#3E-Humanism

[beansprean]

Just a little convo that's been in my notes FOREVER because I meant to use it for something else, but it no longer fit after a while. Gave me a chance to practice painting lol

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(ID in alt and under cut)

ID: 1a. Close up on a side table in Nandor's crypt, laden with a glazed patterned vase, a wooden jewelry box, a line of books, and a single candle on an intricate vintage holder, lit and casting a warm orange glow on its surroundings. From offscreen, Guillermo says, "I've done a lot of thinking, and I've figured it out. I do want to be a vampire...but not for the same reasons I used to." 1b. Wide shot, knees up of Nandor and Guillermo standing facing each other next to Nandor's coffin, lit from the far side by candles. Nandor, wearing a typical tunic under a fur lined cape, stares quietly at Guillermo and idly knocks the knuckles of his left hand against the coffin lid. Guillermo, wearing a violet shirt and tie with red trousers and waistcoat, has his left hand in his pocket and his right placed palm-down on the coffin lid, a few inches from Nandor's. He looks at his right hand as he speaks: "The powers, the sexiness, the cool capes - I mean that's all great but I... I realize I could have all that as a human, too. And I have." 1c. Close up of their hands on the coffin lid as Guillermo's hand slides closer to Nandor's. He continues: "But what I want...what I really want...is to be a vampire..." 1d. Chest up of Guillermo as he looks up at Nandor with a confident smile, back straight, lit warmly by candles. He declares, "So I can stay here with you, forever. As part of this family."

2a. Reaction shot of Nandor, eyes shining as he raises his brows and fights down the happy, wobbly smile that threatens to take over his face. He echoes breathlessly, "With...me?" 2b. Wide shot, waist up of them both. Guillermo looks away with a flustered grin and clarifies, "Uh! Well, you know. With everybody. Nadja, and..." Nandor turns his head away as well, flustered and frowning, and mutters "Right, yes, of course." Guillermo continues, trailing off: "Laszlo..." Nandor grunts "Uh-huh." Their hands are still an inch apart on the coffin lid. Guillermo ventures, "But also..." 2c. Close up of their hands as Guillermo's slides closer again, the tips of his fingers bumping against Nandor's knuckles. Guillermo continues, "Specifically..." 2d. Close up on Guillermo from a slightly higher angle as he looks up at Nandor through his lashes with a shy smile and shining eyes, finally saying, "You." 2e. Reverse shot of Nandor from a slightly lower angle, looking down at Guillermo with open wonder.

3a. Waist up of them both in profile. Guillermo starts to say, "And I know that y-" but is interrupted when Nandor launches forward with his hands on Guillermo's cheeks and pulls him into a kiss. Guillermo's eyes fly wide, perhaps less surprised than he should be, and Nandor's close in something like relief. 3b. Repeat. Nandor's right hand remains on Guillermo's cheek as his left arm snakes around his upper back to hold him close. Guillermo presses into the kiss, opening his mouth to let in Nandor's tongue as his hands creep beneath Nandor's cape. 3c. Repeat. They continue to kiss, heads shifting to the side to allow Guillermo to slip his own tongue into Nandor's mouth. Guillermo has unfastened Nandor's cape and is letting it drop to the floor. Nandor's right hand has plucked off Guillermo's glasses and is holding them aloft as his left tugs at the knot of Guillermo's tie. 3d. Repeat. Nandor shifts his head to deepen the kiss further, right hand tossing Guillermo's glasses carelessly behind him and left curling around the back of Guillermo's neck. Guillermo, tie now loose and top shirt buttons unfastened, presses his left hand to Nandor's chest where his brooch has been removed to allow access to his undershirt. His right hand hovers behind Nandor's head. 3e. Repeat. The kiss finally breaks, but they do not go far, Nandor's left hand still hooked around the back of Guillermo's neck as he turns his head to kiss down his cheek. His right hand pushes Guillermo's vest off his shoulder. Guillermo turns his head into Nandor's, eyes still closed, and gasps out "Mm, you'll...ah..." His right hand is tangled in Nandor's hair and his left deftly snaps open Nandor's belt.

4a. Repeat. Nandor kisses his way down to Guillermo's throat, hands now pulling Guillermo's shirt from his trousers and sneaking his hands underneath. Guillermo arches his neck to allow him room to explore, right hand fisted in Nandor's hair to hold him there as his left slides under Nandor's open tunic front. Smiling with eyes closed in bliss, Guillermo continues, "turn me...after...right?" 4b. Repeat. Nandor pulls back from Guillermo's throat, eyes closed and smiling happily, to let Guillermo press kisses from his cheekbone to the corner of his mouth. Guillermo is pulling Nandor's tunics off his shoulders, the buttons on his undershirt undone and exposing his chest. Nandor's hands are busy at the front of Guillermo's shirt, pulling apart the remaining buttons. Nandor sighs, "Oh, Guillermo..." 4c. Repeat. Nandor fists his hands at the collar of Guillermo's now open shirt to pull him aggressively upwards, looming down on him nose-to-nose with a feral grin. He promises, "During." Guillermo melts and grins helplessly, hearts drifting around his head. /end ID

[ttrpg-smash-pass-vs]

Hey I was just gathering pictures for the eventual "All-Book Player Species Tournament". And I saw this for the first time in a very long time. Why the half orc looking at us like that. Like I definitely don't mind, but this is the character select screen where we're deciding which one we want to play. She looks like she's the one who's picking. She and the gnome are giving me "Hey my girlfriend and I saw you from across the bar" vibes. And you better say yes quick, because that Half-elf is eyeing them up on the side.

[gortashs-skidmark]

Tieflings DnD - variations for the fanfic writers and artists!! -

There’s a lot about tieflings on the internet. THESE ARE CANON, except for one thought i put in.

