#I think every ds character could go for some more meaningful past relationships

[onebizarrekai]

Hello, you used to do these things for ds characters a long time ago, like:

B A S I C S

full name:

gender:

sexuality:

pronouns:

And other-

Could you do this for Error or Cross(or both) please? I need it for my friend and his project-

sorry it's been like 100 years since I got this but anyway I feel like those characters have become so inconsistent it's tricky to narrow them down. if you ask modern me their names are ellie [last name missing] and victoria crow respectively, both are she/her, and none of the characters have articulated sexualities anymore besides Not Straight for imaginative ease. or if you're asked me from 4 years ago they're just error and cross and they probably are still trapped in the undertale dark ages of men who wish they were fashion disaster enough to fit in jojo's bizarre adventure.

do you mean like you want the WHOLE thing? like the whole whole thing? I just searched back and found the text base. dreamswap has plot holes and changed so much around its later era in it that it's difficult to articulate the details, but I can TRY.

ds ellie (to differentiate from the fatal flaws universe) was raised in an ambiguous institution (in other words, an orphanage) and has no mentioned relationship to her parents nor where she lives, barring the implication that she lives in an underground city. ds vick was born… somewhere in the spectrum of the multiverse, in a chunk of real estate owned by the ds version of big bad xgaster and it wasn't established who her familial relations were in this version. half the characters in ds are also conveniently unemployed and this includes the entire meme squad. ellie and vick's phobias have yet to be articulated because it was never that important to the plot. in other, less jokey words, I would say phobias are much more severe and neurological than bad memories or unpleasant situations. I don't really wanna say that ellie has a phobia of human connection or that vick is has a phobia of defeat or something. they have bad things that remind them of bad things and may even be debilitating, but I haven't had a chance to articulate them in writing or even figure out entirely how to do that or how they might relate to any given story. I never decided whether they had any irrational fears either. same thing for the next inquiry; what their guilty pleasures might be. all I can come up with is that vick likes fighting, and it's not always the wholesome kind.

morality alignment. uhhhh. it's complicated. people are complicated. the whole next list of character traits that split everyone into one half of the chart or the other feel like they're not accounting for any hypothetical specifics. like, I could say ellie is agreeable, but she's capable of doing things that make her disagreeable to many others. vick could be disagreeable to the people she picks fights with but she's capable of being agreeable to others. either one of them could be more optimistic depending on the circumstances. vick's carefree attitude could be read as optimism or nihilism. some of them are more cut and dry (for example, I'm sure both of them are anxious messes, which is common for their age), but I feel like saying it doesn't really say as much as just reading the material that exists of the characters… and said material is already only semi-reliable at best.

basically, I have this image in my head of the complex potential of each ds character, but none of them have really grown into it. you get what I mean? there's a lot of character details that aren't very clear simply because the characters were created, but not wholly written. not wholly developed. I'm not saying I have contempt for them or something, or wish I had done more. they just have something they COULD be one day. more complete versions of themselves. versions of them that I started out imagining back in 2018, but the directions I was going in with what I was making resulted in those versions of them not being fully realized. a character can only go so far with bouts of lore and minimal continuity.

I dunno if any of that even matters. it's probably more useful for me to just give yes or no answers, but I just kinda felt like talking about ds and its characters and how they've aged. maybe they'll end up in some medium one day that focuses more on who they could be rather than just their backstories and they'll be more fleshed out then.

[eleutheramina]

Is Scoopshipping Good Writing? An Extremely Long Text Post

This is partially a response post to criticism of the ship and Jack’s development in the Dark Signers arc, and partially my own analysis of Jack and Carly’s relationship--specifically whether it is congruous with Jack’s Fortune Cup characterization and whether it says anything meaningful besides just invoking the Power of Love. 

Introduction

It’s been over 10 years since 5D’s first aired, which is surreal. I still remember thinking the whole concept was ludicrous at first, but it eventually became my favorite Yugioh series (though I usually ignore the series post-episode 64 and consider the first 64 episodes by themselves). It was really primarily because of these two fools that I started watching in earnest:

I shipped them big time. Even now, I still really adore their relationship. Most of my ships I end up becoming less obsessed with over time, but Jack/Carly continues even to this day to captivate my heart and imagination. 

Recently, though, I’ve been thinking about the question, is their relationship good writing? Especially in how consistent it is with Jack’s characterization in the Fortune Cup arc, and whether or not it works to develop him as a character afterward.

(Of course, my personal stakes in the question is, should I be shipping them? While ships obviously don’t have to be well-written in canon or anything like that for someone to ship them, it’s significant to me because so much of the reason I liked Jack/Carly in the past is because it did feel decent character development, especially in contrast to what came after the Dark Signers arc.)

