#3E-Perceptive

[imsobadatnicknames2]

What's OSR? I've seen you mention it several times in your RPG posts. Is it like a genre of rpg or...?

Hey, sorry I took so long to reply to this lol you probably already just googled it by now.

But like. Anyway.

OSR (Old-School Revival, Old-School Renaissance, and more uncommonly Old-School Rules or Old-School Revolution, no one can really agree on what the R means) is less like a genre and more like a movement or a loosely connected community that seeks to capture the tone, feel and/or playstyle of 70's and 80's fantasy roleplaying games (with a particular emphasis on old-school editions of Dungeons and Dragons, particularly the Basic D&D line but pretty much anything before 3e falls under this umbrella), or at least an idealized version of what people remember those games felt like to play.

There isn't exactly a consensus on what makes a game OSR but here's my personal list of things that I find to be common motifs in OSR game design and GM philosophy. Not every game in the movement features all of these things, but must certainly feature a few of them.

Rulings over rules: most OSR games lack mechanically codified rules for a lot of the actions that in modern D&D (and games influenced by it) would be covered by a skill system. Rather that try to have rules applicable for every situation, these games often have somewhat barebones rules, with the expectation that when a player tries to do something not covered by them the GM will have to make a ruling about it or negotiate a dice roll that feels fair (a common resolution system for this type of situation is d20 roll-under vs a stat that feels relevant, a d6 roll with x-in-6 chance to succeed, or just adjudicating the outcome based on how the player describes their actions)

"The solution is not on your character sheet": Related to the point above, the lack of character skills means that very few problems can be solved by saying "I roll [skill]". E.g. Looking for traps in an OSR game will look less like "I rolled 18 on my perception check" and more like "I poke the flagstones ahead with a stick to check if they're pressure plates" with maybe the GM asking for a roll or a saving throw if you do end up triggering a trap.

High lethality: Characters are squishy, and generally die much more easily. But conversely, character creation is often very quick, so if your character dies you can usually be playing again in minutes as long as there's a decent chance to integrate your new PC into the game.

Lack of emphasis on encounter balance: It's not uncommon for the PCs to find themselves way out of their depth, with encounters where they're almost guaranteed to lose unless they run away or find a creative way to stack the deck in their favor.

Combat as a failure state: Due to the two points above, not every encounter is meant to be fought, as doing so is generally not worth the risk and likely to end up badly. Players a generally better off finding ways to circumvent encounters through sneaking around them, outsmarting them, or out-maneauvering them, fighting only when there's no other option or when they've taken steps to make sure the battle is fought on their terms (e.g. luring enemies into traps or environmental hazards, stuff like that)

Emphasis on inventory and items: As skills, class features and character builds are less significant than in modern D&D (or sometimes outright nonexistent), a large part of the way the players engage with the world instead revolves around what they carry and how they use it. A lot of these games have you randomly roll your starting inventory, and often this will become as much a significant part of your character as your class is, even with seemingly useless clutter items. E.g. a hand mirror can become an invaluable tool for peeping around corners and doorways. This kind of gameplay techncially possible on modern D&D but in OSR games it's often vital.

Gold for XP: somewhat related to the above, in many of these games your XP will be determined by how much treasure you gather, casting players in the role and mindset of trasure hutners, grave robbers, etc.

Situations, not plots: This is more of a GM culture thing than an intrinsic feature of the games, but OSR campaigns will often eschew the long-form GM-authored Epic narrative that has become the norm since the late AD&D 2e era, in favor of a more sandbox-y "here's an initial situation, it's up to you what you do with it" style. This means that you probably won't be getting elaborate scenes plotted out sessions in advance to tie into your backstory and character arc, but it also means increased player agency, casting the GM in the role of less of a plot writer or narrator and more of a referee.

Like I said, these are not universal, and a lot of games that fall under the OSR umbrella will eschew some or most of these (it's very common for a lot of games to drop the gold-for-xp thing in favor of a different reawrd structure), but IMO they're a good baseline for understanding common features of the movement as a whole.

Of course, the OSR movement covers A LOT of different games, which I'd classify in the following categories by how much they deviate from their source of inspiration:

Retroclones are basically recreations of the ruleset of older D&D editions but without the D&D trademark, sometimes with a new coat of paint. E.g. OSRIC and For Gold and Glory are clones of AD&D (1e and 2e respectively); Whitebox and Fantastic Medieval Campaigns are recreations of the original 1974 white box D&D release; Old School Essentials, Basic Fantasy and Labyrinth Lord are clones of the 1981 B/X D&D set. Some of these recreate the original rules as-is, editing the text or reorganizing the information to be clearer but otherwise leaving the meachnics unchanged, while others will make slight rules changes to remove quirks that have come to be considered annoying in hindsight, some of them might mix and match features from different editions, but otherwise they're mostly straight up recreations of old-school D&D releases.

There are games that I would call "old-school compatible", that feature significant enough mechanical changes from old-school D&D to be considered a different game, but try to maintain mechanical compatibility with materials made for it. Games like The Black Hack, Knave, Macchiato Monsters, Dungeon Reavers, Whitehack, etc. play very differently from old-school D&D, and from each other, but you generally can grab any module made for any pre-3e D&D edition and run it with any of them with very little to no effort needed in conversion.

There's a third category that I wouldn't know how to call. Some people call then Nu-OSR or NSR (short for New School revolution) while a small minority of people argue that they aren't really part of the OSR movement but instead their own thing. I've personally taken to calling them "Old School Baroque". These are games that try to replicate different aspects of the tone and feel of old-school fantasy roleplaying games while borrowing few to none mechanics from them and not making any particular attempts to be mechanically compatible. Games like Into the Odd, Mörk Borg, Troika!, a dungeon game, FLEE, DURF, Songbirds, Mausritter, bastards, Cairn, Sledgehammer, and too many more to name. In my opinion this subsection of the OSR space is where it gets interesting, as there's so many different ways people try to recreate that old-school flavor with different mechanics.

(Of course, not everything fits neatly into these, e.g. I would consider stuff like Dungeon Crawl Classics to be somewhere inbetween category 1 and 2, and stuff like GloG or RELIC to be somewhere imbetween categories 2 and 3)

The OSR movement does have its ugly side, as it's to be expected by the fact that a huge part of the driving force behind it is nostalgia. Some people might be in it because it harkens back to a spirit of DIY and player agency that has been lost in traditional fantasy roleplaying games, but it's udneniable that some people are also in it because for them it harkens back to a time before "D&D went woke" when tabletop roleplaying was considered a hobby primarily for and by white men. That being said... generally those types of guys keep to themselves in their own little circlejerk, and it's pretty easy to find OSR spaces that are progressive and have a sinificant number of queer, POC, and marginalized creators.

[thecreaturecodex]

Zap Kraken

Image © Turtle Rock Studios

[Sponsored by Soluman Blevins. The second of the Evolve monsters I've done, other than the warpwraith. Mechanically, the Kraken is interesting, but design wise, it's a little drab. Because it's just a Cthulhu. The lightning bolt wings are a cool touch, but otherwise, it's very much a Cthulhu. And in a game that already has Cthulhu and his star-spawn, I wanted to differentiate it a bit. So I tied it to one of my favorite one-shot weirdo monsters from the 3e era.]

Zap Kraken CR 16 CE Aberration This immense creature has a roughly dinosaur-like body and the head of a colossal cephalopod. A vertical maw stretches between its beard of tentacles, and two large jointed appendages grow from its back and crackle with electricity. Its long tail is segmented like the vertebral column of a great beast.

Zap krakens are rare aberrant creatures that use electrical energy for both offense and mobility. Although they are enormous, they fly with surprising grace by manipulating electricity, essentially creating wings of lightning that hold them aloft. They are remarkably stealthy for their size, and can sneak up on prey from above before dropping to melee or merely blasting away with channeled lightning bolts.

Zap krakens are territorial, and maintain their territory by creating banshee mines, so called for the shriek of their explosions. These mines home in on creatures that get too close, and the zap kraken can also visit them to see what it has seen, similar to a prying eyes spell. Although zap krakens typically view other creatures as prey first and foremost, they have a mutual fondness for zeugalaks. Both species have tentacled maws and an affinity for electricity, and sages speculate that they are related to each other. A zap kraken often views zeugalaks the way a nobleman views their prized hunting hounds, using them to flush out prey or occupy melee combatants. 

