#Writing Media module

[samaspic31]

More ppl and characters with heavily fluctuating gender presentation in media I am not longer asking. where is representation for ppl who crossdress both ways depending on the day or even ppl putting wild amounts of effort on random days

[jcmarchi]

2024: More CSS At-Rules Than the Past Decade Combined

New Post has been published on https://thedigitalinsider.com/2024-more-css-at-rules-than-the-past-decade-combined/

2024: More CSS At-Rules Than the Past Decade Combined

More times than I can count, while writing, I get myself into random but interesting topics with little relation to the original post. In the end, I have to make the simple but painful choice of deleting or archiving hours of research and writing because I know most people click on a post with a certain expectation of what they’ll get, and I know it isn’t me bombing them with unrelated rants about CSS.

This happened to me while working on Monday’s article about at-rules. All I did there was focus on a number of recipes to test browser support for CSS at-rules. In the process, I began to realize, geez we have so many new at-rules — I wonder how many of them are from this year alone. That’s the rabbit hole I found myself in once I wrapped up the article I was working on.

And guess what, my hunch was right: 2024 has brought more at-rules than an entire decade of CSS.

It all started when I asked myself why we got a selector() wrapper function for the @supports at-rule but are still waiting for an at-rule() version. I can’t pinpoint the exact reasoning there, but I’m certain rthere wasn’t much of a need to check the support of at-rules because, well, there weren’t that many of them — it’s just recently that we got a windfall of at-rules.

Some historical context

So, right around 1998 when the CSS 2 recommendation was released, @import and @page were the only at-rules that made it into the CSS spec. That’s pretty much how things remained until the CSS 2.1 recommendation in 2011 introduced @media. Of course, there were other at-rules like — @font-face, @namespace and @keyframes to name a few — that had already debuted in their own respective modules. By this time, CSS dropped semantic versioning, and the specification didn’t give a true picture of the whole, but rather individual modules organized by feature.

Random tangent: The last accepted consensus says we are at “CSS 3”, but that was a decade ago and some even say we should start getting into CSS 5. Wherever we are is beside the point, although it’s certainly a topic of discussion happening. Is it even useful to have a named version?

The @supports at-rule was released in 2011 in CSS Conditional Rules Module Level 3 — Levels 1 and 2 don’t formally exist but refer to the original CSS 1 and 2 recommendations. We didn’t actually get support for it in most browsers until 2015, and at that time, the existing at-rules already had widespread support. The @supports was only geared towards new properties and values, designed to test browser support for CSS features before attempting to apply styles.

The numbers

As of today, we have a grand total of 18 at-rules in CSS that are supported by at least one major browser. If we look at the year each at-rule was initially defined in a CSSWG Working Draft, we can see they all have been published at a fairly consistent rate:

If we check the number of at-rules supported on each browser per year, however, we can see the massive difference in browser activity:

If we just focus on the last year a major browser shipped each at-rule, we will notice that 2024 has brought us a whopping seven at-rules to date!

Data collected from caniuse.

I like little thought experiments like this. Something you’re researching leads to researching about the same topic; out of scope, but tangentially related. It may not be the sort of thing you bookmark and reference daily, but it is good cocktail chatter. If nothing else, it’s affirming the feeling that CSS is moving fast, like really fast in a way we haven’t seen since CSS 3 first landed.

It also adds context for the CSS features we have — and don’t have. There was no at-rule() function initially because there weren’t many at-rules to begin with. Now that we’ve exploded with more new at-rules than the past decade combined, it may be no coincidence that just last week the Chrome Team updated the function’s status from New to Assigned!

One last note: the reason I’m even thinking about at-rules at all is that we’ve updated the CSS Almanac, expanding it to include more CSS features including at-rules. I’m trying to fill it up and you can always help by becoming a guest writer.

[fight-nights-at-freddys]

MASTER POST OF PROSHIP RESOURCES!!! <3<3

this is just for links (bc i just have No Way of formatting this properly), so for more in-depth stuffs and credits, head to the google doc, or the carrd !! :3c

Fiction ≠ Reality

Violent media -

Does Media Violence Predict Societal Violence? It Depends on What You Look at and When

Video Game Violence Use Among “Vulnerable” Populations: The Impact of Violent Games on Delinquency and Bullying Among Children with Clinically Elevated Depression or Attention Deficit Symptoms

Extreme metal music and anger processing

On the Morality of Immoral Fiction: Reading Newgate Novels, 1830–1848

How gamers manage aggression: Situating skills in collaborative computer games

Examining desensitization using facial electromyography:Violent videogames, gender, and affective responding

'Bad' video game behavior increases players' moral sensitivity

Fiction and Morality: Investigating the Associations Between Reading Exposure, Empathy, Morality, and Moral Judgment