If you’re gonna do BG3 fanfics about Tieflings, please please please consider adding some spice with origin lore and CANON facts about their race :) it would be SO fun!

Pls I need more zevlor fanfic too.

PLS READ: I don’t believe in censorship or ignoring the subject of people who are oppressed, but be mindful of how you write and use oppression of dnd races on your tav pls.

- Orange; Canon Historical Events, Abilities, Bodily Facts, and Bloodlines. It means i think you should look into it.

Pink: I think it's cute. Red; Warning, Comment Purple; Headcanon (only one of them)

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- Tieflings are prone to bad luck, because of the Curse of Aasimar.

- Planar Proverb “don’t ever make a bet with a Tiefling” hey I already made one with Lakrissa.

- They’re arcanally gifted, most of them. Zariel Tieflings are much better melee fighters.

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- Tielfling Blood; is tainted from the hells so they could have human parents. Be descendants of demon, devils, evil deities, night hags, and succubus!

- i know y’all love aphrodisiac fanfics, succubus spittle is exactly what you need dawg. Someone make me a fanfic including succubus heritage.

- along with that, Tieflings are unable to breed with anyone except humans or other Tieflings. Literally. They can be Tiefling or human.

- Usually there is some tell to if they’re Zariel, Asmodeus, Mephistopheles by birth mark, or traits like cat eyes, or night hags bloodlines have red eyes without pupils or scelaras

EDIT: I thought the flaming pupils were cat-like slit eyes in the game, but Karlach does indeed have regular slits!

- Tieflings can be male, female, or without gender. It is a canon fact. A win for my gender struggling homies.

- They can have green, blue, purple, pink, yellow, red skin tones. With dark hair colors only like black, purple, dark red and blue. I don’t care for this, genes be gene-ing so have any color you want.

Mephestopheles is recorded as to having blue skin, pale blue whites and red eyes, soot black scales, with large wings in the 2nd Manual. BUT in a 3e version he is described having red skin, bat wings, being 9ft, with white eyes, and slick black hair. Both of these are present in Mephestophic Bloodlines in BG3. Raphael is the son, though cambion, is red.

Asmodeus rules the Nine Hells. Mephestopheles being his archduke, only rules the 8th layer. Asmodeus has a humanoid, and a scale-fiend version of himself. He's red, slim, 13ft tall, horned, vibrant red eyes, and a neatly trimmed beard. He is Lawful-Evil.

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The Blood War (where Karlach escaped) is described as a "philosophical war" and which kind of evil would rule. Asmodeus plays a part but didn't start it, it's rooted in ancient Hell conflicts. Asmodeus claimed it was a senselessly bloody conflict from a militia standpoint. He really hates it, he's not a fan of it. INFERNAL POLITICS ARE FUCKING COMPLICATED. look into it :)

Zevlor was a Hellrider or Rider of Elturel! a Cavalry unit for Elturel during the 14th and 15th century. They ride horseback, and use spears and bows. They're well reguarded!! Zevlor should have more pride in himself for his service, being a refugee isn't his fault, or The Descent.

In the late 1400's striving for Paladin Knighthood in the Order of Companion was a rank of Hell rider. Before and after the year 1494, you could be a Paladin and join freely.

The Order of Companions was an Elturel, of Western Heartland, theocratic realm of Paladin Knighthood. It's just a region of Paladins that are highly reguarded. They typically worship Tyr, Torm, Helm, and Aumanator.

They kept order in the high capital of Elturel, preserving local civilization from outer destruction. They're super Lawful Good.

Typically an Oath of Devotion or an Oath of the Crown.

"For a City Guard, they outmatched the armies of the Whole Realm" - Forgotten Wiki Realms

They guard general land, they aren't really police, and can escort as far as Waterdeep if privileged to. It is a job they hold for life. I FUYCKING LOVE HELLRIDERS.

Shortly after Elturel’s descent into Avernus, the Tieflings were blamed for the fall, and expelled from the city entirely. Zevlor and any tiefling hellrider’s title has been stripped from them. Any hellrider’s were arrested at The Gate. And the reputation of tieflings sunk even lower.

Badlurian’s are Elturian’s rivals but Duke Ravenguard was tricked into coming to Elturel for politics and ended up helping and sending in troops to help fight. He’s extra important! I might find Wyll, all though lovely, useless, his father is very brave and noble and amazing for what he does.

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- Tieflings can have feathers! Although rare. They can have fur, scales, or be bald like humans. They can be any variation of sorts!

- A more common portrayal of tieflings, is having solid colored eyes, whites and irises the same color. They can be black, red, silver, gold, or white.

- Tieflings are technically minorities and don’t live in the highest neighborhoods. It gives them an even worse reputation.

- Most of the Tieflings with famous status, also give bad reps. Climbing their way to the top in corruption.

- When Tieflings get nervous, experience anxiety, or are upset. They’re known to wrap their tails around their leg!! Super telling.

- They can use their tail like a monkey, very dexterous about it. It’s about 5-6ft long.

- Their ages, weight, height. All similar to humans. Idk how logical that is with 5 extra feet of meat behind them. Sometimes they can live longer, to about 120-150 years old.

- Tieflings can look just like humans. Though they can have their hellish features, those with strong hellish features are often killed at birth out of disgust.

- They can also have legs of a goat, tail akin to a horse or a lizard.

- Tieflings can be really good at thieving, hiding, and deceit.

- their diet consists of meat, marrow, gristle, fat, and bones. They’re highly carnivorous. They even eat roasted insects.

- Many worship Besheba, the goddess of bad luck, finding similarities in them and their goddess.