Zap Kraken CR 16 XP 76,800 CE Gargantuan aberration Init +7; Senses blindsense 120 ft., darkvision 60 ft., Perception +17

Defense AC 30, touch 14, flat-footed 22 (-4 size, +7 Dex, +1 dodge, +16 natural) hp 225 (18d8+144) Fort +14, Ref +13, Will +15 DR 10/magic; Immune cold, electricity; SR 26

Offense Speed 50 ft., fly 100 ft. (good) Melee 2 claws +18 (2d6+8), tentacles +17 (4d4+8), 2 wings +16 (2d6+4 plus 1d6 electricity) Space 20 ft.; Reach 20 ft. (30 ft. with tentacles) Special Attacks banshee mines, lightning strike, shock pulse

Statistics Str 26, Dex 24, Con 28, Int 11, Wis 19, Cha 19 Base Atk +16; CMB +28; CMD 46 Feats Blind-fight, Combat Reflexes, Dodge, Flyby Attack, Hover (B), Mobility, Multiattack, Stand Still, Weapon Focus (claw) Skills Acrobatics +20 (+28 when jumping), Fly +21, Intimidate +17, Perception +17, Stealth +16, Survival +17; Racial Modifiers +8 Stealth Languages Aklo

Ecology Environment warm hills Organization solitary or band (1 plus 1-4 zeugalaks) Treasure standard

Special Abilities Banshee Mines (Su) As a standard action, a zap kraken can create up to three animated mines. Treat these as the eyes generated by the prying eyes spell, only when a creature approaches within 30 feet of them (all creatures or of a type set by the zap kraken on creation), they fly towards that creature and explode. Treat this as a ranged touch attack using the zap kraken’s modifiers (+19 for a typical specimen). If it hits, the creature struck takes 4d6 points of electricity damage and 4d6 points of sonic damage. Whether the mine hits or not, it explodes, dealing this damage in a 5 foot radius (Reflex DC 23 halves). A zap kraken knows when one of its mines has detonated as long as it is within 1 mile of the mine. A zap kraken can create up to nine mines a day, but can have a maximum of three in existence at a time. The save DC is Charisma based. Lightning Strike (Su) As a standard action, a zap kraken can call down a bolt of lightning within 160 feet. It fills a column 60 feet high with a 20 foot radius, dealing 16d8 points of electricity damage to all creatures in the area (Reflex DC 23 halves). A zap kraken can use this ability once every 1d4 rounds. The save DC is Charisma based. Shock Wave (Su) As a standard action, a zap kraken can release an electrical pulse in a 60 foot radius centered on its body. All creatures in the area take 16d4 points of electricity damage and are pushed back 10 feet. A successful DC 27 Reflex save halves the damage and resists the knockback effect. A zap kraken can use this ability every other round. The save DC is Constitution based.  Tentacles (Ex) The tentacles of a zap kraken are treated as a single primary natural weapon

[invinciblerodent]

1) Will your OC get married and with who? 2) Will they have any children? What are their names?

OC Ask Game!

I think I’m gonna go on for a long (long, long, LONG) time about Iona, and mention the others kind of as a footnote, because I think Iona’s answers to these are just… the ones that are most interesting to me, lol

(fair warning looking back, this got PROFOUNDLY away from me- the TL; DR of it is that for Iona marriage is "yes, eventually" and kids are "no, never", for Arvid marriage is a "yes, of course, sure" and kids are "well if you want it", and for Petyr both are "hah! no. nope. no.")

So, this whole “what now” issue in Iona’s case, it’s… all a bit muddled.

As a little background to it, in 3e, it’s said that courtships between elves often take a very long time, sometimes decades, before a commitment is reached- which is understandable, especially considering that elves are also said to seldom fall out of love with one another, and don’t typically remarry after the death of one spouse. A commitment that’s meant to span a lifetime of centuries (whether the life of one has a natural endpoint or not is irrelevant), it makes sense that they’d take it seriously, and not jump into soul-bonds willy-nilly. (An albatross is definitely going onto her moodboard now, lol.)

I think both Iona and Astarion would still be kind of... feeling themselves out, by the end of the game, and neither of them would be drawn to the thought of “blissful mutual domesticity” just yet.

I mean, on top of being a quite young elf, she’s spent a good 80% of her life among humans: her experience with life is colored by the perceptions of a people who are constantly trying to outrun the rushing of a clock that might as well be standing still for her. So exploring what time even means to her, that’d be a very exciting prospect. While Astarion, he was even younger than she is now when he had the “elven” part of his identity taken away from him, only to be made into someone that’s seen as a tool first, monster second, and person a distant third. He’s eager to re-learn personhood and live again, so they’re both sort of… (re-?)discovering themselves and their “feyness” together, and in each other. 

My little idea is that after the Brain’s defeat, they’re going to spend one or two decades on solo adventuring: primarily looking for a way to allow him to walk in the sun again, but that… proves itself to be something of a wild goose chase. The travel itself is annoyingly cumbersome (either they have to shelter during the day and cover no ground, or he has to be polymorphed and be both unable to communicate and practically defenseless [can’t risk fighting, if his form is dismissed he’s dead]). But also, there are just… too many disappointments. Too many dead ends. Too many times they’ve gotten too close only to find out that they were either late, or misled, or just plain wrong about something.

I think he’d grow frustrated with it first, and grow reckless: strain against his limits, start pushing his luck with the Sun, start making dangerous mistakes, and it’d be her who’d start gently encouraging (cajoling, bargaining, eventually pleading with-) him that maybe they should return to the Gate. To regroup, try to find other avenues, head off in a different direction. And while he'd know she's right, agreeing… it'd still feel like he’s admitting defeat.

Of course, he’d try to put on an unbothered face, but she would still obviously be able to tell that he’s upset: primarily with himself, but also a little bit with… everything. Of feeling both free and trapped, both bursting with the desire to DO something, but also being… powerless.

Which (stay with me, we're a third of the way!) is the context in which the thought of kids and “marital bliss” would rear its ugly head.

Because I headcanon that vampire spawn are naturally sterile. (I know full vampires can sire mortal offspring, but since spawn can’t create new vampires via bite and the bite is almost always a penetration-allegory, I like to think that translates to them being just… unable to reproduce, period.) And elves in general already have far lower fertility rates, so even if he wasn’t sterile because of the vampirism but just maybe less fertile than usual, the chances of conception between the two of them would still be infinitesimally small.

And I mean, the topic really wouldn’t come up naturally, so I think Astarion would likely think that she’d eventually want children. I mean, he knows very well that she had been previously married to a human- humans usually want kids, so it’d be a natural assumption that she’d be on the same page as her ex-husband, and the fact that she doesn’t have kids now wouldn't be for a lack of wanting. (It is. It is for a lack of wanting. But both of them being ~excellent~ [pejorative] at communicating, he definitely wouldn’t ask- if only for fear of the answer he thinks he'd get.)

So it'd kind of… eat at him, for a while, the thought that at some point, she might grow to resent him. There'd be a small, niggling part of his mind that'd worry that at some point, the limitations would all prove too much, and she’d grow frustrated, tired of always having to work with and around his… shall we say, conditions. Beyond his partial reliance on her pain and literal body for sustenance, the physical differences between them, and the messiness of healing (the times he startles awake screaming, the times he can’t bear even the thought of being touched, the times he’s frustrated with himself and takes it out on her), this is just one more thing.

He can’t take her out for a nice day in the city. He can’t warm her body at night, wine and dine her (or just share a meal like a regular person), or love her as brazenly as he did starting out, out on the street for all to see because… well, he can’t go out into the streets. Can’t even travel with her during the day, not without taking the shape of a stupid animal that can’t communicate with her, joke with her, or even delight her with the looks he had thought for so long were the only thing he was good for.

Though secure in her love of him, he’s not stupid, or an idealist who’d think that love alone is enough for a happily ever after. While enjoying the time while it lasts, naturally there’d be sort of a running tally in his head of all the ways their lives chafe against one another.

Watching her face grow paler and paler as she’s deprived of the sun and has her blood drained, he’d never quite stop wondering at what point is the scale going to tip, at what point she’d finally realize that she had bet on the wrong undead horse by choosing to love the vampire who asks her to sacrifice so much, and not only doesn’t want to, but isn’t even able to give her what (he thinks) she wants.

Which, she doesn’t want it, of course. She has not even one maternal bone in her body.

Iona is well aware that she would make a terrible mother, and she absolutely does not want to be one. So it wouldn’t even occur to her that this would be something on his mind on top of all else. When he’d be having his little personal crisis about this, she’d be busy trying to make the impossible happen and circumventing the need to find a way to give him back the Sun by inventing one herself. That’d be why she'd lock herself into her study alone for longer and longer periods of time, why she sometimes wouldn’t come out for days, why she'd sometimes steer the conversation away from certain things- she wouldn’t want to give him false hope in a project that’d quickly prove so far beyond her abilities.

But, she'd still obviously recognize his occasional bouts of melancholy- I mean, it’s very unusual for someone to look at another so fondly and happily one moment, and then get quiet and forlorn the next. That distance she'd see behind his eyes sometimes when she'd tell him she loves him, that’d be rather worrying to anyone.

It’ll take a while for this particular cat to work its way out of the bag, but it would happen eventually, of course.

In reality, none of that would bother her.

She delights in being the sole person deciding what, when, and how she wants to eat. She loves the coolness of his touch- it soothes the heat of the draconic blood running through her veins better than any balm. Sure, going to markets and doing all that domestic pish can be fun, but... well, she’s always been an indoorsy person. Being bitten is no burden (she wouldn’t offer if it was), and there being no risk of a pregnancy, even after the tadpole’s death? At the risk of sounding crass, that’s an incredible perk, with no downsides. Feeling him find his pleasure while buried deep inside her, with no pang of fear or worry? It’s absurd how perfect that is, how happy she is with the fact that with the man she loves, that fear of being impregnated against her will can be put completely to rest.

And the rest, the messiness, the less “pretty” parts of it all, the evenings spent soothing his pain that’s either real or real only to him, that’s… just what happens if you love someone. Sure, she worries of course, but even when it’s inconvenient, when it’s ugly, when the old scars feel like they’re on fire and she can’t even being to think of a way to help… she still loves him just the same.

