syni-gin-ryn - Tumblr blog

[syni-gin-ryn]

Whats ur thots on the whole transphobia shiz with CR? Ur hot takes on CR always seem to reflect the sit better than literally anything else

how do you people keep finding me lol I haven't watched CR in months, much less interacted with the whole space surrounding it, but my answer's probably the same as always. People refuse to address literally any problems (like the racism or, as you said, the transphobia) with it in the name of "positivity" until something too big happens to ignore, and then things go nuclear. Rinse and repeat for literally as long as CR has existed. CR's only a positive and diverse space for white LGB people, everyone else can get fucked.

(And then there's the people who just beg to bootlick millionaires, ofc)

[syni-gin-ryn]

Zeen Chin

[syni-gin-ryn]

Art by Zeen Chin

[syni-gin-ryn]

Hello, I'm currently looking for work. You can contact me through DMs or order stuff on my Ko-fi ☕

[syni-gin-ryn]

I feel like the "starving artist" mentality is essentially an obstacle to class consciousness, because rather than think of themselves as exploited workers in food service or retail or whatever industry they actually work in that allows them to make rent, the "starving artist" thinks of themselves as someone who has been wronged by society because they don't receive what they see as just compensation for their skilled work as artists.

And so despite their apparent support for communism, these people are only incidentally leftists as a result of living under capitalism, which has failed to deliver what they want, and so they latch on to communism as an alternative; it's hard to imagine any economic system that gives what they really want, which is not the luxury to not have to work and to be able to pursue art in their free time, but an economic system where their art skills are rewarded as labor.

And they can't believe the truth, that no one valued this work as labor in the first place, so they have to believe instead that someone has intervened somehow to devalue their work, and that this is the reason why they've been blocked out of free admission to the petit bourgeoisie. Which is why they always fall for the most reactionary politics with a bare veneer of leftist language, or support massive increase on copyright and intellectual property; they harbor resentment towards those who they believe have denied them of what they were entitled to, and so they want to hurt those they believe wronged them as much as possible, no matter the consequences to themselves!

[syni-gin-ryn]

I think describing many artists as believing themselves entitled to the petite bourgeoisie clarifies a lot of art culture itself. From a persuasive idea among less popular artists that sharing their art via retweets or reblogs is morally mandatory (especially if you have a larger following!), to the idea that they are entitled to commissions, to the absolutely crazy level of intellectual property artists attempt to propagate. (I mean, what other culture could even conceive of, excuse my french, fucking adoptables?! "I get to make a character without any input from you and you get the privilege of buying the concept off me."). That that's not even mentioning the concept of style theft.

Its entitlement all the way down, it seems.

I feel like the "starving artist" mentality is essentially an obstacle to class consciousness, because rather than think of themselves as exploited workers in food service or retail or whatever industry they actually work in that allows them to make rent, the "starving artist" thinks of themselves as someone who has been wronged by society because they don't receive what they see as just compensation for their skilled work as artists.

And so despite their apparent support for communism, these people are only incidentally leftists as a result of living under capitalism, which has failed to deliver what they want, and so they latch on to communism as an alternative; it's hard to imagine any economic system that gives what they really want, which is not the luxury to not have to work and to be able to pursue art in their free time, but an economic system where their art skills are rewarded as labor.

And they can't believe the truth, that no one valued this work as labor in the first place, so they have to believe instead that someone has intervened somehow to devalue their work, and that this is the reason why they've been blocked out of free admission to the petit bourgeoisie. Which is why they always fall for the most reactionary politics with a bare veneer of leftist language, or support massive increase on copyright and intellectual property; they harbor resentment towards those who they believe have denied them of what they were entitled to, and so they want to hurt those they believe wronged them as much as possible, no matter the consequences to themselves!

[syni-gin-ryn]

Reithe Summons Neferitus, The Black Angel, To Her Side

[syni-gin-ryn]

Art by JohnnyD

[syni-gin-ryn]

Art by classmate jew

[syni-gin-ryn]

Another design for him🦇✨

[syni-gin-ryn]

Art by Jnn

[syni-gin-ryn]

Kobold Work Crew Tokens

Free art for your campaign.

The image(s) above in this post have not been modified/iterated extensively. As such, they do not meet the minimum expression threshold, and are in the public domain. Prompt under the fold.

Prompt: a kobold, fantasy creature, wearing overalls and a hardhat, gaming token, white background, fullbody image

[syni-gin-ryn]

Art by jianjian jian

[syni-gin-ryn]

Whaddaya think about Daggerheart, then?

Meh. Feels like a heartbreaker rpg.

It does a lot of things adequately, but for everything it does adequately, there's a system out there that does it wayyy better. Icon, Monster Of The Week, Unnamed MCDM RPG*, and Nobilis, to list a few.