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- Tieflings are as sensitive as humans, same hearing. They usually have dark vision. And their body temperatures can be colder or warmer than humans depending on their type of tainted blood. --Mephistopheles blood lines are from the frozen layer of hell, maybe their blood is colder.

- They don’t purr, sorry girlies. They’re closer to humans than Tabaxis or Driders.

- Tieflings don’t regrow horns unless they’re still young, though they do tend to file them down.

- They have a natural unsettling aura about them. Even if their heritage is unknown to others, it makes people uncomfortable. They also can smell of sulphur.

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- There are so many Tieflings bloodlines. I love the Babau Tieflings bc they’re already known as uncanny creatures-- Babau Tieflings are gaunt and skinny, darker skin, and a small horn coming from the back of their head.

- Marilith Tieflings are known to be seductive- more than they already are, and have dark hair. They have snake-like half-bodies and have grey tongues.

- Succubus Tieflings! They’re like the ones you see in bg3, often have a small set of wings.

- Tieflings can have so many fucking variations it makes me dizzy.

- Tieflings can have bat-like wing shaped ears, that perk up and shit. I know yall think about ear movements. <zevlor has this>

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Edit: Ya'll loved this :) I can do another on Tiefling politics if ya'll want. Or more bloodlines and fun facts if you want.

I have built another list of Canon facts about Driders and Kar'niss Headcanons if you monster fuckers are interested!!

Currently in the works; He Who Was Headcanons and Shadar'Kai canon facts and events.

[oinonsana]

realities, maximalism,and the need for big book™️

some gubat banwa design thoughts vomit: since the beginning of its development i've kind of been enraptured with trying to really go for "fiction-first" storytelling because PbtA games really are peak roleplaying for me, but as i wrote and realized that a lot of "fiction first" doesn't work without a proper sort of fictional foundation that everyone agrees on. this is good: this is why there are grounding principles, genre pillars, and other such things in many PbtA games--to guide that.

broken worlds is one of my favs bc of sheer vibes

Gubat Banwa didn't have much in that sense: sure, I use wuxia and xianxia as kind of guideposts, but they're not foundational, they're not pillars of the kind of fiction Gubat Banwa wants to raise up. there wasn't a lot in the sense of genre emulation or in the sense of grounding principles because so much of Gubat Banwa is built on stuff most TTRPG players haven't heard about. hell, it's stuff squirreled away in still being researched academic and anthropological circles, and thanks to the violence of colonialism, even fellow filipinos and seasians don't know about them

this is what brought me back to my ancient hyperfixations, the worlds of Exalted, Glorantha, Artesia, Fading Suns... all of them have these huge tomes of books that existed to put down this vast sprawling fantasy world, right? on top of that are the D&D campaign settings, the Dark Suns and the Eberrons. they were preoccupied in putting down setting, giving ways for people to interact with the world, and making the world alive as much as possible.

one of my main problems with gubat banwa was trying to convey this world that i've seen, glimpsed, dreamed of. this martial fantasy world of rajas and lakans, sailendras and tuns, satariyas and senapatis and panglimas and laksamanas and pandai... its a world that didn't really exist yet, and most references are steeped in either nationalism or lack of resources (slowly changing, now)

i didn't want to fall back into the whole gazeteer tourist kind of shit when it came to writing GB, but it necessitated that the primary guidelines of Gubat Banwa were set down. my approach to it was trying to instill every aspect of the text, from the systems to the fluff text to the way i wrote to the way things were phrased, with the essence of this world i'm trying to put forward. while i wrote GB mainly for me and fellow SEAsian people, economically my main market were those in the first world countries that could afford to buy the book. grokking the book was always going to be severely difficult for someone that didn't have similar cultures, or are uninterested in the complexities of human culture. thus why GB had to be a big book.

in contemporary indie ttrpg spaces (where I mostly float in, though i must admit i pay more attention to SEAsia spaces than the usual US spaces) the common opinion is that big books like Exalted 3e are old hat, or are somewhat inferior to games that can cram their text into short books. i used to be part of that camp--in capitalism, i never have enough time, after all. however, the books that do go big, that have no choice to go big, like Lancer RPG, Runequest, Mage, Exalted are usually the ones that have something really big it needs to tell you, and they might be able to perform the same amount of text-efficient bursting at the seams flavor writing but its still not enough.

thats what happened to GB, which I wanted to be, essentially, a PbtA+4e kind of experience, mechanically speaking. i very soon abandoned those titles when i delved deeper into research, incorporated actual 15th century divination tools in the mechanics, injected everything with Martial Arts flavor as we found our niche

all of this preamble to say that no matter how light i wanted to go with the game, i couldnt go too light or else people won't get it, or i might end up writing 1000 page long tome books explaining every detail of the setting so people get it right. this is why i went heavy on the vibes: its a ttrpg after all. its never gonna be finished.

i couldnt go too light because Gubat Banwa inherently exists on a different reality. think: to many 3 meals a day is the norm and the reality. you have to eat 3 meals a day to function properly. but this might just be a cultural norm of the majority culture, eventually co opted by capitalism to make it so that it can keep selling you things that are "breakfast food" or "dinner food" and whatnot. so its reality to some, while its not reality to others. of course, a lot of this reality-talk pertains mostly to social--there is often a singular shared physical reality we can usually experience*

Gubat Banwa has a different fabric of reality. it inherently has a different flow of things. water doesn't go down because of gravity, but because of the gods that make it move, for example. bad things happen to you because you weren't pious or you didn't do your rituals enough and now your whole community has to suffer. atoms aren't a thing in gb, thermodynamics isn't a real thing. the Laws of Gubat Banwa aren't these physical empirical things but these karmic consequent things

much of the fiction-first movement has a sort of "follow your common sense" mood to it. common sense (something also debatable among philosophers but i dont want to get into that) is mostly however tied to our physical and social realities. but GB is a fantasy world that inherently doesn't center those realities, it centers realities found in myth epics and folk tales and the margins of colonized "civilization", where lightnings can be summoned by oils and you will always get lost in the woods because you don't belong there.