Why I’m Writing This

This sense of doubt about the writing of their relationship is especially spurred on by this character analysis of Jack:

“A lot of people seem to think that the introduction of Carly and the whole romancey subplot developed Jack as a character and for the better. I could not disagree more. If there's one word I'd associate with Jack prior to his entire development and dignity as a character going down the crapper, I'd have to say it's 'ego'. How did Rex/Jaeger get him to sell out his friends, steal Yusei's stuff and join him? He appealed to Jack's ego. How did he persuade him to stay after his first loss to Yusei? By telling him about the signer and reassuring him, again, that he was special. Overall, Jack just struck me as a very focused and driven character, intent on achieving his own goals on his own. He actively pushed away everyone who tried to get close to him, most obviously Mikage, who is consistently worrying over him but whom he never spares as much as a thought or a kind word for in return. Ever. This egocentric attitude is also, at the risk of over-analyzing, consistent with Red Dragon Archfiend, both in its moving away every defensive obstacle in its way and in its actively destroying any monsters that didn't join it in attacking. I generally don't like going onto this level of symbolism because it so easily devolves into semantic nonsense, but given the parallels here and the similarly fitting effects of Yusei's Stardust, I thought it worth mentioning. This would also lend a bit of further significance to him handing the card over to Yusei before the tournament, not only affirming his egocentric wish to beat Yusei at his strongest (and thus redeem himself for their last duel) but also his rejection of the self-sacrificing/others first mentality that the card represents. His obsession with Red Dragon Archfiend after that duel is also consistent with this interpretation, with Jack pushing himself even harder to prove to himself that his way is correct.

“Overall, I don't object to the notion of Jack learning to be less ego-centric as development, but the way the dark signer arc handled it was beyond contrived and ham-fisted, pushing him into an impromptu romance that was completely inconsistent with egocentric personality thus far and completely glossing over the far more interesting questions of how he'd rebuild his ego after essentially losing his entire self-image as the king in front of everyone. Instead, apparently all he needed was for a crazy lady to abduct him from hospital, blackmail him for the sake of her own career, then give a few lines of generic encouragement and invoke the power of love. From where I'm standing, it was obvious that he was intended to be Yusei's main foil, representing a pragmatic, egocentric worldview to contrast with his idealistic views on bonds and friendship, but equally clear that that idea was quickly scrapped in favor of shipping bait and deifying Yusei.

“Jack Atlus, he deserved a far better closure to his development than Stockholm syndrome.” --Aea (http://neoarkcradle.net/forum/showthread.php?tid=26&pid=735)

Before I get to what I think is actually pretty solid about this analysis, I want to address some points. The idea of Carly being “crazy” is pretty hyperbolic. Calling what she did “abduct[ion]” is just inaccurate--after all, Jack asks her to take him out of the hospital, and he also refuses to return when Mikage and Ushio go to get him. Of course, he tries to leave her place in episode 31, but he also seems to willingly return there at the end of the episode. Because she wasn’t really kidnapping him or holding him at her home against his will, their relationship isn’t Stockholm syndrome.

I do think there’s some validity to the idea of her blackmailing him for her career. She does try to draw attention to him when they’re out in public in episode 31 in order to get him to stick around so that she can get a scoop from him. As comically as it is presented in the episode, that’s nonetheless what she does (and she also tries to leverage his lack of gratitude, too!). But she does ultimately feels remorse for that and resolves to not write any article that would hurt a duelist (even despite the fact that Jack lets her write what she wants about him), which is glossed over in this analysis of Jack.

I also don’t think that the encouragement she gave Jack was super original. Here’s the exact quote (which she says in response to Jack divulging his past to her):

“If you get the picture that much, why don’t you just start your life over again? The old Jack died in that battle with Yusei. Now it’s time for the real Jack Atlas to live. Plus, it’d help you in becoming a real King, right?”

Essentially, she tells him that he can get back up again after his loss and be even better than he was before. Yeah, at face value, it is pretty generic. But I do think that it does speak into a lot of what he was struggling with, at least as it is depicted after his defeat.  Now, whether these are things that make sense for him to struggle with is a different issue that I’ll discuss in a later section.

And finally, I do think that Jack/Carly invokes the power of love trope. At least, Jack invokes it himself when he is talking back to Godwin in episode 63: “No matter how much I deny it, I cannot escape from what’s known as ‘bonds.’ And what helped me understand that was one woman’s love!” I don’t think the power of love is necessarily a bad thing, and I think it makes sense for someone who gave up their bonds from the past to pursue his own goal to be able to be moved and changed by someone genuinely caring for them.

Now, whether or not it was a good decision to have love be the driving force in Jack’s character development during the Dark Signers arc is a different question, which brings me to the points of Aea’s analysis that I find really compelling and want to grapple with.

What I read Aea as primarily saying is that Jack in the Fortune Cup arc is depicted as a highly egocentric person, and that his plotline with Carly in the Dark Signers arc is a) inconsistent with that previous characterization and b) not as interesting as a plotline in which his egocentrism could continue to serve as foil to Yusei’s worldview.

I think a lot of that makes sense. I do think Jack was driven by his ego, and I do think that it might’ve been more interesting if his self-driven worldview were able to be given as much validity as Yusei’s idealistic, others-driven worldview, which is ultimately what is privileged. I can also see how Jack being primarily motivated by saving Carly during the latter half of the DS arc may be incongruous with his egocentrism just 20 or so episodes before.