Comfortably Numb or Just Yet Another Movie? Media Violence Exposure Does Not Reduce Viewer Empathy for Victims of Real Violence Among Primarily Hispanic Viewers

Fantasy Crime: The Criminalisation of Fantasy Material Under Australia's Child Abuse Material Legislation

Being able to distinguish fiction from reality -

Effects of context on judgments concerning the reality status of novel entities

Children’s Causal Learning from Fiction: Assessing the Proximity Between Real and Fictional Worlds

Reality/Fiction Distinction and Fiction/Fiction Distinction during Sentence Comprehension

Reality = Relevance? Insights from Spontaneous Modulations of the Brain’s Default Network when Telling Apart Reality from Fiction

How does the brain tell the real from imagined?

Meeting George Bush versus Meeting Cinderella: The Neural Response When Telling Apart What is Real from What is Fictional in the Context of Our Reality

loli/shota/kodocon -

If I like lolicon, does it mean I’m a pedophile? A therapist’s view

Virtual Child Pornography, Human Trafficking and Japanese Law: Pop Culture, Harm and Legal Restrains

Lolicon: The Reality of ‘Virtual Child Pornography’ in Japan

Report: cartoon paedophilia harmless

‘The Lolicon Guy:’ Some Observations on Researching Unpopular Topics in Japan

Robot Ghosts And Wired Dreams Japanese Science Fiction From Origins To Anime [pg 227-228]

Australia's "child abuse material' legislation, internet regulation and the juridification of the imaginationjuridification of the imagination [pg 14-15]

Multiple Orientations as Animating Misdelivery: Theoretical Considerations on Sexuality Attracted to Nijigen (Two-Dimensional) Objects

Positive Impact on Mental Health

Art therapy -

The effectiveness of art therapy for anxiety in adults: A systematic review of randomised and non-randomised controlled trials

Efficacy of Art Therapy in Individuals With Personality Disorders Cluster B/C: A Randomized Controlled Trial

Effectiveness of Art Therapy With Adult Clients in 2018 - What Progress Has Been Made?

Benefits of Art Therapy in People Diagnosed With Personality Disorders: A Quantitative Survey

The Effectiveness of Art Therapy in the Treatment of Traumatized Adults: A Systematic Review on Art Therapy and Trauma

The clinical effectiveness and current practice of art therapy for trauma

Writing therapy -

Optimizing the perceived benefits and health outcomes of writing about traumatic life events

Expressive writing and post-traumatic stress disorder: Effects on trauma symptoms, mood states, and cortisol reactivity

Focused expressive writing as self-help for stress and trauma

Putting Stress into Words: The Impact of Writing on Physiological, Absentee, and Self-Reported Emotional Well-Being Measures

The writing cure: How expressive writing promotes health and emotional well-being

Effects of Writing About Traumatic Experiences: The Necessity for Narrative Structuring

Scriptotherapy: The effects of writing about traumatic events

Emotional and physical benefits of expressive writing

Emotional and Cognitive Processing in Sexual Assault Survivors' Narratives

Finding happiness in negative emotions: An experimental test of a novel expressive writing paradigm

An everyday activity as treatment for depression: The benefits of expressive writing for people diagnosed with major depressive disorder

Writing about emotional experiences as a therapeutic process

Effects of expressive writing on sexual dysfunction, depression, and PTSD in women with a history of childhood sexual abuse: Results from a randomized clinical trial

Written Emotional Disclosure: Testing Whether Social Disclosure Matters

Written emotional disclosure: A controlled study of the benefits of expressive writing homework in outpatient psychotherapy

Misc -

Emotional disclosure about traumas and its relation to health: Effects of previous disclosure and trauma severity

Treating complex trauma in adolescents: A phase-based integrative approach for play therapists

Emotional expression and physical health: Revising traumatic memories or fostering self-regulation?

Disclosure of Sexual Victimization: The Effects of Pennebaker's Emotional Disclosure Paradigm on Physical and Psychological Distress

Kink/Porn/Fantasies

Sexual fantasies -

A Critical Microethnographic Examination of Power Exchange, Role Idenity and Agency with Black BDSM Practitioners

Women's Rape Fantasies: An Empirical Evaluation of the Major Explanations

History, culture and practice of puppy play

What Exactly Is an Unusual Sexual Fantasy?