So no, no children necessary. It’s not in the cards for them, and even if it was, I don’t think either of them would really want it, or be good at it.

... She’d probably like to overwrite the memories of her first marriage (and speak the word “husband” without rancor) though, but only eventually.

And I like to think that that’ll have to happen with an item I’m tentatively calling “Taran Tal’hondnor” (The Gift of True Love), and it’s an enchanted ring that she will finally be able to create after many years of study, and even more miserably failed attempts at creating an enchantment that’ll let a vampire walk in the sun.

I like to imagine her proposing to him, on her own terms this time, with one such gift.

Because she loves him to the point of invention.

Quickly on the others, Arvid… might like fatherhood, if he were so inclined. He’s a very caring, kind, nurturing person, and if he were to be in that position, he would probably be a very good dad. He’s generally in a nurturing role already, and Gale being in a teaching role, they could prove to be excellent parents, if that were what they wanted.

But they… probably wouldn’t want that. Gale being the age that he is (“canon” says 35, I see ~38-40, minor difference) and a human, yet saying that he’s “not ready”, I personally interpret that as a rather telling thing. His past of having spent such a long time in a "monogamous" (I'm fairly sure that part's one-sided, no time to go into that now) relationship with a goddess who had no intention of having kids with him, and his present willingness to be with an illithid who can’t, that to me is implying that it’s not something that’d be that important to him. Like I personally see that as him not actively preferring to have kids if it’s up to him (he likes peace, and quiet, and downtime, and a nice glass of wine with a quietly romantic evening meal- very much the quintessential childless millennial, 100% part of the appeal to me lol), but he’d be happily willing to do it if his partner wanted it themselves.

But in my world, his husband (I like how I skated by the first part of the question, I mean they already ARE married lol)… doesn’t really have such strong feelings about it either. So, since two "maybes" don’t make a "yes" (and for this kind of thing, you need two enthusiastic "yes"-es for it to no longer be a no), it’s a "no".

But I think their marriage is going to be very happy and fulfilling to both of them nevertheless. <3

And since I don't yet have any kissy-shots of them (☹️), have an "are you seeing this shit" silent exchange for these two <3

Honestly? I would sooner give a baby to a pack of feral wolves and hope for the best than have Petyr become a father. He'd absolutely be the kind of dad whose kids become DnD characters. He's someone's tragically emotionally distant boomer dad just waiting to happen. (I mean, come on. My guy felt inadequate once, and coped with it by fucking off to the woods for 20 years? Yeah, sure, father of the year.)

And Shadowheart, she basically didn't have parents growing up, she has a TON of cult indoctrination to process and unlearn as an adult, and -let's be real- likely has no fucking clue how motherhood would even really work. Like the woman whom she used to call "mother" pretty much straight-up tortured her. C'mon now.

I like to think that, though they are the only two in my lineup who are physically able to have kids by accident, they (with their 8 and 10 INT scores respectively) would still be smart enough to smell that particular disaster before they'd barrel into it head first, and either actively decide not to have kids, or put it off so far into the future as for it to be meaningless. Maybe the discussion can be tabled in a few decades' time, but since by then their home will be surrounded by, god, so many animals to take care of (including a barely not feral, adult owlbear) (and their mutual boyfriend who sometimes shows up for like a month to fuck nasty on every available surface of the house and surrounding wilds), I doubt it'll result in a resounding "yes".

In the same vein of things, if a big, beautiful, traditional wedding is something that she wants (which I... kinda doubt would be super important to her), she definitely bet on the wrong horse, because this guy is not one for pomp and circumstance.

I like to imagine that after their departure from the Gate (and their bidding of not exactly "farewell", but "see you later" to Halsin), he'll just... take her "home" to his little shack in his corner of the forest, and then, sitting under the canopy of his favorite woods, enjoying the balmy evening breeze and the undisturbed night sky with his favorite person, he'll look up at the moon, take her hand, and silently, in his head, give his thanks to the Moonmaiden for this peace.

And... that'll be it. From that point forward, it'll be easy to fall into a kind of sweet, quiet domesticity that is essentially a marriage in all but name.

I definitely like- and relate to the idea of them foregoing the "2.5 kids, white picket fence" idea of a happily ever after not out of a conscious rejection, but rather just by... being themselves. Together.

[spewagepipe]

Development Pipeline: How Determined Started [Pt. 1]

This Dev Pipeline is the story of how I decided to abandon a game that I've been developing for three years now.

It starts in the summer of 2021, when I was encountering the Old School Revival movement for the very first time. Why I hadn't heard of the OSR any earlier remains a mysterious accident of history, but in any case, the game's inception was a direct result of reading Matthew Finch's A Quick Primer for Old School Gaming (yes, this is also secretly a Plumbing the Depths post).

In the Primer, Finch presents scenarios to illustrate the differences between "old school" and "modern" (in this case, 3E D&D) play.

In the first, a party is searching for a suspected pit trap. The 3E approach is trivial: one dice roll for a perception check; one roll to disable the trap; situation resolved. By contrast, the OSR version involves no dice at all: the players first ask if they can see a seam in the floor, but are stymied by poor illumination; then they consider pressing the suspected area with a pole, but don't have the tool at hand; finally, they empty a waterskin to see if the water will seep through the hidden seam. When it does, they then describe themselves carefully shimmying along the gap between the seam and the corridor wall (since they can't think of any way to "disable" a pit).

To be sure, stopping every ten feet to perform similar experiments sounds like a tedious nightmare, and evidently OSR-Legolas would be no better at spotting traps than OSR-Pippin – but the example is still inspiring. Diegetic mechanics (bespoke, circumstantial rules that characterize all of the relevant properties of the diegetic situation), allow the players to engage with the situation in a highly immersive manner where their natural intuitions lead to viable solutions. By comparison, the 3E approach reads like automated gambling, unmoored from either player skill or diegetic circumstance.

Then Finch moves on to a second example, in which a player has elected to leap down to make a plunging attack on an unsuspecting goblin below. After the last example, I was expecting a similar divide – a few quick dice rolls for 3E, while the OSR involves the player describing their preparation, timing, or maybe some details of goblin anatomy...

But this time, both cases are fully automatic and random. In the 3E case, the GM doesn't know the rules of the game well enough to make the correct ruling, so instead they make a bad, bullshit ruling that upsets the players. In the OSR case, the GM knows that no rule exists at all, and so jumps straight to making an equally bad, equally bullshit ruling that also upsets the players.

For the life of me, I still can't understand why Finch put in this second example that totally undermines his first one. It makes the OSR look haphazard, inconsistent, and sloppy; lacking any real principles to motivate these design choices. But after reading the Primer, there was one idea I couldn't let go of: what if someone did make the combat example work in the same way as the trap-finding one?

Click here for Part 2

[transterasakagang]

the terasaka gang and uniform

man i lied ill post another i didnt post before

anyway an interesting thing to consider wrt the terasaka gang is their uniform design - specifically, how terasaka always has two buttons undone where yoshida + muramatsu only have one, hazama has no alterations, and itona wears his turtleneck as opposed to a shirt. the clothes characters wear are often subtle indicatives of characterization yk?

terasaka yoshida + muramatsu having their buttons undone and forgoing ties is obviously to present them as “delinquents” (the same reason karma also has this) BUT specifically terasaka having two buttons undone where yoshida + muramatsu have only one each imo connotes their respective commitment to their delinquent personas. terasaka is a lot more attached to his as a defense mechanism than the other two are which is reflected most heavily in vision time - where yoshida + muramatsu begin to breach their previous distance with korosensei because of the differing ways he reaches out to them, terasaka remains firmly distrusting and it takes Much more for him to consider too closing that distance

hazama wears hers without alteration because she sees no reason to announce to the world through something like a school uniform her opinion on the system as she conveys her thoughts potently enough through her simple manner + through her association with terasaka yoshida + muramatsu. it certainly may appear odd for a character so tied to nonconformity to be compliant with a uniform, but for hazama it shows her lack of reliance on what others think imo + not being shaped by perception

then finally itona wears his turtleneck as opposed to the uniforms shirt. but the difference is he now wears the school blazer over it making it a pretty powerful means of reclamation of identity for him imo. the turtleneck was something he wore under shiro, but by continuing to wear it in e class and by wearing it under his blazer it demonstrates the plastering over of his time with shiro with his time time with 3e

food for thought!!!

[tlaquetzqui]

I’m looking at making my own RPG, drawing inspiration from everything great about d20 without the WotC shakedown artists having a chance to get the foot in the door.

And you know, you really only need four ability scores.

Why only four? Well because for most purposes Strength and Dexterity are the same thing. That guy who can paint a sutra on a grain of rice ain’t getting picked first for dodgeball; make that fine-motor shit a part of Intelligence. And you can also fold the willpower aspect of Wisdom into Intelligence for most purposes (I also stuffed in the spellcasting aspect of Charisma). So you have, basically, athleticism, toughness, brainpower, and social. (Not what I’m calling most of them, of course.)

From there I also realized most skill lists are bloated: went with attacking, all kinds, and moving (including stuff like stealth and climbing) governed by athleticism, “enduring” governed by toughness, a knowledge skill, a perception skill, and “refusing” (=willpower) governed by brainpower, and then persuade and a big “doing job” skill, encompassing what would be Perform and Profession, governed by social. (I might have purely technical matters, your Craft type thing and stuff like “Profession: sailor to drive the boat”, governed by the knowledge skill.)