At the same time, though, I think there are a lot of directions 5D’s could have gone which have the potential to be more interesting than the one it actually went, so rather than wondering about what could have been, it would be more worthwhile to examine Jack/Carly’s plotline and see whether or not it is inconsistent with Jack’s previous characterization, and also to see if it has any merit of its own as far as it develops Jack’s character. 

Particularly, I am going to argue that a) although perhaps not as well executed as it could be, it made sense for Jack’s character to need to change after the Fortune Cup arc, and the way it changes is not incongruous with his previous characterization. Indeed, Jack’s character development in the Dark Signers arc centers around him reconceptualizing what being a King is.

Also, b) Jack and Carly’s relationship ultimately deals with and says interesting things about the idea of being driven by oneself that, rather than totally undermining the mentality that initially drove Jack to abandon his friends to become King, gives it some nuance.

Point A: It made sense for Jack’s character to need to change after the Fortune Cup arc, and the way it changes is not incongruous with his previous characterization. Indeed, Jack’s character development in the Dark Signers arc centers around him reconceptualizing what being a King is.

So throughout the course of one arc, Jack goes from being a man who is motivated primarily by himself and his desires (to the point of being willing to put down others for them), to a man whose main reason for action is someone else’s well being. It does seem like a stark change. Rewatching the Jack/Carly duel, the sheer amount of concern for Carly that Jack shows is pretty astounding.

But I think that it’s understandable for there to need to be a change. For one, the particular reason why Jack lost to Yusei in episode 26 in the first place is because he tried to win using the same strategy as before--he wanted to redeem himself for his first near loss. Clearly there is a need for a change: Jack loses not once but twice to Yusei in the same season, and Yusei also cites Jack’s pride as a King as his reason for his loss.

The drama between Yusei and Jack during the Fortune Cup arc is driven by Jack losing to Yusei and needing to duel and beat him again to redeem himself and prove he’s the better duelist--that he truly deserves the title of King. In episode 6, when Jack realizes he would have lost to Yusei, it’s clear that he’s not driven by how his fans perceive him. While his fans have no idea that he lost, he’s nonetheless still bothered because he, the King, knows. In episode 8, Jack feels like he’s not the King anymore, even though Mikage says he still seems like one. The cheers of his fans sound hollow because he knows he doesn’t deserve them.

Something I find interesting is Jack’s awareness of his counterfeit Kingship revealed through his calling himself a clown. After his initial defeat, Jack asks Mikage if he’s a clown in episode 8, in episode 25 he asks Godwin to release Rally and co as “reward for a clown,” and in episode 31, he also uses the language of a clown when he talks to Carly: “Back then, I gave up everything, and what I gained from it was the path to being a King who continually acts like a clown as he lies about his true identity.”

Because of this, the way I see Jack’s character is that his identity as the King was made counterfeit at almost the very beginning of the series (episode 5). He then spends the entire rest of the Fortune Cup arc trying to regain his original conception of his King identity, only to ultimately fail. From Jack’s own language, I think we’re meant to see this as Jack’s foolishness. While it may have seemed fine for two years, the King identity that he had held onto no longer worked for him. When confronted by someone from his past, his King identity starts to crumble--first he’s defeated not once but twice, then it’s revealed he’s actually from Satellite, etc. In episode 25, he even shows awareness that Godwin baited him with the idea of being a duel king; when Godwin asks if that isn’t what he wanted, Jack says that he wanted to rule as “the King [he] truly desired to be.” Indeed, it’s revealed that he wasn’t even valued by Godwin for himself, but rather as a means of getting to Yusei. It makes sense, then, that his development after his defeat should center around letting go of his original conception of his King identity and discovering something more true.

All of these realizations are those that Jack comes to more or less on his own; Carly even says that Jack already “get[s] the picture.” So I do think it is congruous with Jack’s Fortune Cup characterization for him to need to find a new way of being King in the Dark Signers arc. Hence the need to start over, as Carly suggests. (And which is revisited in episode 37 when Jack talks to Mikage again, episode 59 when Carly does her fortune telling stuff, etc.)

I think it’s because Carly gives him hope after he loses his King identity that she makes such a mark on him and effectively becomes his main motivation in the DS arc. And I mean, Jack in the DS arc is still pretty aloof and pushes others away—he makes it clear to Yusei that he “hasn’t become anyone’s friend” in episode 45, and he really doesn’t rely on anyone else even as he angsts over Carly. No one even knows the identity of the Dark Signer he’s fighting. While Yusei still draws on his friends for strength, we see Jack continue his independent streak. Heck, he even pushes Carly away! (And she honestly probably would have been better off and not have gotten killed if she had just stuck with him, but that’s for another AU...)

