how they're gonna get away from that thing, or how they're gonna get rid of it.

[olehoncho]

How I would fix Dr Who (revisited)

While I am sure there are folks that love the Doctor Who show and the direction it has taken under Chibnal, I know there are others who are not satisfied with certain developments. Ever since the end of Matt Smith's run there have been issues with the continuity of the series: - The expansion of The Doctor's regenerations was first explained via a "time lord energy infusion" in Town of Christmas, but was later revealed to be an aspect of the Timeless Child. - The swapping of sex/gender was first done with the Master and later explored with the Doctor. - Letting go of a Time Lord's power was explored in Human Nature and later in Uptopia, but revisited as being a "female presenting" quality later. - The Bi-Generation creating two time lords.

A lot of this new canon has been... not easy to absorb. And I'm not going to say there's any connection to ratings or audience scores, but as someone who is more interested in the science fiction aspect of the show, I think there is enough of the new canon to play with to fit in with the long-running series canon.

Make The Doctor a distinct being separate from The Timeless Child. - This is the main one, and could be done a couple of different ways. My previous theory was to make The Timeless Child the Time Vortex at the heart of the TARDIS (which explains why it is different from other TARDIS). This would explain the leeching of memories and power to other individuals as well. - Another way to do this would be to have The Doctor either be a bi-generation from The Timeless Child, or perhaps be the son of The Timeless Child who inherited some memories. There are options.

Restore the Regeneration Limit and explain how it was bypassed. - The previous explanation is that The Doctor is the first Time Lord and therefore has endless regenerations. This never felt right. The Doctor being a Time Lord whose uniqueness comes from their decisions, the promise to be "The Doctor" rather than their particular history is the key to the character. - You could do another bi-generation backstory into The Doctor's past, and that part of The Doctor has been dormant, sleeping aboard the TARDIS for near a thousand years (my personal choice would be the regeneration from 2nd to 3rd Doctor). - Then you would have to explain that The Doctor who has been adventuring has been part of The Doctor, but a being who got mixed up with The Timeless Child and is therefore confused. Then explain that the reason for the regeneration limit being bypassed is because of the TARDIS - so many Doctors regenerate in the TARDIS and this is shown to have led to many explosions of energy which were not present in earlier regenerations because this version of The Doctor is growing unstable. - Time Lords are not meant to live more than 12 regenerations, because the energy in their bodies becomes more than they can handle, like a dying star they either go supernova or become dwarf stars.

Kill off the current version of The Doctor and bring in "The Original" - This could be a series-long arc involving The Valeyard - with the "current Doctor" being the Valeyard and "The Original" questing to stop them, but would end up with The Doctor dying and creating their grave on Trenzalore that is eventually visited by 11 and Clara. - The "original" Doctor would then continue the adventures, absorbing all the memories of their alternate selves - and resume the regeneration limit from 3 (a new 3, not Pertwee) and then regenerating into 4.

Anyways, that's how I'd rework Doctor Who if it was up to me. But it's not, so whatever.

[elfdragon12]

consider, Drift, Jazz, Chromia, and Courtney mourning their lovers only to be thrown into the world where they died instead and their lovers are very much alive but grief changed them. Their friends, alive but changed… the Decepticons, or at least the ones that weren’t killed on sight, scattered across the universe to avoid arrest and brutal punishments.

The Mechs they each loved, changed… they have to go home but still, the burning desire to be touched. To be held. To give into temptation was aching inside them and these versions of their lovers… WON’T lose them again.

Tried to answer this before but then it wouldn't show. I screenshot what I typed so I wouldn't have to again.

[redwinterroses]

🥺 - sixteenthdays

[insert that gif of Kuzko going "Now I feel really bad. Bad llama."]

[triple1st]

thinking about rassilon's (lack of) characterization in gallifrey time war

[tathrin]

[image id: a screencap of a post by user @amoneyresists (Andrew Wortman) with a queer pride flag and american flag emoji after their name.]