You’ll notice that means I made attack a skill, not a separate per-level bonus—this was actually the norm in skill-based games before 3e hybridized skill-based to D&D, look for example at GURPS, Alternity, or BRP (the one used in Call of Cthulhu). I also replaced saving throws with checks of the move, endure, and refuse skills. Thinking I’ll make those three and attacking have per-level bonuses that vary by class, but you can also sink skill points in if you want to be, say, a very combat-oriented wizard, or a warrior who’s good at shaking off charms.

[theoutcastrogue]

@feyariel​ 5e shortswords do piercing damage, and so do daggers. Daggers don’t get a bonus to Sleight of Hand checks for being concealed, but keep in mind that 5e skills are super hazy, and basically up to the DM. Very few skill uses have actual rules, and concealing weapons is not one of them. Well, the rule is it’s a Dexterity (Sleight of Hand) check to conceal an object on your person. The DC is not specified.

The PHB tells DMs how to eyeball flat DCs according to their difficulty (from 5 for very easy to 30 for nearly impossible), and how to do contests in general (roll vs roll, or roll vs passive check – passive checks are the equivalent of 3E’s “take 10”). The DMG tells DMs to impose advantage or disadvantage whenever they feel that circumstances should make a roll easier or harder. It does not suggest flat modifiers (like “add +2 to your roll”).

So if you play 5e and say, “I want to conceal my dagger on my person”, you’d roll a Sleight of Hand check, but all the rest is up to the DM. They can rule that:

it’s a flat DC. Maybe 10 (easy) to hide a dagger and 15 (medium) to hide a shortsword, or maybe it’s the same DC, or other numbers, or who knows.

it’s a contested check, your Sleight of Hand vs onlookers’ Perception. Or their Investigation, if you’re getting frisked

it’s a contested check, your Sleight of Hand vs onlookers’ passive Perception or Investigation

and then add that

you roll with advantage because it’s just a dagger, not a big sword

you roll straight

you roll with disadvantage because it’s a whole weapon, not like a coin

Now that I think about it, it’s extremely unhelpful to new DMs, a fact I hadn’t fully grokked until now because I don’t play with new DMs. On the other hand, anyone who already has Opinions on how to run the game can simply implement them, without worrying it’ll clash with some other obscure rule down the line. Hmm.

[waiting-on-a-dream]

𝐌𝐢𝐥𝐠𝐫𝐚𝐦 𝐨𝐜𝐬 𝐢𝐧 𝐓𝐰𝐬𝐭 (𝐌𝐚𝐧𝐢𝐩𝐮𝐥𝐚𝐭𝐢𝐨𝐧)

Author’s notes:

I went in with low expectations, so the pictures came out better than expected. Daisuke looks cool in his own special way, even though his hair isn't very accurate. SD picrew 

Daisuke ♡

Other names:

Seahorse (Floyd)

Monsieur Independent (Rook)

Jade (Slyvan)

Tower (Xenon)

Homeland: Sunset savannah

Dorm: Octavinelle

Family:

Unnamed father

Unnamed mother

Appearance

Eye colour: Light blue

Hair colour: Jet black

Race: Beastman (Black fox)

Uniform: Most of his uniform is in place, his tie being the only exception (he finds it too stuffy). The top two buttons of his shirt are unbuttoned, and he wears black gloves for whatever reason.

School information

School year: Third

Class: 3E (Student no. 8)

Best subject: Alchemy

Club: Science Club

Fun Facts

Dominant hand: Right

Likes: Playing pool ball, flirting, getting his salary

Dislikes: People who try to trick him, having to rely on people, being nagged for his attire

Favorite Food: Shrimp dumpling

Least Favorite Food: Fried rice

Hobby: Gambling

Talents: Converting materials into gold

Unique Magic: Knowledge is power - He can gain information of a target by touching them and activating his UM. The longer he touches his target, the more information he gains. He can choose what information he would like to gain, but will face trouble when it comes to certain details that the target is guarded about.

Trivia

He was giving me beastman vibes and who am I to ignore? I think being a fox suits him really well. Sly and cunning.

He has many acquaintances, but only a few friends. He's considered more on the friendly side for an Octavinelle student for even admitting he has friends. Funny how that works.

Yes, Slyvan's nickname confused him at first (considering his vice dorm leader is literally named Jade). But the goat boy explained the nickname to him and he came to like the ring of it.

He isn't always in the mood for makeup, but manages to come to class everyday wearing perfect eyeshadow because his friend helps him with it.

He joined the science club to do more alchemy experiments.

He works as a waiter for the Mostro Lounge. He gets tips often.

Suzume ♡

Other names:

Humpback whale (Floyd)

Mademoiselle Jewel (Rook)

Chrysocolla (Slyvan)

Lover (Xenon)

Homeland: Coral sea

Dorm: Pomefiore

Family:

Unnamed father

Unnamed mother

Unnamed older sister

Appearance

Eye colour: Baby blue

Hair colour: Garnet red

Race: Humpback whale mermaid

Uniform: She dresses prim and proper as any Pomefiore student should, with everything ironed neatly and worn in place. Her skirt reaches slightly above her knees, paired with knee-length black socks and loafers. Her bangs fall into her eyes sometimes, so she pins it up with a purple flower hairclip. It compliments her purple eyeshadow and (occasional) pale pink lip gloss too.

School information

School year: Third

Class: 3B (Student no. 29)

Best subject: Magical potions

Club: Science Club

Fun Facts

Dominant hand: Right

Likes: Strawberry milk, anime and manga, making jewelry (with plastic charms)

Dislikes: Feeling outcast, mirrors, socialising

Favorite Food: Salmon roll

Least Favorite Food: Edamame

Hobby: Reading

Talents: Humming

Unique Magic: Ideal self - She can alter her target's perception and impression of her. Basically, her appearance in their mind and their feelings towards her. The effect is only temporary though, unless she keeps her UM running constantly (risking overblot).

Trivia

I couldn't decide on her race at first because I could imagine her being a fae, mermaid, and human. So I let a randomizer decide for me. Why did I decide to make her a humpback whale mermaid? I just thought it suited her. Big but gentle, with a soothing song.

She doesn't like mirrors because her reflection unnerves her.

She joined the science club because she heard that they do a little bit of everything there.

[pathfinderunlocked]

Frost Man Vampire Spawn - CR5 Undead

It’s nearly impossible for most creatures to live in the arctic wilderness.  But that just means that if you run into a creature, there’s a good chance it’s not actually alive.

Artwork by Josh Nizzi at joshnizzi.com, copyright Marvel Studios.

Frost Men are a race of wandering, rugged nomads who live in the wilderness of the tundra at the edges of the world.  They call themselves frost folk, but other races only ever see adult males, and so call them frost men.  The frost folk never correct them.  They’re originally from Forgotten Realms, and appeared in D&D 1e and 3e, but were converted to Pathfinder by Necromancer Games.  The D&D 3e lore is somewhat different, making female frost folk simply an unusual sight instead of being unheard of.

This is a frost man that was turned into a vampire’s thrall, presumably after trying to fight a vampire and losing.  Vampire spawns typically ignore everything about the base creature and completely overwrite their stats with those of a wight, but to me that makes more sense when the base creature is a human.  I wanted something that felt more like it was still connected to the frozen wilderness, even in undeath.

It annoys me that the typical vampiric “if defeated in combat, it becomes totally invulnerable and flies home to its coffin” nonsense applies to vampire spawns, which are theoretically meant to be used as nameless combat minions in a vampire adventure, not complex exploration encounters that force you to track down each one’s coffin.  A lot of vampire spawns probably don’t even have coffins, considering they're just captured enemies being used as cannon fodder.  With that in mind, I slightly altered the frost man vampire spawn’s version of this ability, compared to a typical vampire.

Frost Man Vampire Spawn - CR 5

The pale, largely unprotected body of this frost man wanderer seems unaffected by the ice and snow.  He has an axe in one hand, and he casts no shadow on the frozen tundra.

XP 1,600 LE Medium undead (cold) Init +3 Senses darkvision 60 ft.; Perception +10

DEFENSE

AC 19, touch 13, flat-footed 16 (+2 armor, +3 Dex, +4 natural) hp 38 (4d8+20); fast healing 2 Fort +5, Ref +4, Will +7 Defensive Abilities channel resistance +2 DR 5/silver Immune cold, undead traits Resist electricity 10 Weaknesses vulnerability to fire, vampire weaknesses

OFFENSE

Speed 30 ft. Melee slam +6 (1d4+4 plus energy drain) or morningstar +8 (1d8+4) or morningstar +8 (1d8+3) and slam +1 (1d4+2 plus energy drain) Ranged composite longbow +6 (1d8+3/x3) Special Attacks blood drain, dominate (DC 16), energy drain (1 level, DC 16)

STATISTICS

Str 16, Dex 16, Con —, Int 12, Wis 17, Cha 19 Base Atk +3; CMB +6; CMD 19 Feats Toughness, Weapon Focus (morningstar) Skills Intimidate +11, Perception +10, Sense Motive +10, Survival +7, Stealth +18 Languages Common, Frost Man, Necril SQ gaseous form, shadowless, spider climb Gear leather armor, mwk light flail, composite longbow (+3 Str), 30 arrows

SPECIAL ABILITIES

Frost Howl (Su) Once per day as a standard action, with its voice, a frost man vampire spawn can create a ten foot ring of supernatural frost on the ground around it.  Creatures within a 10-foot radius of the frost man vampire spawn when it performs this technique take 1d6+4 points of cold damage, and can make a DC 16 Reflex save to halve this damage.  The save DC is Charisma-based.