An aside - I sometimes read people saying that they think Mikage could have filled the same role Carly did. Maybe, if written differently, she could have. But I think it’s notable that when Jack is angsting about having lost his sense of being a King in episode 8, Mikage is not really able to understand or speak to him in a way that actually meets him where he is. She clearly cares about him, but I think she’s not able to get past the image of the King that she and his fans project on him. I think Carly is able to empathize with his pain more. When Jack calls himself foolish and a clown, Carly doesn’t try to convince him he’s wrong--instead, she says something more like, “Sure, that’s true--but that doesn’t have to still be who you are.”

Point B: Jack and Carly’s relationship ultimately deals with and says interesting things about the idea of being driven by oneself that, rather than totally undermining the mentality that initially drove Jack to abandon his friends to become King, gives it some nuance.

I would argue that this is because Carly’s own character, as well as their relationship in general, deals a lot with themes of selfishness. While not presented as starkly as Jack’s self-drive is, it is obvious that Carly is someone who is self-driven and desires to achieve her goals, not completely unlike Jack. Her first appearance has her going past a swath of reporters to talk to Godwin, and her subsequent interaction with her boss shows that her job is precarious and that the scoops she seeks after are at least in part to keep her job. Like Jack, she came from a lower class background (although “the streets” rather than Satellite), and she doesn’t seem to have any close ties (Angela the reporter might count, but that’s a stretch). And when she goes to talk with Yusei and Dick Pitt after their duel, her concern is not with their wellbeing but about getting information from them for a scoop. “Straight ahead is the only way for me,” is something she repeats, showing that she knows where she wants to go and is determined to get there.

Indeed, Carly would not have met Jack at all if she had not snuck into the hospital trying to learn if he was truly from Satellite. She is someone who is driven primarily by herself, albeit more innocuously than Jack is. This also underlies why she was willing to “blackmail” Jack into going to the amusement park with her. She needs a scoop and is ready to do what it takes to get it.

But, we see how in the same episode, she starts thinking less of herself and more about another--Jack. She thinks, “He’s really hurting inside. And here am I trying to write an article about it. Am I a bad person for that?” She considers what he is going through, rather than just her own needs. When she defends Jack to Angela, she is driven not by her desire to keep Angela from getting her scoop, but a genuine care for Jack. And when she figures out he’s going to the tower to look at Satellite, it’s only by inhabiting his point of view and thinking about what he may want. Yet the question she asks herself--whether or not it’s bad to be writing a scoop about him (after all, it is her job, as Angela points out)--is an important one for her.

As self-driven as Carly is, she realizes she has limits--that is, she would not go as far as to hurt another person to achieve her own goals. Jack, on the other hand, has already done that, putting Rally in peril and taking Yusei’s card in order to get to Neo Domino City and become King.

We see again how Carly can be self-driven when she tries to get closer to Jack after he leaves, and when it is ultimately an illusion of happiness with Jack that causes her to fall back into her Dark Signer persona. Yet even then, it is clear that she does not want to hurt anyone, and Jack repeatedly reiterates this.

This culminates in the conversation she has with Jack before she dies: Carly: I loved cheering people on who tried their hardest like you, Jack. Despite that, because I tried to wish for such selfish happiness, I must’ve been wrong for doing so, huh? Jack: That’s nonsense! Everyone has the right to wish for happiness. If you’re saying that’s a crime, then I’m just as guilty!

Carly says herself that she was motivated by her own desires. Jack, in affirming her desire to obtain happiness, also affirms the ambition that drove him to abandon his friends. However, we see in how Carly is reluctant to hurt others that while it is not bad to want to pursue one’s goals and happiness, it is important to consider the impact on other people. It wasn’t bad for Carly to want to be with Jack, but it would obviously be bad for that to necessitate the deaths of many; it’s not bad for her to want to write a successful story, but it’s bad for her to take advantage of duelists’ like Jack’s pain to tell that story. This allows us to view the Jack in the FC arc in a new light: his desire to escape Satellite and become a King wasn’t bad, but it wasn’t right of him to harm others in order to get there.

Ultimately, Jack and Carly’s relationship is about two people learning how to pursue their happiness and also learning to put each other’s happiness first.

[rekkingcrew]

Campaign Debrief

So for nearly 2 years I ran an Edge of the Empire campaign with 3-4 players, mostly weekly. These last couple of months we’ve been using discord, which has gone great. I want to get down some of my thoughts about what worked and what didn’t. 

This is gonna be a big wall of text and all but two bits are gonna be under the cut: system and play style. 

Fantasy Flight Star Wars game system is legit my favorite system EVER. (Not to dick wave or anything, but that’s including D&Ds 2-5, Gurps, White Wolf, Blades in the Dark, Dungeon World, Deadlands, and a few miscellaneous other short form ones). The system of advantages and disadvantages, and especially triumphs and despairs rather than just straight successes and failures really opens up complex narrative opportunities and gives a chance for wild story beats that just would not have happened otherwise. The fights go fast but feel meaty and there’s a lot of room to pitch advantages to your friends so you’re not just waiting your turn. Character creation is granular enough that your choices always feel meaningful, and points can be spent anywhere, so you can really specialize and shape your character. 