"I'm gonna vote for the party that wants to give fourth graders free school lunches instead of the one that wants to force them to have their rapists['] baby."

Same #voteblue

[greatrunner]

The fact that it took GoDaddy's AI shenanigans reporting them for "inappropriate material" (IIRC), and their user base kicking at their door for almost a week for FFNet to start being more proactive about the site is kinda funny.

Sad funny, but I'm glad about it anyway. Bullying lazy site mods works, folks. Keep it up.

[cardo-de-comer]

soo helloo and i think it's time for me to explain the deal with my characters and this whole "you're not supposed to be here" thing. EDIT: just fixed some stuff. thank you folks for your support, i really appreciate you all <3

i made these characters way back in june and by today they have a lot of lore around them in my head. i even have a dream to make a game with them but it's just a dream for now so i'm gonna try to explain the main things about this story. Obviously this is a long post, although I tried to keep this stuff short. and excuse me for my writing and any mistakes, I don't usually write this much text.

It starts with the world. Alternate 15th century, humanity is almost gone and what's left of it shares quite a big city with demons and angels. However, demons and angels are usually being treated like servants - eventually one gets tired of it all, so everyone knows an uprising is just around the corner. Let's just ignore that for now.

The City has a catch of it's own - it's alive. The walls have eyes and ears and the City knows every resident by heart and soul, both figuratively and literally. Usually City acts through the King, it chooses protectors for itself, ones who have strong minds to comprehend it - they will be called the royal knights, each of them have a company of a /more wiser than the rest of them/ demon and angel to help with their tasks. Only the King and ten royal knights know that the City is alive and very talkative but they don't understand fully what it's trying to tell them. Most of them choose to ignore the voices in their head because hey, that's what you do usually in this situation, otherwise they drive you nuts.

City is also extremely emotional and appearance depends on its condition. Usually it's a sunny day out and the city looks welcoming, but you don't want to be there when the City is scared: it might eat you alive by accident. Now that the environment is aside, time for the main three characters.

Imri is a young lad who will soon be a royal knight. He actually wanted to be a painter when he grows up but well, you cannot disobey the king's orders. Quite emotionless and a man of a few words, he tries to stay on a neutral ground between good and bad - a perfect candidate for manipulation to all three sides, demons, angels and the City.

look at him

Royal knights get to know their angel and demon companions at least a week before they get knighted to avoid any misunderstandings. Imri doesn't mind his friends at all, although one of them caused quite a fuss.

Angel /they name themselves Lyra/ is an overly positive, naive and blindly kind entity. A bit childish and very fond of justice, they try to act as a voice of conscience, not understanding that sometimes this can make everything even worse than it was. There is a feeling that they're trickier than it seems but you can never quite tell.

the latin text all over them is just a part of their design

The demon though... That's not even a demon, that's the Devil himself. Yes, everyone knows who this is, everyone avoids him and he's not supposed to be here at all. Despite being THE Devil, he didn't try to do anything horrific yet and, when he's not joking around, he tries to be the voice of reason, the voice that no one listens to. He seems to know a lot more about this whole world than anyone else but he talks about it only when he wants to.

no one likes him at all, expect maybe Imri who just tolerates his presence like he always does

That's the main three. There is a few secondary characters, Imri's father being one of them.

sir Jastrab /or just Dell/ is one of the royal knights, he's a bit naive, loyal, and a soul so kind that his demon hung himself. Oh well. He lost one hand in what he calls "a work accident" which is partly true but he never goes into details.