A frost man vampire spawn is immune to the effects of its own ring of frost.  A creature can walk within or through the area of ice at half its normal speed with a successful DC 10 Acrobatics check.  Failure by 4 or less means the creature can’t move that round (and must succeed at a Reflex save or fall); failure by 5 or more means it falls (see the Acrobatics skill).  Creatures that do not move on their turn do not need to attempt this check.  The ring of frost lasts until it naturally melts (about 6 hours in comfortable weather).

A frost man vampire spawn cannot use this technique if it is silenced.

Ice Blast (Su) Three times per day as a standard action, a frost man vampire spawn can release a blast of freezing mist in a 30-foot cone from the eye underneath its eye patch.  A frost man vampire spawn can remove its eye patch as a free action.  A creature in the area takes 3d6 points of cold damage (DC 16 Reflex for half).  The save DC is Charisma-based.

Hunter’s Mark (Su) As a swift action, once per day, a frost man vampire spawn may place an invisible mark on a creature that it can see.  Its attacks against this target have a +2 bonus to hit, and the frost man vampire thrall can perceive the approximate direction of the marked creature if it is within 1000 feet.  This effect lasts for one hour.

Blood Drain (Su) A frost man vampire spawn can suck blood from a grappled opponent; if the vampire spawn establishes or maintains a pin, it drains blood, dealing 1d4 points of Constitution damage.  The vampire spawn heals 5 hit points or gains 5 temporary hit points for 1 hour (up to a maximum number of temporary hit points equal to its full normal hit points) each round it drains blood.

Dominate (Su) A frost man vampire spawn can crush the will of an opponent with the cold subtype as a standard action.  Anyone the spawn targets must succeed on a Will save (DC 16) or fall instantly under the frost man vampire spawn’s influence, as though by a dominate monster spell (caster level 12th).  The ability has a range of 30 feet.

Energy Drain (Su) A creature hit by a frost man vampire spawn’s slam (or other natural weapon) gains one negative level.  This ability only triggers once per round, regardless of the number of attacks a frost man vampire spawn makes.  See Energy Drain description for details.

Vampiric Fast Healing (Su) A frost man vampire spawn gains fast healing 2.  If reduced to 0 hit points in combat, a vampire spawn assumes gaseous form (see below) and attempts to escape.  It must reach an area of natural outdoor ice or snow within 2 hours or be utterly destroyed.  (It can normally travel up to 9 miles in 2 hours.)  Additional damage dealt to a frost man vampire spawn forced into gaseous form has no effect.  Once at rest, the vampire is helpless, and an ice tomb with 20 hit points forms around it as the gaseous form wears off.  The frost man vampire spawn heals at the rate of only 2 hit points per hour while reforming inside this ice tomb, instead of its normal fast healing rate, and remains paralyzed and unconscious until its hit points are fully restored, at which point the ice tomb shatters and the frost man vampire spawn emerges.  If the ice tomb is destroyed while the frost man vampire spawn is still healing, the ice tomb reforms 1 hour later unless the frost man vampire spawn is destroyed.

Gaseous Form (Su) When reduced to 0 hit points in combat, a vampire spawn can assume gaseous form (caster level 5th), as the spell, but it can remain gaseous indefinitely and has a fly speed of 20 feet with perfect maneuverability.  It cannot assume gaseous form under any other circumstance.

Shadowless (Ex) A frost man vampire spawn casts no shadows and shows no reflection in a mirror.

Spider Climb (Ex) A frost man vampire spawn can climb sheer surfaces as though under the effects of a spider climb spell.

Vampire Weaknesses Frost man vampire spawns cannot tolerate the strong odor of garlic and will not enter an area laced with it.  Similarly, they recoil from mirrors or strongly presented holy symbols.  These things don’t harm the frost man vampire spawn—they merely keep it at bay.  A recoiling frost man vampire spawn must stay at least 5 feet away from the mirror or holy symbol and cannot touch or make melee attacks against that creature.  Holding a frost man vampire spawn at bay takes a standard action.  After 1 round, a frost man vampire spawn can overcome its revulsion of the object and function normally each round it makes a DC 25 Will save.

Frost man vampire spawns cannot enter a private home or dwelling unless invited in by someone with the authority to do so.

Reducing a frost man vampire spawn’s hit points to 0 or lower incapacitates it but doesn’t always destroy it (see fast healing).  However, certain attacks can slay frost man vampire spawns.  Exposing any frost man vampire spawn to direct sunlight staggers it on the first round of exposure and destroys it utterly on the second consecutive round of exposure if it does not escape.   Each round of immersion in running water inflicts damage on a frost man vampire spawn equal to one-third of its maximum hit points—a frost man vampire spawn reduced to 0 hit points in this manner is destroyed.  Driving a wooden stake through a helpless frost man vampire spawn’s heart instantly slays it (this is a full-round action).  However, it returns to life if the stake is removed, unless the head is also severed and anointed with holy water.

[thecreaturecodex]

Mind Flayer, Illithid

"Mindflayer" © Steven Bellshaw, accessed at his ArtStation here

[In designing a mind flayer, I wanted to avoid some of the pitfalls of the past. The 3.x mind flayer was very fragile, and the mind blast very disruptive, so that fights with them either resulted in the mind flayer getting pulped before it could do anything, or the entire party stunned long enough for the mind flayer to get halfway to a TPK. So I wanted to give them a bit more bulk. 5e gives them full on breastplate, but I wanted to keep the slick leather look from the 3e era. I did take the save every turn and limited uses for the mind blast from 5e. Although I'm not using the psychic magic ability for my mind flayer (because it sacrifices uses/day for versatility), I did use a couple of occult spells so they have some way to deal damage.]

Mind Flayer, Illithid CR 7 LE Aberration This lean humanoid has slick lilac skin and a head like that of an octopus. Multiple tentacles surround a lamprey-like maw. It wears leather robes decorated with skulls and other macabre accessories.

Illithids are the most common and most widespread of the mind flayers. Although some of them live in colonies close to an elder brain, the better to both share its knowledge and fertilize its eggs, many of them live solitary lives or in small communities more similar to a monastic cell. Every illithid desires power and knowledge, and they all go about obtaining these in different ways. Illithids with the same creed may come together in a circle, or illithids of several creeds may travel together in what is called an inquisition, similar to an adventuring party of humanoids. Many illithids keep multiple charmed or dominated slaves to serve them as physical labor and emergency rations.

Most illithids avoid direct physical confrontation if they can help it, instead sending their slaves to the front lines and fighting with their magical abilities. Illithids are masters of mind-influencing magic, and are capable of turning allies against each other or forcing their enemies into hazardous situations. Their most feared ability is the mind blast, which can incapacitate an entire party long enough for the illithid to close in and bore its tentacles into the brains of a victim or two. Illithids usually flee if combat turns against them, as they value their lives above all else.

Illithids are usually tall and imposing, averaging six feet tall but lean. Their skin is usually in shades of pinks and purples, although green and blue hues are not uncommon. They dress in a fashion suggestive of aristocracy—high collars, fancy robes and jewelry are typical. Their unique language, Qualith, is written only and similar to cuneiform; they speak in hissing, rasping tones when they use their mouths, but usually rely on telepathic communication. 

Illithid    CR 7 XP 3,200 LE Medium aberration (mind flayer) Init +3; Senses darkvision 60 ft., low-light vision, Perception +12 Defense AC 19, touch 13, flat-footed 16 (+3 Dex, +2 armor, +4 shield) hp 68 (8d8+32) Fort +6, Ref +5, Will +9; +4 vs. emotion effects SR 22 Defensive Abilities affectless; Weakness light blindness, sunlight sickness Offense Speed 30 ft. Melee masterwork light mace +10/+5 (1d6+1), tentacles +4 (4d4 plus grab) or tentacles +9 (4d4+1 plus grab) Special Attacks mind blast, pith (tentacles) Spell-like Abilities CL 8th, concentration +12 (+16 casting defensively) Constant—mental barrier I At will—detect thoughts (DC 16), levitate, mind thrust II (DC 16), suggestion (DC 17) 3/day—charm monster (DC 18), dimension door, dominate person (DC 19) 1/day—fly, plane shift (DC 19) Statistics Str 12, Dex 16, Con 18, Int 19, Wis17, Cha 19 Base Atk +6; CMB +9 (+12 grappling); CMD 20 Feats Agile Maneuvers, Combat Casting, Magical Aptitude, Weapon Finesse Skills Bluff +10, Fly +10, Intimidate +13, Knowledge (arcana) +17, Knowledge (dungeoneering, planes) +14, Perception +12, Sense Motive +9, Spellcraft +15, Stealth +12, Use Magic Device +12; Racial Modifiers +4 Knowledge Languages Aklo, Qualith, Undercommon, telepathy 100 ft. Ecology Environment underground Organization solitary, inquisition (2-4), circle (5-12 plus 0-1 ulitharids) or colony (20-200 plus 1 ulitharid per 10 individuals and 1 elder brain) Treasure double standard (masterwork light mace, masterwork leather armor, other treasure) Special Abilities Mind Blast (Su) As a standard action, an illithid can create a 60 foot cone of mental energy. All creatures in the area must succeed a DC 18 Will save or be stunned for 3d4 rounds. A creature that is stunned may attempt to recover from this condition as a full-round action with an additional DC 18 Will save. Mind flayers are immune to the effects of a mind blast. An illithid can use a mind blast three times per day, and must wait 1d4 rounds between uses. This is a mind-influencing effect, and the save DC is Charisma based. Tentacles (Ex) An illithid attacks simultaneously with all its tentacles, treating them as a primary natural weapon.