We played very collaboratively and it made things AMAZING. Part of this is that we were all good friends and have played together for a while now. Our taste in what kind of story we want is similar- nuggets of drama scattered throughout, but mostly cutting up. A lot of the best NPCs and story suggestions came from my players rather than from me- our season one boss villain, Imperial spymaster “Uncle” Karston Severax, a pantoran ex-special forces black operative whose current public face was a Mr. Rogers-esque children’s TV presenter, for example, was someone my players started out and all of us collective “yes and” added to around the table, and he was JUST THE BEST. These kind of exchanges also gave us moments like the time our tech tried to blackmail the head of a security corporation with the fact that he was having an affair and he’d written just LOADS of incredibly cringey fanfiction; but the roll was such that the attempt ended with him finally getting the push he needed to quit a job he hated, get out of a marriage that just wasn’t working, and follow his dream of self-publishing. He even dedicated his first book to our slicer. Because it wasn’t a DM vs Players atmosphere, because we were all on the same page, I could ask my players “hey, what do you want for your triumph?” and “all right, so who is the NPC you know?” as well as just “that’s enough to finish this guy, what does this look like?” This campaign was 1000% better for sharing that world building load, and the players were all, I think, more invested. 

more below the cut. 

What Worked

One of the most useful things I ever did was start giving players morality pet NPCs that were their special hench people, and I’m embarrassed that I waited so long to assign one to our droid. 

The zero session was absolutely invaluable in setting the tone of the game and the relationship between characters, and I will bang this drum until I’m fucking blue in the face. Don’t meet in the first session. Sit the players down and say “how do you know each other, why do you stay together, what are some of your past adventures?” It’s just so much better. 

Cameos and ties to our other games, in what we’ve been calling “The Drax Kreiger Expanded Universe” have continued to be welcome pretty much every time. People were delighted to have a moment or two to slip back into old characters. 

I was able to identify what each player wanted and give them that. Brick’s player wanted quiet scenes with big character emotion, like his one on one pit fight the character didn’t want to have, or the letter from his mother telling him how proud she was of him, or the time in training where he tapped into how angry he really was and it spooked the character and everyone on the ship. Nyla’s player wanted a big epic, but also difficult space journey of good vs. evil, and so Nyla got a padawan whose parents she had possibly killed when she fought for the empire, she dug up the grave of her clone teacher’s order 66′d jedi for the crystal for her lightsaber, she got to cleanse a temple that was trapped in a fruitless struggle between light and dark, and a climactic lightsaber battle that was about possibly sacrificing herself for the good of others. TK’s player was deep into star wars trivia and space stuff, so he practically squealed when Verpine shatter weapons showed up, and he seemed to get a kick out of the Evocii, and also that time they put on wing suits and dove the atmosphere of a gas giant. It’s worth noting nobody was actually all that interested in the thing that turns my gears: complex mysteries with a lot of clues and investigation, and once I let that shit drop, things ran a lot smoother. 

Some of our best stuff was non-combat challenges, like climbing the cliffs of Naboo or navigating the deep undercity of Nar Shadaa. The guys reliably failed anything social, but environmental challenges were always appreciated. 

I always tried to make sure there was more than one way to do things. For any given mission, especially early on, I’d try to brainstorm at least three ways something could be accomplished. 

My party split up a LOT, but we found a sort of cinematic cutting back and forth to be really useful. When there was a big crit, or a goal accomplished, or something like that, we’d jump to the other party even if the fight wasn’t over. Sometimes that was only just, like, Brick and the guys doing drunk karaoke and saying to no one in particular “MAN, I hope Nyla’s having as fun a time as we are!” but it kept everyone involved and it wasn’t just people waiting their turn for 20 minutes at a time. Also people chimed in with fun advantages and disadvantages. 

I had everybody write backstories and whenever I could, I incorporated in things from what they’d written. Our second season was basically TK tracking down the guy who’d made him, a Thackwash alien with the same sort of shifting personalities he had. TK’s player hadn’t written much about the guy except that he’d been a salvage mechanic who constructed TK for protection when he got in trouble with the local mafia. Giving that guy complementary personalities for each of TK’s really helped stick the landing on that one, and the player really enjoyed having actually completed his character’s goal. 

It’s worth saying, we took some time at several points during the campaign, either individually or as a group, to talk about what we liked and didn’t, what we wanted more of, where we wanted things to go, possible directions for characters, mechanical issues, how to have a better game, group dynamics, all sorts of stuff. In a way it’s like sex: people have this fucked up expectation that you’ll just be good at it without communicating, and man, fuck that. Talking to my players was ALWAYS worthwhile.

I was always adamant, because it was a thing that bugged me when I was a player, that if a character had spent the points to be good at something, they got to be good at it. That made some things difficult, but I think it was the right decision. It took me a while to tailor fights right, and honestly a lot of times, splitting up the party was the best way to balance fights, but I never said to anyone hey that thing you spent all those points on, could you please not do that?