so Gubat Banwa does almost triple duty: it must establish the world, it must establish the intended fiction that arises from that world, and then it must grant ways to enforce that fiction to retain immersion--these three are important to GB's game design because I believe that that game--if it is to not be a settler tourist bonanza--must force the player to contend with it and play with it within its own terms and its own rules. for SEAsians, there's not a lot of friction: we lived these terms and rules forever. don't whistle at night on a thursday, don't eat meat on Good Friday, clap your hands thrice after lighting an incense stick, don't make loud noise in the forests. we're born into that [social] reality

this is why fantasy is so important to me, it allows us to imagine a different reality. the reality (most of us) know right now (i say most of us because the reality in the provinces, the mountains, they're kinda different) is inherently informed by capitalist structures. many people that are angry at capitalist structures cannot fathom a world outside capitalist structures, there are even some leftists and communists that approach leftism and revolution through capitalism, which is inherently destructive (its what leads to reactionaries and liberalism after all). fantasy requires that you imagine something outside of right now. in essence read Ursula K Le Guin

i tweeted out recently that you could pretty easily play 15-16th century Luzon or Visayas with an OSR mechanic setting and William Henry Scott's BARANGAY: SIXTEENTH CENTURY PHILIPPINE CULTURE AND SOCIETY, and I think that's purely because barebones OSR mechanics stuff fits well with the raiding and adventuring that many did in 15-16th century Luzon/Visayas, but a lot of the mechanics wont be comign from OSR, but from Barangay, where you learn about the complicated marriage customs, the debt mechanics, the social classes and stratum...

so thats why GB needs to be a (relatively) big book, and why I can contend that some books need to be big as well--even if their mechanics are relatively easy and dont need more than that, the book, the game, might be trying to relay something even more, might be trying to convey something even more than that. artesia, for example, has its advancements inherently tied to its Tarot Cards, enforcing that the Arcana guides your destiny. runquest has its runes magic, mythras (which is kinda generic) has pretty specific kinds of magic systems that immediately inform the setting. this is why everything is informed by something (this is a common Buddhist principle, dependent arising). even the most generic D&D OSR game will have the trappings of the culture and norms of the one that wrote and worked on it. its written from their reality which might not necessarily be the one others experience. that's what lived experience is, after all

*live in the provinces for a while and you'll doubt this too!

[talenlee]

3e: Winners and Losers In Lawful Space

Planescape is a silly place.

Dungeons & Dragons is a wholeheartedly silly game, and it’s important to remember that what makes it silly is an expansive growth out of a particular root. It is a tree of many branches but thanks to the way that it encourages people to build their own things on top of it, it has become a sprawling kind of folk narrative and generally accepted consensus material that then a company comes along and tries to augment and supplement. Still, as much as a corporate mind is at the head of what gets published, what gets handed to that corporation is going to derive from the mind of a dork who likes D&D. To that end, D&D’s lore is a constant push-pull between the kinds of nerds who like organising lists and the kind of nerds who like to invent new types of dragons they want to have sex with and they’re all trying to integrate one another’s material because that’s how nerds demonstrate mastery over a topic.

The result is that D&D lore is composed of parts that neatly and smoothly fit together and parts that should be airbrushed on the side of a van, and all subjects exist in a space between those two points, on a spectrum. And nowhere is this more evident than in the way that 2e’s setting Planescape introduced elements that 3rd edition tried to hide.

Planescape, as a setting, exists very close to the ‘airbrushed on a Van’ side of things, and it’s extremely obvious when you look at its roots in 2nd Edition. In this space, much of what makes Planescape Planescape was codified. For those of you unfamiliar, Planescape is a setting made up of the idea of ‘planes’ as distinct, discrete universes with their own rules separated not by time and space, but just by barriers or magical boundaries. You know how Narnia is supposed to work, with the wardrobe? It’s like that, but there are a lot more wardrobes and they all go to different places. Think a sort of multi-level Isekai scheme.

Anyway, it’s a setting with like, multiple whole universe-sized worlds, that may or may not have planets inside them, some of which follow a very narrow set of identifying rules, like the elemental plane of Fire, which is full of Fire, or are just like ‘here, but a bit weird,’ like Bitopia, which is a whole plane that is mirrored vertically at a certain height. If you look up in Bitopia, you see another whole country up there – that’s why it’s called that. Also everyone there is bisexual.

Planescape sought to build out more of that structured universe and then in each structured space, fill it with interesting notions. But the structure is a little odd, in that it’s hard to make an infinite number of chairs organise neatly, someone is always putting out one more where they shouldn’t. That means there are tidy diagrams of the Planar cosmology, and then you look inside any of the bubbles in that diagram and find it’s full of gibberish.

It was in 2e that, as far as I know, we were introduced world-wise, to the characters of the Modrons.

There’s a whole writing form that involves referring to Modrons in deliberately obtuse ways, with Modrons being the individual, plural, categorical, and utility terms for this people, but what you need to know about them is that Modrons are weird lil guys that are made out of a basic geometric shape – pyramid, cube, dodecahedron, all the way up to sphere (or down to sphere, depending on who you ask). They are truly perfect Lil Guys, a byproduct of a plane of true law and order which doesn’t in any way cohere to what humans (the people playing the game) necessarily assume about law.