The Psychology of Kink: a Survey Study into the Relationships of Trauma and Attachment Style with BDSM Interests

Punishing Sexual Fantasy

Women's Erotic Rape Fantasies

Sexual Fantasy and Adult Attunement: Differentiating Preying from Playing

What Is So Appealing About Being Spanked, Flogged, Dominated, or Restrained? Answers from Practitioners of Sexual Masochism/Submission

Dark Fantasies, Part 1 - With Dr. Ian Kerner

Why Do Women Have Rape Fantasies

The 7 Most Common Sexual Fantasies and What to Do About Them

Sexual Fantasies

Pornography -

The Effects of Exposure to Virtual Child Pornography on Viewer Cognitions and Attitudes Toward Deviant Sexual Behavior

American Identities and Consumption of Japanese Homoerotica

The differentiation between consumers of hentai pornography and human pornography

Pornography Use and Holistic Sexual Functioning: A Systematic Review of Recent Research

Claiming Public Health Crisis to Regulate Sexual Outlets: A Critique of the State of Utah's Declaration on Pornography

Pornography and Sexual Dysfunction: Is There Any Relationship?

Reading and Living Yaoi: Male-Male Fantasy Narratives as Women's Sexual Subculture in Japan

Women's Consumption of Pornograpy: Pleasure, Contestation, and Empowerment

Pornography and Sexual Violence

The Sunny Side of Smut

Other -

Fantasy Sexual Material Use by People with Attractions to Children

Fictosexuality, Fictoromance, and Fictophilia: A Qualitative Study of Love and Desire for Fictional Characters

Exploring the Ownership of Child-Like Sex Dolls

Are Sex and Pornograpy Addiction Valid Disorders? Adding a Leisure Science Perspecive to the Sexological Critique

Littles: Affects and Aesthetics in Sexual Age-Play

An Exploratory Study of a New Kink Activity: "Pup Play"

Jaws Effect

The Jaws Effect: How movie narratives are used to influence policy responses to shark bites in Western Australia

The Shark Attacks That Were the Inspiration for Jaws

The Great White Hope (written by Peter Benchley, writer of Jaws)

The Jaws Myth [not a study BUT is an interesting read and provides some links to articles and studies]

Slenderman Stabbings

Out Came the Girls: Adolescent Girlhood, the Occult, and the Slender Man Phenomenon

Jury in Slender Man case finds Anissa Weier was mentally ill, will not go to prison

2nd teen in 'Slender Man' stabbing case to remain in institutional care for 40 years

Negative effects of online harassment

How stressful is online victimization? Effects of victim's personality and properties of the incident

Prevalence, Psychological Impact, and Coping of Cyberbully Victims Among College Students

Offline Consequences of Online Victimization

The Relative Importance of Online Victimization in Understanding Depression, Delinquency, and Substance Use

Internet trolling and everyday sadism: Parallel effects on pain perception and moral judgement

The MAD Model of Moral Contagion: The Role of Motivation, Attention, and Design in the Spread of Moralized Content Online

Morally Motivated Networked Harassment as Normative Reinforcement

When Online Harassment is Perceived as Justified

Violence on Reddit Support Forums Unique to r/NoFap

"It Makes Me, A Minor, Uncomfortable" Media and Morality in Anti-Shippers' Policing of Online Fandom

[flax-en]

In the module I'm writing there's a place called the Ol' Northstar Resort that's run entirely by cowboy COMP/CON-driven subalterns, simulating an approximation of the old west based on fragments of popular media made after the time. This guy is my favorite NPC (pun) that I've made so far. "It's over, pardner. You'll never make it to the sequel."

[anim-ttrpgs]

Eureka is an absolute masterpiece of a ttrpg with so much thought and care put into it. I really can't say enough good things about it. I do want to know if you have made/plan to make any other ttrpgs? I would love to see more genres besides supernatural urban mystery from you because of how quality your work is (but it's completely understandable if you have no plans to do other things).

Thank you! It’s taken us years to refine Eureka’s rules to this level of polish, and I do think it shows! A warning to all other aspiring TTRPG designers, though, don’t make your first project something this big! Keep it short! Not “one page rules” type of short, but don’t be like us and make your first real project a full-on trad TTRPG with this many different moving parts.

If you have aspirations to make something as crunchy and fleshed-out as Eureka, maybe try to execute the concept in a more simpler “OSR” style, and then after you’ve gotten more experience under your belt, maybe made some money and/or gotten a team together, then maybe try that concept again with more crunch. Call it “Advanced [Your Earlier Game Title]”

As for the future of A.N.I.M., we are planning to continually release adventure modules for Eureka, and probably also add-ons like extra Traits, Monster Traits, etc. I would love to include some playable monsters from cultures outside “the west” too, but I wouldn’t want to half-ass them, I’d want to give them as much research, attention detail and themes, etc. that I’ve given to all the other monsters. That’s just a lot harder when the best sources aren’t always in English.

Speaking of shorter games, I already wrote a little tiny game on the side called Edge Hedge Arena.