He never wanted for his son to be a part of the knights because he knows by experience that it's not an easy job and not every father wants for their child to go insane from the voices in their head.

few people said that the angel accompanying him looks like d20 and so be it

The others are Sun and Moon - local deities, despite being on the sky every day and night, usually they don't really care about what's going on down below. You can still talk to them but don't expect much action. Regardless of all this, they are still loved by almost all living things. They can rarely meet each other but humans always depict them together no matter what.

creators of the Stars - some part of a human soul that i can't talk about :)

Angels and demons come in all forms and sizes but those are the main population - lesser demons resemble the Devil in some ways and lesser angels look like clovers. Rivals usually but when the revolution happens, they learn to tolerate and work with each other. Humanity doesn't really have a chance.

they hate everyone equally And there is another being, that Imri meets a few times through the story - it's Death. Death is just having fun in this end of the world and there is a lot of work to be done.

this is an old and rough design so maybe it'll change The whole story begins at that day when Imri is supposed to be knighted. Everything seemed fine until Imri gets to hear the City for the first time and realizes that he hears and sees a lot more than everyone else. Completely overwhelmed he blacks out - even the toughest of minds often can't take it - and wakes up later only to find out that the King got killed somehow, angels and demons saw this as the starting point for a revolution and the City starts to panic.

Now Imri, guided by his companions and the voice of scared City that's crumbling and slowly drives him insane, shall travel to the center of it to find out what really happened, getting through demons and angels who are busy destroying the rest of humanity. Fun.

There is a lot more to this whole thing but I cannot tell the entire plot because spoilers, in case if i actually will make something out of this story. Think of it as a game lore. I'm not sure about making sth yet because i operate only on hopes and dreams and i barely have any strength lately but who knows... But now you have at least some context! And yeah, thank you if you actually read all of this, you're a hero.

Now i need to get back to drawing. Thank you all for your support. <3

[from-the-coffee-shop-in-edoras]

Someone asked me to expand a little on a topic that was buried down in a big chain of reblogs, so I'm doing that here--it's about the use of the archaic "thee", "thou", "thy", etc. in LOTR and what it tells you about characters’ feelings for one another. (I am NOT an expert on this, so it's just what I've picked up over time!)

Like many (most?) modern English speakers, I grew up thinking of those old forms of 2nd person address as being extra formal. I think that's because my main exposure to them was in the Bible ("thou shall not...") and why wouldn't god, speaking as the ultimate authority, be using the most formal, official voice? But it turns out that for a huge chunk of the history of the English language, "thee," "thou," and "thy" were actually the informal/casual alternatives to the formal "you", “your”, “yours”. Like tú v. usted in Spanish!

With that in mind, Tolkien was very intentional about when he peppered in a "thee" or a "thou" in his dialogue. It only happens a handful of times. Most of those are when a jerk is trying to make clear that someone else is beneath them by treating them informally. Denethor "thou"s Gandalf when he’s pissed at him. The Witch King calls Éowyn "thee" to cut her down verbally before he cuts her down physically. And the Mouth of Sauron calls Aragorn and Gandalf "thou" as a way to show them that he has the upper hand. (Big oops by all 3 of these guys!)

The other times are the opposite--it's when someone starts to use the informal/casual form as a way to show their feeling of affection for someone else. Galadriel goes with the formal "you" all through the company's days in Lórien, but by the time they leave she has really taken them to heart. So when she sends them a message via Gandalf early in the Two Towers, she uses "thee" and "thou" in her words to Aragorn, Legolas and Gimli because now they're valued friends and allies. And--this is the big one, folks, that was already alluded to in my previous post--Éowyn starts aggressively "thou"ing Aragorn when she is begging him to take her along as he prepares to ride out of Dunharrow. She is very intentionally trying to communicate her feelings to him in her choice of pronoun--an "I wouldn't be calling you "thee" if I didn't love you" kind of thing. And he is just as intentionally using "you" in every single one of his responses in order to gently establish a boundary with her without having to state outright that he doesn't reciprocate her feelings. It's not until much later when her engagement to Faramir is announced that Aragorn finally busts out "I have wished thee joy ever since I first saw thee". Because now it is safe to acknowledge a relationship of closeness and familiarity with her without the risk that it will be misinterpreted. He absolutely wants to have that close, familiar relationship, but he saved it for when he knew she could accept it on his terms without getting hurt.