[respite-hrh]

Principle 1: Equitable Use

The design is useful and marketable to people with diverse abilities.

Principle 1 Guidelines

The following guidelines underpin Principle 1:

1a. Provide the same means of use for all users: identical whenever possible; equivalent when not.

1b. Avoid segregating or stigmatizing any users.

1c. Provisions for privacy, security, and safety should be equally available to all users.

1d. Make the design appealing to all users.

Principle 2: Flexibility in Use

The design accommodates a wide range of individual preferences and abilities.

Principle 2 Guidelines

The following guidelines underpin Principle 2:

2a. Provide choice in methods of use.

2b. Accommodate right- or left-handed access and use.

2c. Facilitate the user's accuracy and precision.

2d. Provide adaptability to the user's pace.

Principle 3: Simple and Intuitive Use

Use of the design is easy to understand, regardless of the user's experience, knowledge, language skills, or current concentration level.

Principle 3 Guidelines

The following guidelines underpin Principle 3:

3a. Eliminate unnecessary complexity.

3b. Be consistent with user expectations and intuition.

3c. Accommodate a wide range of literacy and language skills.

3d. Arrange information consistent with its importance.

3e. Provide effective prompting and feedback during and after task completion.

Principle 4: Perceptible Information

The design communicates necessary information effectively to the user, regardless of ambient conditions or the user's sensory abilities.

Principle 4 Guidelines

The following guidelines underpin Principle 4:

4a. Use different modes (pictorial, verbal, tactile) for redundant presentation of essential information.

4b. Provide adequate contrast between essential information and its surroundings.

4c. Maximize "legibility" of essential information.

4d. Differentiate elements in ways that can be described (i.e., make it easy to give instructions or directions).

4e. Provide compatibility with a variety of techniques or devices used by people with sensory limitations.

Principle 5: Tolerance for Error

The design minimizes hazards and the adverse consequences of accidental or unintended actions.

Principle 5 Guidelines

The following guidelines underpin Principle 5:

5a. Arrange elements to minimize hazards and errors: most used elements, most accessible; hazardous elements eliminated, isolated, or shielded.

5b. Provide warnings of hazards and errors.

5c. Provide fail safe features.

5d. Discourage unconscious action in tasks that require vigilance.

Principle 6: Low Physical Effort

The design can be used efficiently and comfortably and with a minimum of fatigue.

Principle 6 Guidelines

The following guidelines underpin Principle 6:

6a. Allow user to maintain a neutral body position.

6b. Use reasonable operating forces.

6c. Minimize repetitive actions.

6d. Minimize sustained physical effort.

Principle 7: Size and Space for Approach and Use

Appropriate size and space is provided for approach, reach, manipulation, and use regardless of user's body size, posture, or mobility.

Principle 7 Guidelines

The following guidelines underpin Principle 7:

7a. Provide a clear line of sight to important elements for any seated or standing user.

7b. Make reach to all components comfortable for any seated or standing user.

7c. Accommodate variations in hand and grip size.

7d. Provide adequate space for the use of assistive devices or personal assistance.

--from the Centre for Excellence in Universal Design

[christophe76460]

(Partie 10) Fêtes: La PENTECÔTE est le 8 du 5e mois biblique, UNE JOURNÉE avant les DESTRUCTIONS des deux TEMPLES d’Israël!

La Pentecôte est la fête du NOUVEAU VIN, c’est une fête qui est 50 jours après la fête de Shavouot, le terme pentecôte veut dire «cinquantième». Le livre de l’Exode explique comment on doit compter les jours entre la Pâque et Shavouot. Il s’agit de compter 7 semaines complètes de sabbats (49 jours) et le lendemain est le cinquantième jour.

Et lorsque le jour de la Pentecôte fut PLEINEMENT VENU, ils étaient tous d’un commun accord dans un même lieu. Actes 2:1 KJV

Les mots «pleinement venu» signifient que le compte de la cinquantième journée fut atteint. C’est à ce moment que le Saint-Esprit est descendu sur les disciples dans la chambre haute.

Le compte commence à la fête de Shavouot et on compte des semaines COMPLÈTES DE SABBATS par rapport à la lune qui est le moyen de compter les jours dans les temps anciens. On a déjà vu que le mois biblique commence à la nouvelle lune, lorsque deux témoins ont vu le croissant de lune qui est perceptible à l’œil nu. Puis le lendemain commence le jour 1 du mois, et le 7 du mois est le sabbat.

Souvenez-vous qu’il n’y a pas de lundi ou de samedi dans la Bible, ce système de jour de la semaine a été établi par les Romains et accepté par les Juifs comme on peut le voir dans le calendrier de la Torah, qui ne place pas le sabbat au 7e jour de la semaine (voir la publication précédente).

Donc les sabbats sont toujours le 7, 14, 21 et 28 de chaque mois. Le 14 du troisième mois était la dernière journée du compte de 7 semaines complètes de sabbats entre la Pâque et Shavouot. Alors, il y aura 7 semaines complètes de sabbats entre Shavouot et la Pentecôte. La fête de Shavouot a été comptée et finalisée le 15 du troisième mois, soit le 15 du mois de Sivan. Comptons maintenant les jours des prochains sabbats complets de 7 jours à partir de cette date du 15 de Sivan.

Semaine 1: 15 au 21 du 3e mois (Sivan)

Semaine 2: 22 au 28 du 3e mois (Sivan)

Semaine 3: 29 Sivan au 7 du 4e mois (Tamouz)

Semaine 4: 8 au 14 du 4e mois (Tamouz)

Semaine 5: 15 au 21 du 4e mois (Tamouz)

Semaine 6: 22 au 28 du 4e mois (Tamouz)

Semaine 7: 29 Tamouz au 7e du 5e mois (Av)

Cela fait 7 semaines complètes de sabbats (49 jours) et le jour suivant (50 jours) est le 8 de Av (5e mois).

Le 8 du mois de Av est un jour avant le 9 de Av qui est un JOUR DE MALHEUR pour Israël.

Av est le cinquième mois du calendrier hébraïque, et tombe généralement aux mois de juillet et août dans le calendrier grégorien. Tisha B'Av, également connu sous le nom de 9 Av, est-ce que les Juifs considèrent comme "une date qui vit dans l'infamie".

Selon les spécialistes juifs, plusieurs catastrophes historiques se sont produit le 9 Av, j’en présente deux:

1. Dix espions Juifs reviennent de la Terre promise avec un mauvais rapport (ce qui conduit le peuple à perdre courage et à être consigné à errer dans le désert pendant 40 ans).

2. Le PREMIER ET LE SECOND TEMPLE sont détruits.

Les autres malheurs qui se sont produits cette journée-là, sont nommés dans la publication Tisha B'Av dans le lien au bas. Il suffit pour notre étude de comprendre que les deux temples de l’Éternel en Israël ont été détruits en cette journée de deuil. Le premier temple fut détruit par les Babyloniens et le deuxième par les Romains.

Mais qu’en est-il du Temple de Dieu sur la Terre, le deuxième temple a été détruit, car Dieu s’est fait un troisième Temple qui consiste en tous les chrétiens sauvés, car le SAINT-ESPRIT HABITE en nous.

«Ne savez-vous pas que votre CORPS est le TEMPLE du SAINT ESPRIT qui est en vous, que vous avez reçu de Dieu, et que vous ne vous appartenez point à vous-mêmes?» 1Corinthiens 6:19

Donc, l’Église de Christ est le Temple de Dieu sur la Terre et lorsque ce temple sera enlevé, alors ce sera une autre calamité pour Israël. Si l’enlèvement de l’Église arrive à la Pentecôte du 8 du mois de Av., alors au 9 de Av, les Juifs se réveilleront avec plus de support de la part des chrétiens, et c’est à ce moment précis que beaucoup d’entre eux se réveilleront et comprendront que Christ est le Messie qu’ils ont rejeté.

Peut-être que ce sera le début de 144000 Juifs sauvés et scellés de Dieu qui commenceront le ministère du salut de Dieu, par le sang de Christ.

Le 8 de Av est la Pentecôte et cette date dans le calendrier Grégorien correspond aux 25 et 26 juillet 2023. Une journée juive commence à 18 h (6 pm) le soir et se termine à 18 h (6 pm) de l’autre soir. Donc, le 8 de Av change au 9 de Av à partir d’environ 18 h (6 pm), ce qui veut dire que dans la même journée la date change du 8 au 9 de Av. Si l’enlèvement se produit le 8 de Av, disons par exemple à 17 h 30, (5h30 pm), alors 30 minutes plus tard devient le 9 de Av.