They make a lot of sense in a storybook kind of way where you don’t need to have big answers for what they are or how they work or even how their philosophical bias towards pure lawfulness works. In the world of 2ed, where sometimes things that sound like they should be well explained, clear rules are kinda yada-yada-yada’d in a space that you might imagine is flavour text, the Modrons left a bunch of questions unanswered and seemingly, that was good. It was good that they were heavily ambiguous because what was the life cycle of ‘an orb?’ Any answer made them less mysterious and pushed them away from the oddness that they represented.

Anyway, 3e was an attempt by a serious company to do serious things and that’s why when they went back to talk about the Creatures That Lived In The Lawful Planes, they came up with the Inevitables.

Inevitables are the demons of small minds, writ large. Literally, the point of an Inevitable is to be a Lawful Neutral version of a Demon, an entity that exists purely based on rules, coalesced out of a world made of rules, and with nothing holding them back from expressing that. Each of the Inevitables is meant to respond to a rule in the universe and then enforce it. They are self-appointed near-immortal construct cops, and they’re meant to oppose things and people that break the rules that they, specifically, are meant to care about.

These rules are completely out of whack, though, because one of them is meant to enforce say, justice, another the inevitability of death and another, the way the desert is a fixed ecosystem that nobody should try and change or interact with. And in that case, there are a bunch of plants that the Inevitables are going to have issues with, that don’t seem to be capable of forming complex political allegiances.

There’s a really interesting distinction between Inevitables and Modrons, to me. Modrons are weird and interesting but also, there’s nothing they can do that answers a question. Inevitables are a fun challenge that’s supposed to be present to oppose players or potentially be recruited into an adventure, but not for too long. But Inevitables, the 3e attempt to populate Lawful Planes with A Kind of Guy, sort of fell apart and are now more of a trivia question while Modrons have endured into 4th and 5th edition.

I don’t think there’s some greater, better reason for it or anything. I don’t think that Inevitables failed because they were Bad Design or something. But I do think that for me, the way that Modrons represented Weirdness was much more interesting than the ways the Inevitables sucked weirdness away with their simple, clear consideration of certain things as being part of natural reality.

After all: Inevitables would hunt down people who extended their lifespans because ‘everyone must die.’ But Inevitables were immortal. That’s a pretty interesting thing to juxtapose and maybe a character could struggle with that.

Or maybe they could make a big speaking trumpet and demand that everyone else refer to them as a Spokesmodron which is, in my opinion, much funnier.

Check it out on PRESS.exe to see it with images and links!

[alpaca-clouds]

High Fantasy Conundrums: The Diversity Paradox

I have some thoughts on High Fantasy and the way it currently is shifting in terms of the mainstream depictions. Meaning: No, this is not about books that much. It is more about the big franchises. The stuff with money behind it. Because those have stuff in common right now. I am talking about Dungeons & Dragons, The Witcher, Dragon Age, The Rings of Power and other more budget heavy fantasy.

Many words have been written, said, and screamed into the void of the internet about how these days you will usually see diversity in those. Most notably people that are not white.

And the self-proclaimed "conservatives" (who are actually white supremacists) will cry about how those are "medieval European worlds" and that hence there should not be Black or Asian people run around in them. Ignoring, of course, how there were Black and Asian people running around in medieval Europe.

And there will be leftists, that will defend any decision in this regard, on pure principle.

I will count myself among the second kind no doubt. I think it is good and important to see non-white characters in those big franchises. And frankly, I couldn't give less of a fuck whether or not whatever writer originally wrote a book that stuff was based on did imagine the world to be inhabited by people who did not have cheese-skin. I really don't.

Especially as the entire "realism" and "historically accurate" argument falls apart rather quickly if you consider one very important fact: There were no elves in medieval Europe. There were no dragons in medieval Europe. And there sure as hell was no actual magic in medieval Europe. So... Yeah, somehow I actually do think that Black and Asian characters inhabiting those fantasy worlds is less of an issue, when it comes to stuff being "historically accurate".

And yet...

There is something about this, that still very much irks me. Especially when it comes to some recent franchise stuff, like most of what Wizards of the Coasts did in regards of Dungeons & Dragons 5e in terms of lore - and something I am starting to expect from Dragon Age: The Veilguard.

And that is the lack of any actually non-white cultures within the world - and the lack of worldbuilding in this regard.

See... High Fantasy has generally speaking one big struggle in regards of the worldbuilding. A struggle that can be found in high fantasy world after high fantasy world: For the most part, the cultural worldbuilding is often lacking. While humans are often allowed to have a couple of different cultures, everyone else is usually treated like this: "This is dwarven culture", "this is elven culture", and "this is halfling culture". There is no variation in it. The dwarves in the high north have still the same culture, as the dwarves living in the south of the continent. And while humans do have a bit more in terms of different cultures, it usually also goes in broad strokes. Like: "This is the horse culture, this is the very noble culture, and this is the peasant culture". Am I saying I am blaming Tolkien? Yeah, maybe a bit.

This is one of the reasons I fell so in love with Dungeon Meshi. Because Dungeon Meshi literally is the first time I have seen that someone actually came up with differences between different elven and half-foot cultures and stuff. And I love it.

But Kui is the one writer I can think of, that really did that.

So... Let me talk about DnD, because I know my DnD Lore and I can tell you a bit of why this is bothering me here.

See: Dungeons & Dragons has this whole ass world in the Forgotten Realms as the main setting: Toril. Toril has a variety of continents. Just as you can see:

Now, originally half of those continents did not exist, I might add. Most of them were added during 2e and 3e. Especailly 3e and 3.5e did some worldbuilding in regards of those other continents. Even though, yes, if we are honest those continents are very much: Fantasy Asia, Fantasy North America, Fantasy Middle America, Fantasy Africa, Fantasy Arabia, and Fantasy Australia (about which, I might note, we know next to nothing).