So, you know, like all things language-based...Tolkien made very purposeful decisions in his word choices down to a bonkers level of detail. I didn’t know about this pronoun thing until I was a whole ass adult, but that’s the joy of dealing with Tolkien. I still discover new things like this almost every time I re-read.

[llamagirl28]

Hello folks! I'm back with good news!

First off, let me get the development update out of the way. These past months writing has been difficult due to health issues regarding my hands, but I've still managed to get some work done and make progress on the demo. The updates have been Patreon/Kofi exclusive so far (since they have early access perks) and I've been waiting for content to build up for a public release. Now, I finally bring you something to sink your teeth in!

I also wanted to let you know that I've read the feedback you left me and I've taken it all into consideration. I have made plans for changes, some major, some minor, but I've yet to implement them. Here's a list of the future changes:

I've received feedback that chapter 4 feels slow, overly-descriptive and filled with scenes of tasks and chores; looking back on it, I do admit I've gone overboard with these things. I'll be cutting down on superfluous bits, altogether removing some scenes or changing them into something more interesting and relevant.

Also regarding chapter 4, as well as 5: I've...info-dumped quite a lot, and it slows the pace. I'll be going over the game and try to spread out information better, or withhold it till later.

Guinevere will be introduced earlier, in chapter 3. Really excited about this change :)

Instead of having one main trait for Mordred's dragon friend to choose from in chapter 2, the option will be between four archtypes. These will allow me to better flesh out the character (I've found the current system restrictive and one-note). I'll elaborate more on these new choices when they're added (which I've started to work on) but know that they incorporate the existent personality traits. This change will also come with not just edited, but entirely new scenes featuring the draconic companion.

Adding an alternative route to showing Elaine around in chapter 5, so Mordreds not interested in her can still do something fun

Alright, now let's talk demo update!

What's new?

More of chapter 5 (it's a big one)

Greet the wedding guests. Reunite with Nimue and catch up, meet Merlin for the first time

Talk to, insult, or ignore Galahad

Get on the dancefloor! (with a RO or friend of choice!)

Edits made: some bits of Nimue's conversation in chapter 1 have been reworked and a new dialogue option has been added, a couple of edits done to Morgana's first POV in chapter 3

Demo link:

[in-case-of-grace]

Alternatives to "GM" in TTRPGs

Spurred by a recent post from @imsobadatnicknames2 that found its way into my feed by way of @anim-ttrpgs' addition (this post got too big to be a reblog sorry), I've been thinking about the influence of the terms we use for the host-and-narrator role in a TTRPG. Each tends to carry some connotations and implications as to what the role might entail, and these can influence how people play your game.

At best, this may enforce your intended roles for the game, alongside its themeing. At worst, your chosen term for this role may create false assumptions, and lead to people approaching it in a way that makes it unfun for them.

There's also an aesthetic component to consider! Having a term that matches your genre and vibe can go a long way! It's gonna be a balancing act— does the term change how people interact with your game enough to become a problem? Does it match and enforce your themes and aesthetics strongly enough to balance some of those problems out?

Below, I'm gonna go over a couple common (and uncommon) terms for this role and what I think their connotations, implications, and best usecases are here. These are gonna be beholden to my own biases, of course— and you may see different connotations entirely! Maybe it'll help folk think more about what terms they want to use!

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"Game Master" is very gamey. It implies that this person is setting up a bunch of specific, pre-made mechanical challenges-- like an obstacle course. I will admit that it does have the weakest connotations of all the commonly used terms I'm aware of, though-- simply by virtue of it having become so commonplace across all sorts of games.

I think it works best with chunkier, mechanically heavy games. Due to it having a weak connotation, though, it won't hurt your game if you use it elsewhere, it is kind of the baseline these days, after all.