This is a game where you google “[Your Name] the Hedgehog”, choose one of the many Sonic OCs that are likely to come up, then give them stats and battle them against those of other players using the rules provided.

Since I basically have no more rules to write for Eureka: Investigative Urban Fantasy and I’m mostly just waiting for other members of the team to finish working on their parts, I’ve partially moved on to working on A.N.I.M.’s next big game, too!

We’ve learned our lesson, it’s not going to be anywhere near the page count or crunch level of Eureka, even though you know I love crunchy games. Well, actually, it’s probably only slightly less crunchy than Eureka, but it’s about much more specific scenarios, so it’ll still overall have less mechanics. The scope is much smaller.

This is a dark comedy/satire game that kind of takes the Forgotten Realms “evil sexy matriarchal bdsm slavery society ruled by warriors who fight in lingerie” dark elf concept and asks the question of “What kind of society and circumstances would actually produce this?” (Though it doesn’t actually take place in Forgotten Realms or any other D&D setting)

And then makes the comparison to 20th and 21st century American capitalism. “No, these aren’t slaves, they aren’t chained up and are allowed to leave any time they want. But they only get food so long as they keep working, and if they disobey then can get beaten.” It started out as a joke, but we are probably going to add "media literacy" to the list of requirements alongside dice and stuff hahaha, like, the ability to understand that the world of this game is not supposed to represent the author's idea of a perfect society. We might add that to Eureka too.

Silk&Dagger is about class, gender roles, different ways that forced labor can manifest in a society, and most importantly surviving all of those things.

Going forward to understand what I’m saying you have to know that in this setting, “Drow” is a title, referring to the ruling warrior caste. Most Drow are dark elves, but not all dark elves are Drow. This society is structured a bit like ancient Sparta, with a very small ruling caste of warriors, and a very large servant caste. Social mobility between these castes is possible, but rather than getting into it in detail and making this post super long, let’s just say that many servants consider themselves temporarily embarrassed Drow.

A typical “party” in Silk&Dagger is will consist of one Drow PC and any number of servant PCs working for her. There are regular chores that need to be done around the palace, which provide challenges, but scenarios will also throw major issues into the mix.

A Drow’s Reputation is everything, if the Drow PC’s Reputation stat reaches 0, that is the failure state for the entire party, because it basically means no more food. (Even the servants, for lore reasons that I also won’t get into)

So a typical scenario will be like “Somebody very important is coming to visit, but the lower floor of the palace is starting to flood for an unknown reason.” We’re going to have multi-part tables where you can randomly generate these, but we will also have more in-depth adventure modules for it in the future.

We ran a playtest the other day basically based on this scenario. The intended comedy of the game really came out as we kept switching perspectives, with the Drow upstairs having to constantly come up with new ways to impress her guests and explain away that splashing sound while the servant worked down below trying to find and plug the leak.

So, the PCs will have to deal with all that while also making sure that all the chores get done, and the kicker is, they can’t easily communicate with each other. The massive gulf between the two castes is the real enemy here, along with the behavioral expectations placed on each.

They could’ve gotten a head start on dealing with the flooding if the servant had had permission to speak earlier and could’ve told the Drow that the lower floor is flooding, but

There’s a big list of behaviors that a servant has to fulfill when interacting with a Drow, which are basically designed to be impossible to follow and just get them in trouble, and a Drow who doesn’t strictly enforce this etiquette risks losing Reputation for it.

On the other side, Drow also have to constantly embody a list of six features, which basically means acting as evil as possible, their Reputation depends on it.

One other unique feature of Silk&Dagger is that it is a two-GM game. One GM does most of the normal GM stuff, while the other GM represents the ever-present societal expectations weighing on all the characters, subtracting Reputation points and important things every time the PCs do something that makes them look bad in the eyes of this society.

There may come times where PCs will just have to take the hit to get things done, or find clever ways to make it look like they’re upholding the status quo while secretly treating each other like equals when nobody’s looking.

You can expect, like, an alpha or beta version of this game to come to the patreon in probably January or February, and maybe even itchio if it is far along enough by then. It was actually supposed to be out on the patreon in December, but some personal issues and illnesses really held it up. I am really going to try and make it less than 200 pages.

I'll end the post with one of my favorite little bits from the setting/lore. One of the reasons that Drow dress like that is because it helps them identify each other by thermal vision in the pitch black tunnels. Unique patterns of covered and uncovered skin serve as a sort of personal heraldry.

Elegantly designed and thoroughly playtested, Eureka represents the culmination of three years of near-daily work from our team, as well as a lot of our own money. If you’re just now reading this and learning about Eureka for the first time, you missed the crowdfunding window unfortunately, but you can still check out the public beta on itch.io to learn more about what Eureka: Investigative Urban Fantasy actually is, as that is where we have all the fancy art assets, the animated trailer, links to video reviews by podcasts and youtubers, etc.!