But while 3e and 4e did make some use of those other settings, 5e did something else. 5e very much reverted back to focusing on Faerûn and the Sword Coast once more. But because by the time 5e released it was 2014 in the real world, they knew they could not make Faerûn this super white world. So Faerûn became diverse. There are Black and Asian and Brown people living there now. But... culturally it stay in the "generic fantasy Europe" sphere.

And that is my issue: The lack of different cultures.

I will talk a bit more about the issues with the High Fantasy "Medieval Europe" culture tomorrow, but today let me say this: Even these days, when non-white characters will be included into those fantasy worlds, they still will only be allowed to exist within a supposedly white cultural context. They are not allowed to have a non-white culture.

While this makes some sense in prescribed worlds - so worlds based on books that never had any intent on depicting anything but their "white" pseudo-European culture (like Lord of the Rings and The Wheel of Time with their respective Amazon Prime adaptions), this is less the truth for worlds that are designed around whatever they represent today.

Wizards of the Coast absolutely could put some effort into creating those other continents as good, lived in settings - and allow folks from those other continents who live in Faerûn to bring parts of their own culture with them. They could pay some PoC to actually do that worldbuilding Own Voice style. You know?

And the same is true with Bioware and Dragon Age. While I am by far not as familiar with the worldbuilding of DA, as I am with the worldbuilding of DnD, I am under the impression that there is not a lot going on in terms of non-white cultures from other continents. There are non-white people hanging around in the main plot and what not, but it does not seem as if there is a lot going on in terms of them having cultures of origin. Correct me if I am wrong. Some of those cultures seem to have names, but that is where the worldbuilding ends.

And that... You know, that is an issue. Because diversity, especially ethical diversity, is not just about the skin color. It is about culture. And somehow the culture aspect of it gets ignored a lot. Doesn't it?

[vintagerpg]

This is Dark Folk (1983), the Role Aids sourcebook for trolls, orcs, goblins, kobolds and gnolls. Not a great title, in terms of contemporary acceptability. The content fares better, though. Like Dwarves, the authors are trying to portray the societies of these “monsters” and there is a lot of thinking here about why they do the things they do (and, generally, finding fictional explanations for those actions, rather than subverting them). I find that they present these tribal humanoids in slightly more multifaceted ways then vanilla D&D but still basically fall back to essentialism. Chaosium’s Trollpak, a high-water mark in the portrayal of complex non-human sentient species, had come out in 1982, so this book probably marks a step back in this regard, even if it is an improvement on the Monster Manual’s absolutes.

One minor note: I think this might be the first time kobolds are explicitly characterized as reptilian and being hatched from eggs. The Monster Manual is ambiguous and I feel (without any particular evidence) that the dog-like portrayal of kobolds was dominant until 3E.

A cool thing about the book is the structure. Each species gets its cultural profile, which is followed by an adventure that builds on that information. I’m a sucker for that kind of construction, which TSR employed nicely in the Monstrous Arcana series in the late ’90s. And because the adventures and the cultural histories would probably feel unmoored without a larger setting, the first few pages of the book are devoted to a broad description of the continent of Mamaryl.

[magical-grrrl-mavis]

Games you can play instead of D&D

Pathfinder/Pathfinder 2e: Same concept as D&D but by a better company. You are an adventurer in a high fantasy setting. Character creation combines a race and class.

Mutants and Masterminds 3e: Action-focused superhero RPG, uses starting points to buy equipment and skills and build powers by combining effects. Character creation can take a bit to get used to but there are many sourcebooks with helpful examples to use, there are countless pre-built characters online, and a slew of official books containing just about every DC Comics character you can think of to play and interact with.

Vampire: the Masquerade: You are a vampire in the shadowy gothic underbelly of modern society, struggling against any number of threats, kindred or otherwise, while trying to keep the existence of vampires a secret and struggle against your own bestial nature. Will you retain your humanity? Or give in to the beast. High focus on roleplay and social intrigue.

Monster of the Week: A rules-light game based on the Powered By the Apocalypse system that recreates the experience of shows like Buffy, Supernatural, X-Files and Warehouse 13. You play as a Hunter investigationg supernatural mysteries and fighting monsters. Player characters are based on archetypes from this genre (Professional, Monstrous, Spell-Slinger etc) (this one's my favorite! :D)

Masks: A New Generation: Play as a young superhero finding their place in the world. The game creates a coming-of-age story as you grow and change in response to your actions and the people and events around you. Character creation reflects this by focusing on your characters personality, struggles and strengths while being more loose about your actual powers.

Girl by Moonlight: Magical Girls (boys, enbies etc) through a queer lense. You play a magical guardian grappling with destiny, love and the heartbreaking duality between who you are and who the world says you are. Split between four genres you can choose from-classic magical girls, dark magical girls, psychological conspiracy and... mecha. I guess. (I'm gonna be honest I haven't looked super deep into those last two yet). Characters are based on archetypes from magical girl stories, some with very obvious inspirations.

Scum and Villainy: Play as a roguish outlaw in a galactic society run by an oppressive force. You are the Han Solo of this story, smuggling and doing crimes and mercenary work aboard your own starship.

Killer Ratings: You and the other players are the insufferable cast of a cheap ghost-hunting show and have found yourselves in over your heads as you've wandered into an actual haunted location. Play as you explore the site and are most likely taken out one-by-one, returning as vengeful spirits to further terrorize your former cast-mates.