Also, not a storytelling game. There's no rules for anything you'd expect from a storytelling rpg**. The rules' prinary focus is on combat (like 5e), and the combat is the weakest part of the system.

I did like separating the ancestries and communities (though I feel like if you're going to do that, you might as well take it all the way and remove any kind of mechanic related to ancestry). Some of the ancestry art was really cool, too.

The only thing I really dislike about the system is that they added "tactical" to the description of it. I think it is almost deceitful to try and pass this game off as any form of tactical - the rules do not facilitate (or even really allow) any form of tactical combat whatsoever. I don't even know if a tactical game is even possible with theater-of-the-mind. If it is, Daggerheart certainly doesn't accomplish it. Also, combat just feels bad in this system. It's not fun.

But yeah, pretty much what I've come to expect of CR's TTRPG products.

*Unnamed as I'm writing this. I know they have a name for it, they just haven't announced it.

**it has decent-to-good character and relationship generation, but it has no rules for story beat/character arc/settings/tone/thing/plot generation, which is stuff you'd expect for a game whose focus is actually on collaborative story telling! (At least, not that I could find.)

[syni-gin-ryn]

Were you an game designer? I remember you saying that in a post, but I can't find it anymore

Yes, I am. And you probably couldn't find it because I've deleted most of my CR posts, so the post where I mentioned it is probably gone lol. I've lost interested in CR, so I'm not really interested in getting arguments about whether or not Matt's NPCs are realistic anymore, y'know?

[syni-gin-ryn]

syniryn -> syni-gin-ryn

Oh, and for anyone who was following me for my #hot critical role takes, this is now a blog more for my own D&D stuff rather than takes on live plays. I'll still probably make a few posts here and there talking about what one could learn from watching Matt DM, but it's not the focus anymore

[syni-gin-ryn]

Short Story:

The rain drizzled down, pooling at the base of the stairs where Sarah sat. It had been raining all day. Not a storm which ebbed and flowed in ferocity, but a dreary, constant stream. It was near impossible to truly tell where the sun lied in the sky – if it even did any more. Things that had once seemed constants were no longer so, ever since demons began falling from the sky.

“What’s that thing on your face?” She heard a voice behind her say. She turned to look, seeing a young human boy, no older than 10, peeking out from the door inside the church. Tömill was his name.

Sarah smiled at him, motioning for him to sit next to her. He obliged, sitting next to her, looking out at the rain. She liked children. They were always forthright with you, and that sense of wonder of the world had not yet faded like it had for so many adults. Even in times of terror, where portals to other worlds were ripped open, they still asked about the tattoo on a half-elf’s face.

“I used to live farther up north from here,” she started. “In a forest we called ‘Vitra’. In elven, it means ‘Vital’.” She spun her fingers, slowly drawing up a small illusion of a forest; of her home. The young boy let out a small gasp.

“You lived in a woad?!” Tömill exclaimed. Sarah nodded her head, slightly surprised the boy even knew that word.

“Yes, I did,” she said. “’Sarah Lassar, First And Only Daughter Of Elyin Lassar And Ronan Gwilt’. That’s what I was called.” She leaned over to him, “In Vitra, you wouldn’t just be Tömill, but ‘Tömill Aubé, First Son Of Céleste Aubé and Basile Dupéré’ – though they’d probably add ‘The Strong’ to the end.”

Tömill gasped, his face brightening. “Tömill, First Son Of Céleste and.. and Basile Du…, The Strong!”

“Exactly,” she said. “In Vitra, we followed the planets and the stars in the sky. Every night we’d watch them rise and fall, dancing across the sky. Many-a-nights me and my parents would look up at them, pointing out each planet and constellation and telling me the tales of the heroes of Old who they were named after.”

“And that’s what your tattoo is?” Tömill asked. “A con- a contel-,”.

“A constellation.” Sarah said. “Not quite, though it’s related. See, each of these four lines, the ones that go up, down, left, and right,” she pointed to them. “Those are north, south, east, and west. Each of those smaller lines that stick off of those ones are the constellations and planets, how far it was from one of those directions. And that circle in the middle? It connects the four directions together, connecting two lines together so the energy flows between them – from dusk ‘till dawn.”

Tömill nodded his head, though it was clear that he wasn’t really following along. She smirked, “It’s magic from days of old, from before the Shattering, even.” She poked him in the side a little. “All people who are born in a woad have this tattoo. It marks where the stars were when you were born – a gift from the Earth to you.”

“A gift from the Earth? Could I get one?!” Tömill excitedly asked.

Sarah laughed, looking back into the rain. “Only a woad could give you that answer. But I’m sure if you ask real nicely, it’ll do it for you.”

Wow, I didn't realize how much tumblr's compression affect images. I understand now why people always tell you to click for a better resolution

Sarah Nuevo, First And Only Daughter Of Elyin Lassar and Ronan Gwilt, The Fleeting Light, The Essence Of Nature.