Mais nous ne savons pas avec certitude le jour et l’heure de l’enlèvement et malgré tout, nous savons que le Seigneur est à la porte. Nous veillons et nous surveillons son retour imminent, Dieu a choisi un jour spécifique pour son retour et nous avons sa Parole afin de sonder les Écritures pour mieux connaître le temps de sa venue.

Jésus dit ceci aux pharisiens:

Il y aura de l'orage aujourd'hui, car le ciel est d'un rouge sombre. Vous savez discerner l'aspect du ciel, et vous NE POUVEZ DISCERNER LES SIGNES DES TEMPS. Matthieu 16:3

L’année 2023 est une année probable pour l’enlèvement et si le Seigneur tarde une autre année, alors nos yeux se tourneront vers l’année 2024. En effet, plusieurs historiens placent la mort de Jésus-Christ entre l’année 30 et l’année 33. Ce qui nous donne une fenêtre pour l’enlèvement entre 2023 et 2026, mais mon espérance avec tout ce que l’on voit dans le monde est pour cette année 2023.

La prochaine publication traitera de la Pentecôte de la récolte des olives, ce qui est la fête de l’huile et cette fête est 50 jours après la fête du VIN NOUVEAU. La date tombe un couple de jours avant la fête des Trompètes, n’est-ce pas intéressant. Shalom! RD

Note: Les jours de la semaine, correspondant aux planètes en tant que dieux romains: Diane en tant que Lune pour le lundi, Mars pour le mardi, Mercure pour le mercredi, Jupiter pour le jeudi, Vénus pour le vendredi, Saturne pour le samedi et Apollon en tant que Soleil pour le dimanche. Milieu du XIXe siècle, Walters Art Museum

Les noms des jours de la semaine datant de l’antiquité:

https://en.wikipedia.org/wiki/Names_of_the_days_of_the_week

Les MALHEURS de Tisha B'Av

(Partie 1) Tisha B'Av est la CALAMITÉ Juive, le 9 du mois de Av!

https://www.facebook.com/groups/160658804778473/permalink/1196415307869479/?mibextid=S66gvF

(Partie 2) Tisha B'Av est la CALAMITÉ Juive, le 9 du mois de Av!

https://www.facebook.com/groups/160658804778473/permalink/1196207031223640/?mibextid=S66gvF

FÊTES Partie 1 à 9

(Partie 1) Fêtes: Les 7 FÊTES de l’Éternel de la Bible et leur RÉALISATION EXACTE avec JÉSUS-CHRIST!

https://www.facebook.com/groups/823351565419204/permalink/926276295126730/?mibextid=S66gv

(Partie 2) Fêtes: Les TROIS FÊTES de pèlerinage, vers Jérusalem!

https://www.facebook.com/groups/823351565419204/permalink/926782145076145/?mibextid=S66gvF

(Partie 3) Fêtes: Les TROIS RÉCOLTES du champ de l’Éternel, TROIS RÉSURRECTIONS!

https://www.facebook.com/groups/823351565419204/permalink/930029571418069/?mibextid=S66gvF

(Partie 4) Fêtes: L’OFFRANDE de la gerbe d’orge représente Christ qui est les PRÉMICES de la résurrection!

https://www.facebook.com/groups/823351565419204/permalink/930582534696106/?mibextid=S66gvF

(Partie 5) Fêtes: L’ASCENSION de Jésus vers le Père s’est PRODUITE à la fête de Shavouot!

https://www.facebook.com/groups/823351565419204/permalink/932586764495683/?mibextid=S66gvF

(Partie 6) Fêtes: Les 153 POISSONS attrapés dans le filet des apôtres représenteraient le JOUR et le MOIS de la fête de la PENTECÔTE!

https://www.facebook.com/groups/823351565419204/permalink/934671204287239/?mibextid=S66gvF

(Partie 7) Fêtes: Les TROIS FÊTES de la PENTECÔTE!

https://www.facebook.com/groups/823351565419204/permalink/934694144284945/?mibextid=S66gvF

(Partie 8 ) Fêtes: La Pentecôte, la fête du NOUVEAU VIN, type du SAINT-ESPRIT!

https://www.facebook.com/groups/823351565419204/permalink/936457920775234/?mibextid=S66gvF

(Partie 9) Fêtes: La fête de Shavouot, une FÊTE mal calculée par les Hébreux!

https://www.facebook.com/groups/823351565419204/permalink/937424390678587/?mibextid=S66gvF

IMG2685

[lemondeabicyclette]

Bande-annonce du 3e doc de la série plandemic - la plus visionnée et censurée de l'histoire des docs indépendants selon son auteur et principal artisan Mikki Willis. Titre : THE GREAT AWAKENING [LE GRAND RÉVEIL]

Je voulais aborder une pensée qui s'est attardée dans mon esprit ces derniers temps - une notion qui semble contenir beaucoup de vérité dans notre monde complexe. Il semble que la plupart des gens soient pris dans un état perpétuel de déni, choisissant de se protéger des réalités inconfortables, même lorsque les preuves leur font face. C'est comme s'ils hésitaient à reconnaître certaines vérités évidentes parce que cela briserait leurs notions préconçues, remettant en question les fondements mêmes de leurs croyances.

Avez-vous déjà vécu une situation où vous avez tenté de discuter de quelque chose d'évident, mais l'autre partie refuse de s'engager dans un dialogue ouvert ?

Il est décourageant de voir comment les gens préfèrent ignorer les faits simplement parce que les accepter les forcerait à faire face à la profonde disparité entre leurs sentiments et la vérité.

Il semble que, pour beaucoup, les émotions aient souvent la priorité sur la raison et la logique, brouillant leur vision de la réalité.

Ce phénomène soulève une observation intrigante - persuader quelqu'un qu'il a été trompé peut être une tâche incroyablement ardue.

Il est beaucoup plus facile d'induire quelqu'un en erreur que de le convaincre qu'il a été induit en erreur. L'art de la manipulation prospère en exploitant les notions, les préjugés et les désirs préconçus des gens. En façonnant habilement leurs perceptions, les individus peuvent s'égarer sans même s'en rendre compte.

Malheureusement, cette réalité pose un défi considérable pour les gens qui cherchent à faire la lumière sur la vérité et à exposer les subtilités de la tromperie.

Dans un monde grouillant de désinformation, de demi-vérités et de récits axés sur l'ordre du jour, il devient crucial pour nous de cultiver la pensée critique, le scepticisme et la volonté de remettre en question nos propres croyances.

Ce n'est qu'en recherchant activement la vérité, même lorsqu'elle contredit nos émotions, que nous pouvons espérer surmonter la puissante emprise du déni qui obscurcit si souvent notre jugement.

Alors que nous naviguons dans la vie, nous nous efforçons de nous engager dans des discussions ouvertes d'esprit, de remettre en question nos propres points de vue et d'encourager les autres à faire de même.

C'est par le dialogue et l'échange d'idées respectueux que nous avons la chance de démanteler les murs du déni et d'exposer les disparités flagrantes entre nos sentiments et la vérité.

Puissions-nous tous embrasser l'inconfort de l'autoréflexion et être réceptifs à la possibilité que nos croyances nécessitent une réévaluation.

Ce n'est qu'alors que nous pourrons espérer naviguer dans les complexités de ce monde avec clarté, sagesse et engagement dans la poursuite de la vérité.

En vous souhaitant un voyage stimulant, tentons d'en sauver autant que possible. [FrankNews sur CovidBC]

[plumedepoete]

Une 9e symphonie de Ludwig van Beethoven théâtralisée - David Frenkel

Peut-on faire part aux mélomanes des sentiments qu’inspire une œuvre musicale en les conviant à admirer les images ayant germé dans l’esprit d’un artiste ? Mr David Roux1), metteur en scène, en a tenté le pari hier soir au Grand Théâtre de Genève. Il a étoffé la 9e symphonie de Beethoven avec des acteurs savamment choisis. Pour que le public puisse apprécier confortablement les divers tableaux, il a fait installer un petit écran vidéo au devant de chaque siège, et c’est à travers des plans filmés sur scène en direct qu'il a voulu transmettre ses sentiments aux spectateurs. Comme pour un opéra, l’orchestre joue depuis la fosse. Les expressions, les mimiques et les gestuels des acteurs sont très parlants. C’est aux opérateurs qu’incombe la lourde tâche de définir la durée des gros plans afin qu’ils épousent au mieux ce qui se passe sur la scène. Ils ont réussi le tour de force fusionner deux prises de vues, celle de l'orchestre et celle des acteurs, dans une image unique. Ainsi a-t-on l’impression que chaque groupe d'instrumentistes campe un ou plusieurs personnages aux contours bien définis, et ayant un langage bien à eux.  La mise en scène développe quatre grands thèmes : la douleur dans le 1er mouvement qui est matérialisée par cinq miséreux vêtus de haillons et cinq enfants rachitiques pointant le doigt accusateur vers le ciel ; la révolte, sur arrière fond d’arbres abattus, de maisons en brique rouge suintant l’ennui d’une cité-dortoir, se marie bien avec le 2e mouvement. La grandeur d’âme des petites gens qui prodiguent une caresse, un sourire, à des gens aux visages marqués par la tristesse dans une rue où grouille l’anonymat berce le 3e mouvement. Enfin, la fraternité qui fusionne le bien avec le mal, la beauté avec la laideur, rayonne dans le 4e mouvement. Une sylphide descendant des hauteurs embrassant un sapajou lors du chant « Courez frères », dix paires d’yeux isolés, traduisant les principaux sentiments humains, filmés par la caméra lors du final de l’ « Ode à la joie », sont deux des moments forts de cette exécution musico-picturale. Il faut relever la performance exceptionnelle de tous les acteurs. Galvanisé par le grand chef Mr Jean Ramon1) ainsi que par les solistes, l’orchestre et le chœur ont fait forte impression. On peut s’interroger sur le bien-fondé d’une telle démarche. Beethoven n’a-t-il pas avant tout composé cette fameuse symphonie sur le thème de Schiller ? La fraternité a sûrement inspiré Beethoven, mais de là à avoir la même perception que Mr Roux, c’est un pas que nul ne franchira. De plus, de quel droit celui-ci s’accapare-t-il d’une si belle musique à ses propres phantasmes ? Il a d’une certaine façon volé la sensibilité personnelle de chacun de nous. Toutefois, merci à ce grand Monsieur pour sa parfaite symbiose de la musique et du jeu théâtral. 1) Nom fictif. Read the full article

[cyriaqueblanchetlemoing]

.zip.psd

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Fanal Parade, “Iéna Situation” #3, une résidence du 8 au 16 Octobre 2022, sur l’île de Sein.