My players were excellent about encouraging each other to have serious dramatic moments. TK was completely ready to die in a fight, and when he lost a significant chunk of his programming, the way he chose to play it was really heartbreaking. Everyone came inside and had tea with Brick’s mom. No one stepped on anyone else’s fun when it was time to be serious, and everybody was great about cheering each other on, whether they were being funny or being dead serious. 

I FUCKING FINISHED A CAMPAIGN. IT HAD AN END. So much stuff petered out over the years, I was adamant I wasn’t going to do that. 

What Didn’t Work

Boy, my players had pretty much all the trouble trying to remember to use “they/them” pronouns for NPCs with neutral or alien genders. 

No one is interested in falling damage. Sigh. 

I did not keep good track of money or ship fuel or anything. The campaign didn’t end up relying on it too heavily (I was honestly expecting a much more Cowboy Bebop setup than where we drifted), but that was an area I kind of fell down. 

We never really got obligation working correctly and in the end we just ended up abandoning it. We kept doing the force morality because the lone force player was very into it and it was a huge part of that character’s journey, but for the rest having people show up to collect on obligation was sometimes not possible in the story- or if it was possible it was pretty cumbersome. Campaign did obligation by arc, and I think that’s a pretty useful way to do it- roll at the end of the arc for what’s coming next. 

Early on, I made way too many assumptions about what was an adventure hook for my players and what was an annoyance. Honestly, bits of this lasted pretty late. At one point I gave my players a spy for the larger rebellion they could totally talk to- he was even working with their resident bothan spy- but they looked at the senatorial assassination he was doing and literally said at the table “I think it’s best if we just walk away from all this.” And so they did. Which was frustrating, but, you know, it is what it is. They also never much cared about the hutt gang war. 

I let a lot of things drop that I would have liked to bring back before the end, but in all honesty, I think we were all running a bit out of steam. I would have liked to put in Brick’s old mentor, or follow up with the imperial governor that was a falleen in a human skin suit, or see more of the bounty hunter’s guild, or have a nice end thing with our bothan spy, or any of that. But I do think it was time to end it. And we followed the threads people liked. 

I had way too many NPCS.

What sort of worked

I had like 200 npcs and they were not all bangers. In particular, I let the party design their own ship, which I wish had played a bigger role (though it did really set the tone), and I let them design 2 npc crew who would fill in any party roles they didn’t want to play and guard the ship so they could go on adventures without worrying about it. The devaronian scoundrel was with the party to the end though I never really got him to be more than a joke, but the bothan spy kind of fell off, and while she made some appearances, she didn’t really have as big an impact as I would have hoped. She kind of got replaced by Nyla’s padawan, a hench mon calamari called Nezrene, who was a better fit with the party. But, you know, players will do what they like.

Factions. In the first bit of the campaign, my factions were a fucking life saver, because I could design scenarios with a sort of “what is each faction doing/ which faction hurts from this, which benefits?” By the second season we’d kind of abandoned them to go to the core, and by the third my group was solidly rebel, so the hutts and bounty hunters fell a lot by the wayside. I still think having a couple of broad poles of power, and having the players know them and their leaders, is a good call. But they do seem to kind of organically pare down on their own, and it’s easy to get caught up too much in them. Useful sorta?

There was definitely a point where my players just were not challenged by conventional challenges. We ended up doing most of the later fights that involved a lot of minions in montage. I’d have them roll their fight skills unopposed, just to see if they got any interesting advantage/triumph set ups. I still had boss fights that were mostly challenging, but there just was no point in throwing storm troopers or low level gangsters at them. Not when they have soak 8 and autofire, and that one talent that lets you kill every minion in a combat. Designings fight got a bit tricky, and in those big high level combats, despairs and triumphs come up a lot more and really sway the fight, which I like, but also it’s very hard to plan for. 

Mass combat was tricky. I did a lot of it toward the end because my players were generals in a rebellion. I always had them do the rolls and some of the narration, but that wasn’t always enough to make them feel like things weren’t very arbitrary. 

I personally love the rule that if you roll a despair shooting into an engaged combat you shoot your friend. Nyla, who got shot twice this way, does not. 

We started the game with a tech character who dropped out. Toward the end, we picked up another tech character whose player couldn’t do their regular stuff because of covid lock down. Neither of these characters could fight at all, and both were very differently oriented than the rest of the party, and that was tricky to manage. Additionally, the dude coming in at the end had like a year and a half of in jokes he did not get and there were 200 goddamn npcs. I tried to give him the lowdown on what he might have heard about the party, but it was a combination of too much information and not that much player interest. He did get to break a star destroyer though, and I think he liked that. 

I offered players XP to write backstory stuff, and later goodbye notes others could find if they kicked it. Not all of them did. In the end it made a negligible difference, and I still think offering the bounties on this is basically a good idea. 

What I would do different next time.

Three ring binder that opens and closes so I could move fucking NPC stats around. I filled two goddamn school notebooks with notes for this campaign and there were so many goddamn times I was like “I KNOW I wrote this down, but where?!”