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"Storyteller" implies that this person is sitting everyone down and telling them a story. Like putting on a play. There's an implication that they are going to be controlling most of the narrative here-- and that the players don't have as much say in it.

It's also technically incorrect, given that...well, the players are storytellers too! The point of these games is to tell a story together!

It can work for more narratively focused games, it has some lighthearted, cutesy vibes that can be a good fit for some-- but its connotations can lead to this person taking more control than you may actually intend for them to have in your game.

It's one that I don't think accurately fits a lot of games, and is chosen more for its aesthetics and vibes. (Something I have done before, and with time it bothers me more and more.)

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"Narrator" is the opposite of Storyteller-- it implies, to me, that this person has less say in the narrative than the players. They are there to impartially narrate and describe the world's reactions to what the players do, little else. A passive observer, almost.

I think it can still work fine for plenty of games-- especially those with contemporary settings. It's the sort that, to me, feels more suited to sandboxy games that are more focused on providing a bunch of simulationist tools for players to poke and prod the world with, rather than on telling a structured narrative.

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"Dungeon Master" is particularly genre-limited. It carries a lot of the same implications that GM does, but for fantasy games in specific-- especially dungeon crawlers.

Only making a special note of it here since it is tied to A Particularly Big Game in the community. Its connotations are much stronger than GM's, though, and it feels out of place in rules light games— unless they are specifically set in a dungeon.

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"Director" is one that can have drastically different implications depending on the background of who reads it. If they're a film buff, they'll think it implies that this role has final say on everything, and retains high levels of control that the players do not share. Very much akin to Storyteller.

However if the person reading it is more familiar with video games, and the Left 4 Dead series (and games inspired it) in particular, they'll see the Director role as something more reactive and behind the scenes. They may think this person is responsible for improvising and presenting the players with challenges and scenarios that match their current situation— be it narrative or mechanical.

There may have been a specific plan made ahead of time, but it is filled with a ton of contingencies, with an expectation that improv will fill in the gaps.

Though like Narrator, the L4D type of Director implies a somewhat passive, observer role that isn't meant to have a say in the story.

I think most people will see it with film connotations rather than the Left 4 Dead connotations— which is unfortunate, considering that the L4D type of Director is actually really well suited for certain types of TTRPGs. I think "Game Director" vs "Director" may help alleviate this somewhat, but I'm unsure how effective it'd be as I don't think most people share the L4D brain association I do.

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"Referee," "Arbiter," "Judge," and "Moderator" all share the same problem as Narrator-- but 10 times worse. These are all heavily laced in passive connotations-- and imply that this person is there simply to determine the outcomes of mechanical situations, but has no say in the narrative.

They can work nicely with like, sports or competition TTRPGs in specific, though.

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"Master of Ceremonies (MC)" implies that you're not playing a game, but that this person is about to lead you through an awards ceremony, drop some bars, or host some stuffy 500 year old regal event called "the Ceremony of the Ballet Fish" or something.

I don't think this one fits in TTRPGs like, at all, frankly. I just cannot imagine someone in that role being referred to as an "MC" unless we're talking about a game that is specifically about a ceremony, or rap.

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"Caretaker" implies that this person's role is to maintain and care for the world, game, and story. It implies that they not only facilitate the garden you're all playing in, but that they also trim or rearrange it to suit everyone's needs-- including their own.

I actually think this one is very nice. It doesn't imply that they're an absolute monarch, nor does it imply that they're a passive observer. It also manages to encapsulate the amount of background work the role can often require, without taking away their say in the resulting narrative.

A Caretaker has agency in the story, while remaining cognizant and receptive of the players' agency, too.

This works really well for games focused on telling collaborative narratives, but I think it can also work fairly well for mechanically focused ones as well. It feels pretty versatile!

This one is new to me and I honestly might start using it for my games going forward, unless someone knows of a common connotation I'm unaware of!