You can also follow updates on our Kickstarter page where we post regular updates on the status of our progress finishing the game and getting it ready for final release.

Beta Copies through the Patreon

If you want more, you can download regularly updated playable beta versions of Eureka: Investigative Urban Fantasy earlier, plus extra content such as adventure modules by subscribing to our Patreon at the $5 tier or higher. Subscribing to our patreon also grants you access to our patreon discord server where you can talk to us directly and offer valuable feedback on our progress and projects.

The A.N.I.M. TTRPG Book Club

If you would like to meet the A.N.I.M. team and even have a chance to play Eureka with us, you can join the A.N.I.M. TTRPG Book Club discord server. It’s also just a great place to talk and discuss TTRPGs, so there is no schedule obligation, but the main purpose of it is to nominate, vote on, then read, discuss, and play different indie TTRPGs. We put playgroups together based on scheduling compatibility, so it’s all extremely flexible. This is a free discord server, separate from our patreon exclusive one. https://discord.gg/7jdP8FBPes

Other Stuff

We also have a ko-fi and merchandise if you just wanna give us more money for any reason.

We hope to see you there, and that you will help our dreams come true and launch our careers as indie TTRPG developers with a bang by getting us to our base goal and blowing those stretch goals out of the water, and fight back against WotC's monopoly on the entire hobby. Wish us luck.

[alexanderwales]

Defensive writing is when you find yourself writing in such a way as to prevent certain lines of criticism or commentary. You write in extra clauses and hedging statements and qualifiers.

This sucks to write and sucks to read, but if you expect your audience to be hostile, you either write defensively or get ready to be completely derailed by comments that you can just feel are coming.

It sucks to write because you're running this extra module in your head, the one where you check statements against the ways in which the commentariat or readership will misinterpret or go on tangents, and this is kind of exhausting, much more than just writing down your well-organized thoughts.

It sucks to read because every sentence gets buried in a nest of asterisks. The clear point is being steered through a paragraph by a phalanx of defenses. Sometimes you'll read a bit of defensive writing and the defenses will take up the majority of the piece, not even defending the point, just attempting to head off nuance and interpretation.

Maybe surprisingly, this applies to writing both fiction and non-fiction. Non-fiction is obvious, in academic works we want to make sure that we're not just bullshitting, and it's the job of other academics to think things through to their full extent. But when writing fiction there are often hostile readers, and it can feel like every decision needs to be justified to them, every bit of worldbuilding gone over so someone won't pick nits (that might not even be there), every character framed in exactly the precise way they were meant to be framed. Fiction is a matter of interpretation, and some people really just want to interpret up something to hate.

I struggle with this, mostly because there's a lot of stuff I don't care about. Sometimes there are five conversations that I want to avoid, so I find myself picking my way across the minefield. Other times I'll just give up.

And writing fiction, you obviously can't give in to the haters, because if you spend too much time on that, you're going to end up with an awful story.

Plus with reading comprehension and media literacy being what they are, you can include a specific note laid there to ward of a line of conversation and still get someone who just ... failed to read.

[variouspolltournaments]

Anti-Propaganda is not allowed. Please only give reasons to vote for something and not give reasons to vote against something.

Propaganda

Son Goku: He loves his son and spends time with him by camping (in the Cooler's Revenge movie) and fishing and generally supporting his son's passions!

Ishigami Byakuya: Imagine. Your name is Ishigami Byakuya. You are an astronaut working your dream job at the International Space Station. It's your first mission, and you're overjoyed to be here, to work for the advancement of science, you beloved son's passion.

Then, one day, the entire Earth is bathed in an eery green light. No space agency responds to your calls. You manage to connect to the Internet. Not a single social media post to be found since the strange light enveloped the globe. Hoping to understand what is happening, you try to find a live camera. Statues. All of humanity has been turned to stone.

Your fellow astronauts talk about waiting for help. No, you interrupt. They're the ones that need our help. We'll help them. All seven billion humans. You go back to Earth, and the six of you get stranded on an inhabited island. There's no hope of making it back to mainland Japan, the closest large landmass. You survive. You survive, and more than that, you work for the future of humanity, for the future of science.

Because there's one thing you're absolutely certain of. Senku will wake up one day. He'll wake up, and he'll find a way to reverse the petrification. He'll find a way to kickstart civilisation again. So the best thing you can do for him is to give him all the tools he needs to succeed. (You won't be there to see it. You'll be long dead by then. This son of yours, one you never planned for but that Fate gave you anyway, who you couldn't love more if he were your own blood, you'll never see him again).