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Une journée sénane avec :

Marianne Dupain, Morgane Le Doze, Raphaël Massart, Matthias Odin, Mathis Perron, Janna Zhiri.

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Fanal Parade est le 3e volet de “Iéna Situation”, un cycle de recherche s’intéressant aux potentialités théoriques et artistiques du premier romantisme allemand. À la différence des deux premiers volets, Fanal Parade est une résidence d’une dizaine de jours sur une île dans le Finistère, et propose de réfléchir collectivement à la question de la représentation.

Le voyage commence en bateau, où nous réunissons pour la première fois nos différentes réalités. Immersion dans le monde et découverte de l’île, l’Insula Seidhun, lieu des fées en breton. On y trouve les fées Morgane, élève de Merlin ; Ahès qui défia Ankou — la mort, ainsi que Dahut fille du roi Gradlon que son père voulait tuer pour l’empêcher de prendre le pouvoir sur la ville d’Ys, cité engloutie mythique sous l’île de Sein. Il y a aussi des Korrigs et des Teuz : Les Korrigs sont des créatures qui protègent les lieux, iels vivent dans les Landes de l’île. Les Teuz, elleux sont des génies domestiques qui vivent près des humains.

Touxtes ces esprits ont disparu·e·x·s, endormi·e·x·s par volonté de séparation de l’Empire. Iels se cachent maintenant dans ses brèches, dans les derniers espaces qu’il n’a pas encore investis. Mais iels ne se trouvent pas dans la « Nature  » — et il ne faut surtout pas comme le voudrait Rousseau «  revenir à la Nature  » pour les trouver. Iels détestent la nature, c’est une invention de l’Empire qui a séparé les lieux, les animaux, les gens et la «  culture  » pour imposer son projet destructeur, normer, dominer et assécher. Iels conservent la mémoire de l’époque où il n’y avait que l’Unx, seulement la natureculture. C’était avant que l’Empire impose la doctrine de l’Être, la permanence des essences et la séparation. L’âme du monde était unie, en mouvement, générant différences et relations — pure immanence et joie.

Ainsi, Fanal Parade veut convoquer les esprits de Sein, apparitions évanescentes de l’Unx sur les terres arides de l’Empire. Mais il faut abandonner le regard que l’Empire nous impose, fissurer l’idéologie, et renoncer à notre pouvoir de séparation. Il faut commencer par nous défamiliariser, par «  rendre le familier étrange  ». Il faut reformuler ce que nous voyons — par le verbe et la figuration, pour changer notre perception et faire apparaître les brèches.

Une fois les fissures béantes, nous pouvons invoquer les esprits et, comme le veut Novalis : «  unifier l’esprit à la nature  ». Mais il ne s’agit pas de transformer la «  Nature  » à l’image des hommes, mais de s’engager activement en tant qu’humain·e·x·s comme part de l’Unx, de tisser du lien avec l’autre, multiplier les relations, et accompagner la joie dans sa bataille contre l’Être et la tristesse.

C’est donc par la pratique et non par la production — qu’on invoque les génies. La production les fait fuir, elle est production pour elle-même, hors-sol, au contenu indéfini, pure consommation de matière, violence faite au monde, pouvoir-sur et négation. Celleux-ci lui préfèrent les pratiques localisées et multiples, celles qui ne s’échangent pas mais se partagent, celles qui sont pouvoir-avec, joie et dépassement.

Ainsi, contre le projet moraliste et réactionnaire du retour à la «  Nature  », nous voulons appeler, avec Iéna au dépassement des grandes dichotomies (nature vs culture, humain vs nature, humain vs machine, esprit vs matière…) à la recherche d’une vie harmonieuse dont la relation est le centre. Dès lors, nous voulons aller par delà les divisions de l’artistique, du politique, de l’économique ou de l’environnemental. Pour cela, Fanal Parade est une invitation à partager un Art qui n’est pas production de marchandise, mais manière de raconter l’Unx, de se raconter, de s’engager dans le monde et d’unifier.

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photos : Raphaël Massart

[data-rhei]

Fanal Parade Iéna Situation #3

Fanal Parade est le 3e volet de Iéna Situation, un cycle de recherche s’intéressant aux potentialités théoriques et artistiques du premier romantisme allemand. À la différence des deux premiers volets, Fanal Parade est une résidence d’une dizaine de jours à l’île de Sein dans le Finistère, et propose de réfléchir collectivement à la question de la représentation.

Une journée sénane avec :

Marianne Dupain Morgane Le Doze Raphaël Massart Matthias Odin Mathis Perron Janna Zhiri

—

Le voyage commence en bateau, où nous réunissons pour la première fois nos différentes réalités. Immersion dans le monde et découverte de l’île, l’Insula Seidhun, lieu des fées en breton. On y trouve les fées Morgane, élève de Merlin ; Ahès qui défia Ankou — la mort, ainsi que Dahut fille du roi Gradlon que son père voulait tuer pour l’empêcher de prendre le pouvoir sur la ville d’Ys, cité engloutie mythique sous l’île de Sein. Il y a aussi des Korrigs et des Teuz : Les Korrigs sont des créatures qui protègent les lieux, iels vivent dans les Landes de l’île. Les Teuz, elleux sont des génies domestiques qui vivent près des humains.

Touxtes ces esprits ont disparu·e·x·s, endormi·e·x·s par volonté de séparation de l’Empire. Iels se cachent maintenant dans ses brèches, dans les derniers espaces qu’il n’a pas encore investis. Mais iels ne se trouvent pas dans la « Nature  » — et il ne faut surtout pas comme le voudrait Rousseau «  revenir à la Nature  » pour les trouver. Iels détestent la nature, c’est une invention de l’Empire qui a séparé les lieux, les animaux, les gens et la «  culture  » pour imposer son projet destructeur, normer, dominer et assécher. Iels conservent la mémoire de l’époque où il n’y avait que l’Unx, seulement la natureculture. C’était avant que l’Empire impose la doctrine de l’Être, la permanence des essences et la séparation. L’âme du monde était unie, en mouvement, générant différences et relations — pure immanence et joie.

Ainsi, Fanal Parade veut convoquer les esprits de Sein, apparitions évanescentes de l’Unx sur les terres arides de l’Empire. Mais il faut abandonner le regard que l’Empire nous impose, fissurer l’idéologie, et renoncer à notre pouvoir de séparation. Il faut commencer par nous défamiliariser, par «  rendre le familier étrange  ». Il faut reformuler ce que nous voyons — par le verbe et la figuration, pour changer notre perception et faire apparaître les brèches.

Une fois les fissures béantes, nous pouvons invoquer les esprits et, comme le veut Novalis : «  unifier l’esprit à la nature  ». Mais il ne s’agit pas de transformer la «  Nature  » à l’image des hommes, mais de s’engager activement en tant qu’humain·e·x·s comme part de l’Unx, de tisser du lien avec l’autre, multiplier les relations, et accompagner la joie dans sa bataille contre l’Être et la tristesse.

C’est donc par la pratique et non par la production — qu’on invoque les génies. La production les fait fuir, elle est production pour elle-même, hors-sol, au contenu indéfini, pure consommation de matière, violence faite au monde, pouvoir-sur et négation. Celleux-ci lui préfèrent les pratiques localisées et multiples, celles qui ne s’échangent pas mais se partagent, celles qui sont pouvoir-avec, joie et dépassement.

Ainsi, contre le projet moraliste et réactionnaire du retour à la «  Nature  », nous voulons appeler, avec Iéna au dépassement des grandes dichotomies (nature vs culture, humain vs nature, humain vs machine, esprit vs matière…) à la recherche d’une vie harmonieuse dont la relation est le centre. Dès lors, nous voulons aller par delà les divisions de l’artistique, du politique, de l’économique ou de l’environnemental. Pour cela, Fanal Parade est une invitation à partager un Art qui n’est pas production de marchandise, mais manière de raconter l’Unx, de se raconter, de s’engager dans le monde et d’unifier.

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photos : Raphaël Massart

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Du 8 au 16 Octobre 2022 @ Rue Saint-Guénolé, 29990 ÎLE DE SEIN.