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"Facilitator," and "Host" both imply that this person provides the space and tools for the game, and nothing else. They handed the players the keys, told them to lock up after they're done, and left to go do sick flips in their motorcycle or something nerds do.

To me, the term by itself implies this person has very little to do with the actual game. I don't think these work any better than, say, GM, without a thematic justification.

Host could be amazing for some sort of bio-horror game— or for a game show RPG. Facilitator feels DoA to me. Both, however, could work if your game really is set up so the Facilitator/Host just provides tools to the players and does little else.

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"Guide" implies that this person takes on a fairly hand-holdy role in leading the players through the game and its narrative. Maybe not quite railroading, but they definitely do a lot to keep the players on track.

This one, I feel, carries some "teacher" connotation— as if this person is responsible for teaching the players the rules. It's on them, not the players, to read and remember the actual rules.

I feel that this connotation largely ruins what good this term could do.

But, it can still work well in certain cases. If your game really is meant to have a focused, linear narrative, it can work quite well. The same goes for specific genres or settings— such as anything dealing with camping, national parks, or tourism.

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"Overseer" taken at face value, actually could be pretty apt. They'd be someone who oversees the game and does what they can to keep things fun.

Unfortunately, due to the word's use in workplace environments and dystopian fiction— it has some pretty heavy cultural connotations that turn it more into a dictator role. They have complete and total control over the game and its narrative, even if the players disagree with their choices.

I think it can work well for games that deal with dystopian or corporate settings, where this person might actually be meant to have more control, or simply for the flavor— but not a ton else.

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"Producer" is vaguely similar to the film-style Director-- in the sense that it comes from film. However, unlike the Director, a Producer coordinates and works together with the players to tell their story. It's a more collaborative role that shares power and agency more evenly with the table.

This also somewhat accurately implies the amount of work that goes into the role, much like the Caretaker.

However, given its origins, it doesn't imply they're playing a game— I can't entirely explain why, but it feels similar to MC in this sense. The term is very heavily entrenched in its origins, and carries strong film connotations— even though, yes, video games have producers too!

I think it'd be rad to see games using this, though. In time the strong film connotations may shake off! Like Caretaker, I think it's fairly versatile and could be well suited for a wide variety of games.

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Niche terms such as keeper, warden, overlord, president, deity, and fixer are always worth considering, too! These tend to just be one-offs used in a specific TTRPG, that suit their setting and tone in particular.

Now, each can and does have its own implications and connotations to consider— weigh those against how well it serves the vibes of your game before you lock in!

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"Host and Narrator (HAN)" implies the same things that these terms do separately-- but combines them to offset (some of) their downsides. This implies that they host and provide the tools needed for playing the game, yes, but also that they actually stick around to narrate and respond to the players.

When Narrator is combined with Host here, I think this also transforms into something a little closer to the Caretaker— as the Host and Narrator both, they have more of an active role in maintaining the space (and story) they've provided.

It feels similarly versatile, as a result. I just made this one up and don't know if there are any games that use it already, it could have legs— it is a little dry and flavorless, though. This may give it a potential leg up on Caretaker, which does have a lil bit of a lighthearted vibe that may feel off in, say, a horror game.

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Honorable mentions - Scenestress - Conductor - SOUP (Story Overseer United (with) Players) - Their Majesty - MOMMY (Mediator Over Making Mythic Yarns) - JOE (Joe Ojoe Ejoe) - Representative (REP) - Doormat

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Again, these are all just according to the implications and connotations I find in these terms— you may find others! What you pick is going to depend on you, your game, and your intended audience!

I don't know if perfect terms exist, and it's wise to explain whichever you use within your rulebooks— just to ensure that someone else's biases and assumptions don't lead to them misinterpreting things.

Is there anything I missed? Any terms you like to use? Do you have a vastly different set of assumptions for one of these terms? Please share!