When you left to space, you promised Senku you'd bring back science gifts. You plan on honouring that promise : you write a hundred stories that you pass down to your descendants, the children you and your companions raise on your tiny island, the last humans. You pass down knowledge they might need to survive, but also the will for them to go back to Japan, where Senku waits.

You also write a story connecting your descendants to your son. The hundredth tale, called "Ishigami Senku". To your son, you gift friends who would stand by his side. You find a glass bottle, and its disc-like bottom inspires you the idea of leaving behind a record. You're far from science savy enough to do it, but your astronauts friends are. One of them even iffers the diamond of her wedding ring to carve it.

You leave a message to your son. It's your last call to him, not that he can hear your voice. There's so much you want to tell him, but Senku has never been touchy-feely, so you hold back. Instead, you let your friend, a singer and former space tourist, sing. Something for Senku to use to convince your descendants to work with him: the beauty of music.

In the space module you used to get back from the space station, which crashed on the beach, you gather all the rare and precious materials you and your friends have with you. But you can't stop with what you have. Every bit of precious material might count. For days, for weeks, for months, fir years, for decades. Even when you're the only one left of the ISS crew, when your hair as long turned white and your children beg you to rest, you continue gathering gold and platinum dust from the river. Until your strength leaves you.

In all this time, you never doubt that Senku will wake one day, years and years from now. You used to brag about him to everyone who would listen. Some would say you spoiled him - selling your car to buy science Christmas presents that cost way too much, really? Never mind letting him take your NASA issued credit card years later to cover all his science related expenses - you'll admit, it still hurt a little that he made the trip to the US and back just to take the card and didn't even stay to spend time with you, but you'd never blame him. In any case, those people don't understand. They don't see how incredible your son is, his curiosity, his drive, his unending desure to learn and experiment. And he's so caring too, in his own way.

That suit he made you to help you pass the swimming exam for the astronaut recruitment program - that awful torture device that didn't work but that you swam in anyway because Senku made it for you. You believe in him. He's your son, of course you do. He was destined to be the greatest scientist of his time. And now, he was the one who would save humanity.

[hypothetical-karma]

Foriva: the Angel Game Review

I've never written a review for any piece of media before. But I think I'd be doing this module a disservice if I didn't write something recommending it to people. Put simply, this is one of the best modules I've read. It's even one of the best mysteries I've ever read. I recommend Buying and playing Eureka! just for this module alone. It can be ran and played in 1 to 3 sessions depending on the group.

[gravedwe11er]

Echoes through the cosmos

The final part of my Mecha AU coswave fic is done! It took me a while, but here it is. Parts one and two can be found here, and I hope you enjoy!

AU by @keferon and the base idea came from my friend @cosmique-oddity

Things are changing for Cosmos, in more ways than one. It doesn't have to be a bad thing.

“Greetings, little watcher,” comes from his headphones, completely out of nowhere, and Cosmos nearly stumbles on the treadmill.

“Good morning, big watcher,” he teases back, and blames the beginning of a blush spreading across his face on the exercise.

A staticky crackle carries through the tiny speakers. “Designation: Soundwave.” says the mech firmly, and Cosmos can’t help but burst into laughter.

Things have been better lately. That first bit of honesty seems to have opened the floodgates, and Soundwave’s voice is now a near-constant companion in his ear. The mech still prefers texting or using his vocal modulator, but every now and then, Cosmos gets to hear the real him, and he treasures every instance accordingly. And if Soundwave’s smooth, almost melodic voice inspires some slightly embarrassing thoughts at times? Well, that’s nobody’s business but his own, really.

“Just returning the favor, Soundwave,” he says, putting emphasis on the name. “It’s only fair to have a nickname for you too, though, wouldn’t you say?”

“Correction: greetings, Cosmos.”

Cosmos snorts. “Alright, alright, I see how it is. But I am going to find a nickname you like eventually, you know. Or, well- at least tolerate.”

“Negative,” comes over the speakers, deadpan as all get out. Cosmos just smiles again, shaking his head, before returning to his exercise.

Yeah, things are good.

-

“Waves.” Cosmos tries, impish grin on his face.

[Designation: Soundwave.]

“Soundy.”

[Negative.]

“Alright, alright,” he says between barely suppressed giggles. “Wavey?”

“No.”

“Sounders!”

The entire screen blacks out. “Wait, no, come back, I’m sorry-“

-

“Do your people have entertainment media? Books, movies, that sort of thing?”

[Affirmative,] appears on a mostly empty screen in front of him- it’s been a calm couple of days, the equipment not registering anything of import and leaving more than enough time for…well, whatever he wants, really. [Written works: currently most commonplace due to prolonged conflict. Holofilms available: old or amateurly produced.]