Players felt a bit aimless when they didn’t have a specific villain. I’d planted a few in, but they took finding, or they were too easy to avoid. Next time I would have a few more people who were actively on my player’s tails. 

I would keep better campaign notes and/or ask one of the players to do so. I used to do recaps for the games when I played Rek. There’s stuff I KNOW I’ve forgotten, and more I’ll forget as time goes on, which is a shame. It’s a weird, ephemeral medium, but possibly I’m just spoiled by living in an age of easy reproduction and enormous storage where data is concerned. 

Better book keeping in general, really. 

When I did a mystery short, I wrote up a list of all the clues people could find but not where specifically they were, so that I could just jam them anywhere they seemed like they’d make sense whenever a roll called for a player to find something. I think I’d try to do that with player’s personal stories so they could be woven in a little better. I did a lot of flying by the seat of my pants. 

All in all, I’m pretty happy with how it went, and I’m ready to get back to playing for a bit. I loved DMing, and I more or less DMed the game I would have liked to play, but man, doing this all the time, or being the only person who does it? After a while, that’d be a lot, and I’m looking forward to the break. 

[isaacdian]

hope you don't mind me asking, do you have any Isaac and Miria headcanons? i'd love to read some from you. you appear to have a good grasp on the characters, and great love for them. :)

aw thank you so much for the ask, sure thing!

some of these will probably get into theory territory as well, because i’ve had the novels sitting in my mind for years now, and there are a few details i’d like to mention (beware of baccano light novel spoilers, just in case).

this could get a bit long, so you can read it below the cut:

i’ll write my headcanons/thoughts in no particular order. more people might have come to similar conclusions, but i don’t think i’ve seen any posts or had any discussions with anyone regarding these (at least in depth), so!

- i like to think that miria and isaac ran away from their then (seemingly) unhappy lives after they got to interact with each other for quite a while, and not spontaneously upon meeting for the first time.

there isn’t much evidence to back this up beyond some characters commenting that they “were probably runaways” or that “maybe they eloped”, so they might have escaped together on the spot, since we already know they can be very impulsive. however, i get this feeling that their bond took some time to develop, and i’d love to see some of their interactions as isaac dian —and— miria harvent before they ever became isaac & miria, if that makes sense.

i doubt they met too long before their string of robberies, though? this is such a weirdly specific and probably meaningless thing to pinpoint, but in 1935 miria asks isaac if he’s ever been to the circus, and he responds that he does remember animals, but he doesn’t remember if that was the circus or the zoo. this hardly means anything, but their circumstances overall don’t really make me think that they’ve known each other since they were too young.

- whatever optimism and general exhilaration regarding life isaac has is innate. on the other hand, miria has mostly acquired her own sense of hopefulness over time, with isaac’s help.

miria is a 100% confirmed literal ray of sunshine and this indisputable. it just hasn’t/doesn’t always come to her as effortlessly as it may seem. bloody to fair isaac and miria magic show color page.png

this is somewhat related to the next one (and also the last point i’ll mention at the end of this post):

- when isaac gets arrested and he and miria get separated in 1934, they’re both having an equally hard time dealing with this.

okay this one is like. obvious ksjksk. but i wanted to talk about how they deal with this situation, because at first glance it looks like miria got the shortest end of the stick here. and in a way, that might be true! i’ve already mentioned that miria herself has been shown thinking about how much isaac helped her to be happy, and narita has been deliberately vague regarding the nature of their silliness, on top of hinting at the possibility of their shenanigans being a kind of mechanism to escape the harsh realities of life from the rolling bootlegs (very first novel), if i recall correctly.

(btw:

i recall that somewhere in the 1935 arc, graham starts talking with the usual “let me tell you a sad, sad story” prelude. however, isaac and miria are upset by this, and they tell him that he shouldn’t tell sad stories, because if you do it, your happiness will run away. meanwhile, this part in cloudy to rainy living rent free in my head:

i have to laugh..........)

that being said, i couldn’t help but feel like isaac was having an equally bad time, even if he displayed it in a different and not so blatant way. while i was rereading the novels after i got to buy the official english release, i felt very strongly that something was definitely wrong about their separation, which, again, is obvious to us readers and to the characters who know isaac & miria. but it extends beyond that. there was this general feeling of knowing that whoever came across an unaccompanied isaac would magically feel like there was something missing. i don’t know how else to explain this. he’s still full of energy and optimism and he’s fueled by his desire to reunite with miria, but every time he’s shown hesitating or doesn’t reach a satisfying conclusion while thinking about a frivolous topic, it hits you like “oh... right” (firo didn’t help much on that last front, either, so miria and isaac must have had to discuss what exactly happens to fellas who don’t believe in fairies after their reunion... lol)

in short, he needs miria just as much as she needs him. this is something i’ve seen other people mention as well: isaac might be the “force” factor in their relationship, but that force won’t amount to much without miria’s “direction”, and viceversa. the lift each other up, and they keep each other grounded, too.

i’m also remembering isaac and sham’s conversation and just. there’s a self-esteem/confidence factor in there. Fun Game of Spot the Difference

and this is getting ridiculously long, so i’ll spare you from having to read my dumb thots about isaac’s (possibly real) fear of miria not liking him, as the narrator implies, which i subconsciously ended up linking to that one impossibly crack ending in the ds game, where you pick the option of him not knowing frankenstein’s monster’s real name, so miria leaves him after realizing how “cheap and uncool” he is LMAO

- isaac’s father might have been an academic of some sort, as well as a stern man who disapproved of his son’s flighty and childish tendencies.