[ladiemars]

I love Nor and her giant sad puppy eyes, I would love to know more about her

thank you!! have a hastily drawn nor ft. her giant sad sopping wet puppy eyes:

+ a giant nor lore dump below the cut જ⁀➴

➸ her whole character was inspired by that one textpost that’s like, “characters with both the abject terror and desperation of an animal that knows it is cornered and destined to be eaten. you just can't get that kind of angst out a successful hunter” and this quote by james harriet: “if having a soul means being able to feel love and loyalty and gratitude, then animals are better off than a lot of humans.”

➸ she’s is the product of a union between a drow woman and a deep imaskari man. for those who don’t know, the deep imaskari are a human subrace (from 3e) that have stone-like skin and hair that’s white or black. because that’s nor’s human half, most people assume she’s completely drow upon meeting her, since did not inherit any features from her father that would make her look less like her drow mother.

➸ the deep imaskari live longer than other humans—up to 550 years—so nor ages at a rate more akin to drow and elves than half-elves or humans. nor believes she’s currently around seventy years old, though she could be off by a decade or two. she’s not sure when she was born and has long periods without human contact. she really isn’t sure how much time has passed.

➸ she has no given name, but eventually ended up going by the name ratcatcher, which is what the locals in baldur’s gate called her. halsin is the one who names her nor shortly after they meet, which is the elven word for “passion” and also “run.”

➸ this excerpt from one of my fics sums up her urchin/orphan to urban ranger/beastmaster pipeline pretty well:

➸ around the age of twenty, nor grew to resent humanity so much that she decided to leave baldur’s gate and live in the forest with only animals for company for half a century. (this is when she lost track of time completely.) in the forest, she became an expert in survival, attuning her ears to the slightest twitch in the air, to every noise and smell. she lived in a cave and slept curled up beside velvet on a bed of willow leaves. the events of baldur’s gate 3 is the first time in decades that she’s had social interaction.. and it shows.

➸ she has a little wolfdog companion named velvet. (i’ve drawn him and her and halsin and scratch here). he was another half-breed who didn’t quite being anywhere, so they bonded very deeply. (fun fact: velvet killed the elder brain in my first playthrough as nor. he’s a legend in faerun now.)

➸ laezel is her bestie. they are ride or die. neither of them understand a damn thing about faerun or its inhabitants. but that also means they don’t judge each other for anything, cause they both just kind of assume what the other is doing is normal

➸ a big part of her character is her dynamic with the emperor. she gets manipulated by him so bad because he tells her everything a forgotten, unloved creature wants to hear: i need you, i’ll protect you, you’re not like other people, we’re a team, you can trust me, i want you to join me, you aren’t alone. it’s not until he begins to pressure and compel her to become illithid against her will she starts to fear him and his power over her, and after certain revelations she realizes he was using her and turns on him altogether.

➸ obviously she romances halsin. i love the dynamic of beastmaster/druid. they’re extremely well suited because they’re both such inherently good people and they bond a lot over their love for nature. they are also the only two people who can really understand each other’s animalistic quirks.

i’ve written some fics with her that you can read here if you’re interested. >:3c

[featherymainffins]

You know the fact Larian did have "fucked up elves" in their creative vision once shows that they can and want to do it, so I'm wondering why BG3 elves look like humans with pointy ears and half-elves like humans with slightly less pointy ears. Like, was WotC threatening them with a gun like "If you make these elves even slightly 3e we will kill you and your entire family."?

[beansprean]

Oh, y'all thought the fight had started already?

My Familiar’s Ghost part 51

Masterpost

New pages on Patreon!

(ID in alt and under cut)

ID: 1a. Close up of bat Nandor from Guillermo’s POV, crushed into a wall and held there by Guillermo’s hand. One of Guillermo’s claws has pierced the membrane of his wing and Nandor is clutching at his fingers in terror, staring up with wide, panicked eyes. 1b. Reverse shot of vampire Guillermo from Nandor’s POV, holding him down with his left hand as his right rears back, claws bared in preparation to strike. He is grinning maliciously, relishing in a new kill. 1c. Wide shot from the side as there is a sudden screech of tires and crash of metal. Guillermo and Nandor freeze in place and whip their heads toward the viewer and the front windows of the Panera.

2a. Wide shot from outside, on a roadway running up a hill and parallel to the Panera. A blue hatchback car with a license plate that says ‘whoops’ and a bumper sticker that says ‘how’s my driving? 1-800-KISS-IT’ has crashed into a pole with a yellow traffic light and is smoking, front end crumpled and passenger window shattered. The pole is slowly falling sideways, towards the Panera parking lot below. 2b. Close up as the traffic light, yellow light still lit, smashes into the asphalt, cracking the green lens and ripping the blinders off the red lens. 2c. Repeat. The traffic light settles on its side, mostly intact, and flips to red. Unfocused without the blinders, red light pours freely across the ground. Nearly invisible red text behind reads “stop stop stop stop”. 2d. Repeat of 2c, Guillermo and Nandor still frozen in place but now bathed in red light. Guillermo is narrowing his eyes suspiciously at the scene outside and Nandor nervously flicks his eyes over to him, assessing.

3a. The entire Panera is now flooded in red. Shot from behind the pillar Nandor is pinned to as his leg, now human shaped again, kicks forcefully upward, sending Guillermo flying backward into the opposite wall, demolishing the sheetrock and destroying a wooden chair in the process. Debris flies everywhere. 3b. Waist up of Nandor, back in human form, as he stands himself up, his inner arm bleeding. He snarls angrily and points an accusing finger at Guillermo, saying ‘You want to fight? Fine! The truth is, I have been upset with you, too!’ 3c. Reverse shot of Guillermo struggling out of the ass-sized hole he made in the wall, fangs bared and deadly gaze focused on Nandor. Nandor continues from offscreen: ‘You get so angry when I don’t know things about you but then you don’t tell me anything!’ 3d. Close up on Guillermo’s hand closing around a broken wooden chair leg. 3e. Close up on Nandor’s hand closing around a wooden chair leg as he accuses, ‘You keep secrets!’