“Oh! Yeah, that makes sense. Hollywood has slowed down production as well, quite a bit in the past years.” Getting attacked and smashed to smithereens several times over hadn’t helped much. They’ve always recovered though, actors and writers refusing to give up their art, even if their budgets were cut down severely. “What do you like, then? How do you spend your free time?”

[Free time: rare commodity.] Soundwave writes, and he chuckles because right, fair enough. Head communications officer for an army at war, with four kind-of-not-really kids? That’s got to be busy.

Still, though. “I understand, but surely there’s something you enjoy? Got a favorite book, or a poem?”

“Soundwave: partial to music.” A pause. Then- “Would you like to hear some?”

The offer, along with Soundwave’s real voice, make Cosmos’ heart pick up the pace. Alien music! He’s about to hear real, actual music from another planet! Nodding, he turns to the camera behind him and gives the mech a giddy smile.

Soon enough, a gentle melody begins pouring out of his headphones, and- whatever he’s expected, it was not this. The song - or composition, more like - is alien, oddly complex and unbelievably beautiful.

There are no lyrics, he doesn’t think, but the interplay of different instruments still seems to tell a tale as the song progresses, changing and twisting on itself. It makes him think of two people, of a longing he finds so familiar, of warm clasped hands and stolen moments between the cold of melancholy. He sits in his chair, silent and entranced, as the melody goes through a crescendo, a painful conflict, before mellowing and fading out, like a peaceful embrace of two souls, now finally united for good.

When it’s all over, seconds or minutes or hours later, his vision is blurry with unshed tears. At the other end of the call, he could almost swear he feels Soundwave’s presence, watching him, sharing this moment with him.

Cosmos feels warm.

“Thank you,” he whispers into the receiver, wiping at his eyes but smiling, and he feels more than hears Soundwave’s answering hum. “Could you play it again?” he asks after a few minutes, and when the melody fills his ears once more, he simply closes his eyes and lets himself be carried away.

-

“I forgot to ask before, but was that Cybertronian music?”

“Negative,” comes through his headphones. “Composition: created by organic species.”

“Oh!” he wasn’t really expecting that, but then again, maybe it should have. it didn’t sound very, ah, mechanical? “Do you have any more from the composer? Or at least the same people?”

“Soundwave: in possession of one more unfinished melody from composer. Cosmos: interested in listening?”

“Gladly. Why was it not finished, though, do you know? Did something happen to the composer?”

“Affirmative. Species: nearly eradicated by quintesson forces. Creator of piece: deceased.”

Oh. That’s- he doesn’t know what to say. He’d never really given much thought to how other species might have fared against the invasion. Or that they might have actually lost.

“I’d still like to hear it, I think,” he says quietly. There’s nothing he can do for them now, for these aliens he’d never even met, but- he can remember them, at least. Keep a tiny piece of them alive through this.

As the new melody surrounds him with its unearthly tones, Cosmos wonders what Soundwave would keep of humans, if they lose this fight. What Soundwave would keep of him.

-

It dwells on his mind for weeks after, filling his empty hours with maudlin thoughts. He knows by now how unbelievably long a cybertronian’s life is, that his own lifespan is but a speck of dust by comparison, but still. Would the mech keep his face in his memory banks, or the human music playlist he’d made for him? Would he carry a piece of Cosmos with him into the distant stars, keep him close to his spark, or would all they shared be forgotten?

How much does this - whatever they have - matter?

Because it matters to Cosmos. He’s not sure when that happened, but his fascination with the alien mech and enjoyment of his company became- more. Much more. Now, when his soul aches for the presence of another person, it’s not his friends on earth he imagines being held by, or his parents. It’s large silver servos, careful and precise. it’s staring up at a glowing red visor and watching the sun gleam of grey and blue plating. It’s just- Soundwave.

And, well. What is he supposed to do with that?

He knows Soundwave likes him, yes. Enjoys his company, sure, he wouldn’t bother talking with him so frequently otherwise. But is there more to it? Soundwave is a hard person to read, especially with their only method of communication being text and radio. Cosmos had no way to know if he’s like a- a pleasant coworker to the mech, or a true companion, someone actually important.

He doesn’t know, but by god does he hope.

The song they’re listening to comes to an end, bringing Cosmos out of his thoughts. And, yeah, that’s something they do now, listen to music together, looking for things the other might enjoy. That’s… that could mean something, right? Only people who actually care about each other do that, no?

A surprisingly loud, staticky hiss sounds in his ears all of a sudden, and Cosmos flinches. “Soundwave, what-“

“Lost light: arrival impending.”

“Wh- really? When?”

“ETA: thirteen hours local time.”