???????? besides miria’s implied tragic backstory, the most we know about both of their pasts is that isaac comes from a wealthy family with whom he seems to have a bad relationship with, so even though i’ve tried to work out other details (his parents’ provenance for instance?) i can’t really elaborate on this. even if isaac’s knowledge on the topic is pretty scrambled (to put it nicely lol), he knows a lot about “the orient” as he puts it, and the “dian” surname is pretty unique so who knows!👀 i’ve only mentioned his father because isaac, too, has only mentioned his "old man” twice so far in the novels, if i’m not mistaken. in my opinion, it also speaks volumes how flustered isaac got when molsa apologized to him, because it was the first time someone older than him has done this. and this is pretty arbitrary, but if isaac started robbing and getting into trouble before he and miria even met and/or before he got kicked out/ran away from home, that whole deal about “being used to dealing with policemen” (in the unofficial translation i read back in the day it was something along the lines of “this isn’t my first time being interrogated by the police”) in 1934 would make sense, i guess, considering that miria didn’t realize what was going on at the moment even though she’s a fairly perceptive person.

anyways it’s too bad we don’t know that much about miria on this front, also!! i get the vague feeling that she might have also come from a wealthy family (probably not a good environment, though), since in 1935 it’s mentioned that the closest they’ve ever gotten to working/having a job was when they were digging for gold, apparently. that’s why i can’t really think of anything too specific regarding miria’s past and upbringing... i have a feeling that she might have felt alone, trapped and/or overwhelmed. let’s just hope that when she said her bruises would heal up fine with ice in 1935 it had nothing to do with this “i should have died” business :(((

- even though isaac and miria love their friends and would do anything for them, they aren’t particularly attached to anyone (or any place) besides each other.

this is more of an observation than a headcanon, but i find it really interesting: they would definitely do anything for their friends, and they do enjoy life very intensely, but that’s precisely why they don’t seem to be fixed in one singular spot? basically, i feel like they’re the personification of “home is where the heart is” taken to the extreme. they could go anywhere and do anything as long as they have each other, and they will never make any attempts to actively do things that make it easier to label their relationship, such as getting married, which is heavily implied by firo (i think) in 2002 bullet garden (i think!!). that’s also part of the reason why i’m sure they’d never find themselves commiting to things like taking care of a pet, or a child; it’s more like they instantly “adopt” everyone they run into, as if they’ve always been friends, even if they won’t meet again for months, years, or ever again. anyway, isaac and miria are extremely good and they are literally going to be happy together forever and ever! they don’t need to prove that.

that doesn’t mean they’re not sentimental, though! i like to think that they keep some meaningful objects that remind them of fond memories of their friends. and this is hardly canon because it shows up in the anime And in a background at that, but shoutout to the rocking toy horse in their california mine lol.

- miria knew about her own immortality (as well as isaac’s) before the 2000s.

THIS IS PROBABLY MY SPICIEST TAKE and i tried to back it up in the next point of this list. i still keep thinking i’m reading too much, into this but

i can’t stop thinking about the implications, folks

which brings us to:

- miria is smarter than isaac is and actually has a fairly good idea of when he’s making stuff up, but is happy to let him take the lead.

i won’t deny that isaac and miria dedicate a huge chunk of their day to doing moronic stuff, and they are pretty dumb, but i feel like people don’t give them enough credit for how perceptive they are. even though that’s true of the two of them, i feel like this mostly applies to miria.

among other things, we’ve learned that she knows ronny isn’t human and has supernatural powers (wow), which is why she comes to him for help after isaac’s arrest. she’s very good at paying attention to small details, such as the kind of programs ennis watches on tv, or chané’s feelings, when the two talk in 1934. miria also “really knows her way around japanese” and has been shown to --apparently?-- multiply large numbers in her head in 1935... while isaac was talking about how good of an idea it would be to use the martingale betting system. not to mention how isaac stated he “doesn’t know how to count money” earlier in this arc. my god ksdjgjks. i want to know what’s up with this, if anything.

so, yeah! there’s probably more stuff that i could mention, but i am exhausted lol. thank you for your patience anon, i have no idea how long this has been sitting in my inbox. always happy to get baccano questions <3 i apologize for any typos/errors and the like.

bonus headcanon: miria grabs ennis with one hand and chané with her other hand and they go out with their arms linked and excited and they learn more about having fun, as friends do. no printer just fax