4a. Full body of Guillermo lifting himself from a crouch in the debris left by the wall, a long stake with a shattered pointy end clutched in his left hand. His eyes, like a predator, never leave Nandor. Nandor keeps talking: ‘You assume to know what I am thinking and how I will react to things and what I will say - well you don’t.’ 4b. Knees up of Nandor as he steps away from the crushed pillar to a more strategic place against the light, holding his own long stake point-up like a readied sword in front of him. He stares seriously at Guillermo and says, ‘You hear, but you never listen, Guillermo.’ 4c. Extreme close up on Nandor’s glaring eyes trailing a slash of red light as he makes a quick turn, shouting, ‘Well you will listen to me now!’ 4d. Full body wide shot on an orange and yellow starburst background as Guillermo, both hands on his makeshift sword, takes a backswing at Nandor. Nandor’s sword meets him in the middle as he swings it down single-handed in perfect form. Their eyes never leave the other’s; they’re both in the fight now. /end ID

[caption]

Bonus ID: shot through the shattered front windshield of the crashed car to show Laszlo in the passenger seat and Colin behind the wheel, both covered in broken glass and peeking out from behind inflated airbags. Colin asks, glasses askew on his face and grinning in his usual unflappable way, ‘How was that, Lazzo?’ Laszlo smiles patiently over at Colin and asks, ‘Marvelous work, my boy! Now, what possessed you to aim for this particular traffic signal?’ Colin replies, ‘I dunno, just had a feeling. Can we go for that Escalade next? I really want to see how sensitive that pedestrian detection feature is.’ The engine continues to smoke, and there are a few wisps of familiar blue light trailing away. /end ID

[ttrpg-smash-pass-vs]

Don't worry, I'll throw in the other lineup too. Just not as interesting as it's mostly "wtf is the gnome casting" with vague interest or disapproval.

[rayshippouuchiha]

I have not even watched AssClassroom and still ur watch Wednesday has me hooked! I know snippets and about the ending (unfortunately) from YouTube shorts and Tumblr but ahhhhh!!!!

No spoilers about the ending though don't worry.

I have been contemplating a question though...

If an Izuku who had ranaway from Chisaki's lair with Eri in tow had been in Ass Class... How would have things gone???

Like Izuku is 'Saving' embodiment. So usually i would see his presence as a natural counter to Koro sensei or really anyone he cares about actually dying. He kind of just...breathes life into those around them. But there would be no way Pre U.A Izuku would be able to make much difference to canon, not when he still is naive about much of how the world works. Wouldn't question things he doesn't understand but has been conditioned since he was born as to be normal. Doesn't realise yet that heroes can be wrong. That heroes are humans, and that villains are people too. So what if things were spiced up?

Pre U.A Izuku has a nasty habit of suppressing his hurt and anger when it comes to himself. Can't even think of fighting back and winning. And has been hurt so much. Has been failed and abandoned by everyone around him since he was four and failed to manifest a quirk.

And then there is Eri. Who has never known kindness, has always been tired. But still finds it in herself to help the boy who breathes but looks dead, who was brought here after her, but has carried a weight of grief years in the making.

And then something changes. The moon gets destroyed, everyone panics, Izuku possessed by some unholy force seizes his chance, takes eri and gets the fuck out of dodge.

No where is safe. Hassakai is hunting them for sports, and one too many missed calls with the gang members have convinced Izuku that they are on borrowed time. They can't go to Heroes or police, one too many bribes and gazes that look through them but not at them, and the hero commission with their child soldiers (Izuku knows. Chisaki likes to rant) has them scrambling.

Except. There is an octopus. And there is a reward. There is an opportunity. There is a threat.

Izuku has never been able to fight back when it comes to himself. Can't think of hurting someone, bringing them the pain he was put through. Has always been too kind.

But.

Izuku also has a little sister now. A sister who for some reason sees him as a hero. A sister who saved him. A sister who wants him, who cries out at night, not from what Chisaki did to her, but out of fear that her Zuku-nii would leave her.

Like her mother did. Like her father did.

And Izuku who doesn't remember his father's face, but remembers his kindness. His love. Remember the sting and betrayal of screaming for him, not a hero but DAD. Understands.

Izuku doesn't like hurting others. Doesn't understand those who can kill others and laugh and live with themselves. But looking at the sleeping face of his baby sister cradled against him. He knows bone deep and heart deep that he is willing to cross lines he never would have imagined for her sake.

That he is willing to play the long con and sully his own dreams if it means his sister can be safe. If it means his sister can live. If it means he can be selfish enough to stay with the only family he has left.

His rage always suppressed comes surging forward like a tide. Filling him until he is nothing but a puppet dancing along to the strings of his grief, rage and hurt. Desperation incarnated in his endeavour to not lose anymore family, to keep his sister safe, to never be hurt again, to crush and incinerate those who dare to look down on him and hurt them, to watch people squirm and writhe and gasp under his blank gaze. He who no longer wants to be a hero, he who is dreamless, he who desires and needs control in his life. He who unknowingly resembles his father. He who is the child of the devil.

It's better than being a dekunobu with no limbs.

So now he is heading off to 3E, hiding in plain danger, a place where no one would expect him to be. He is going to cash in favors, make deals, learn... assassination.

And then after the octopus is dead, he is going to come for Chisaki.

Except. Things start to go awry.

Except Koro sensei cares.

Except Koro sensei learns, almost too late that there is a threat bigger than himself lurking around the edges, watching and waiting in amusement as his blood walks the same path as him.

OH Oh this is too good and I want to read it