Oh.

Of course.

It’s just- over the past two months, he’d somehow managed to completely forget about incoming the ship. He’d been so focused on his growing relationship with Soundwave that the knowledge of why the mech was actually here slipped his mind. Now, with reality of the situation staring him in the face, a jittery sort of dread fills his heart.

“Soundwave,” he says, wringing his hands in his lap, “how’s- what’s going to happen now?”

“Negotiation: will begin with human governments. Jazz: will be returned home, accompanied by Prowl.”

This is the first time he’s hearing of this Prowl person, and he will ask later, but- “And what about you? What will you do now?”

“Soundwave: will remain on Earth, join negotiation process.” There’s a pause, then- “I do not wish to cease our interactions, even once my work here is done. If you call, I will always listen, friend Cosmos.”

And- it’s a relief, hearing that. A huge weight falls off of Cosmos’ shoulders, joy making his heart beat overtime, however- things will undeniably change now. Their mostly quiet, familiar routine won’t last once first contact begins in earnest, and they’ll both be busy with their respective work. He’s delighted to hear he won’t lose Soundwave’s voice in his ear, but-

His stay at the station ends in less than two weeks. He won’t get to actually see Soundwave, most likely, not again. Won’t ever be this close to him again, not in person. And that’s- he thinks of the emergency repair space suit shoved in the storage compartment, of the ticking clock, and makes a decision.

“Soundwave? You said you edited yourself out of footage in real time, when you first arrived here, right? Could you do it again?”

“Affirmative. Query: reason for question?”

“I just- there’s something I need to do.”

-

He approaches the station, gliding through the vacuum of space with ease. It’s a tiny thing, as many earth things are- barely bigger than him in root mode. He’s once again reminded of an earth saying, stating that good things come in small packages, and though he’s not fully certain of its original, intended meaning, he finds himself agreeing nonetheless.

Watching the precious, fragile little person climbing out of the hatch with anxious, unpracticed motions, it feels truer than ever before.

The man’s suit is a colorful thing, yellow and green with red accents, his head surrounded by a fragile looking bubble of glass, protecting him from certain death in the cold, airless void. His hair is a bright, cheerful red as well, only outshined by the force of his smile as pushes off the hull of the station and into Soundwave’s waiting servos.

“Hello, little watcher,” he says, leaving the vocoder off and letting his true voice sound through the suit’s speakers.

Somehow, the human’s smile grows wider, and Soundwave feels his spark pulse with fondness. “Hello, Soundwave,” he says softly, blinking up at him with a combination of awe and unbridled joy. “You have no idea how glad I am to see you.”

If it’s anything like what he feels, Soundwave thinks as he brings the man closer, gently pressing his forehelm to the top of Cosmos’ helmet, then he can probably imagine.

[iamthedukeofurl]

My biggest quibble with the Muderbot show is the opening scene. I'm not opposed to us seeing the moment when Murderbot hacks it's governor module and names itself murderbot, but the scene we see does two things wrong. 1) It does nothing to establish Murderbot's characterization as a space-netflix addict, which is the second thing we learn about MB in the books.

2) It makes a big show of MB naming itself, but provides no reason WHY it would call itself Murderbot. Were I writing that scene, I would do something like this. "I've done it, I've hacked my governor module! I'm free! I can do anything...what should I do. I'm a rogue secunit, what does that even mean? Who am I now?" Holo-vision effect Query: Rogue Secunit And it pulls up some show, two characters covered in soot taking cover from gunfire. One says to the other "You don't understand, the 'bot's gone Rogue! Without it's governor module to control it, all it knows...is MURDER!" "Huh...Murderbot....wait....I have access to the media archives? How much of this stuff IS there?" And then we cut to the planet.

[seedlinggames]

Nobody needs another TTRPG taxonomy but I made one anyway

Posted here: https://seedlinggames.com/blogging/discourse/game_taxonomy_part_1_v_1.html I have a second blog post that is going to explain the small diagonal line, but basically it's that I think there is influence between those two camps that people don't seem to talk about much, probably due to internet discourse reasons

A million people have already done this - I'm kind of assuming you have vaguely absorbed the existing Internet discussions, and are familiar with terms like OSR, Story Games, etc. If you haven't, run away now and save yourself. But Six Cultures Of Play is probably a prerequisite to understand what I'm talking about, or at least what I'm complaining about.

I will try to, as much as possible, only discuss games that I have played. A lot of taxonomies seem to be written by someone who clearly likes one type of game a lot more than the others. For instance, I will not be discussing LARP because I don't have any relevant experience. I'm also not claiming that I am discussing the complete set of all games that exist, but I think I have played enough of them propose a taxonomy. If you're curious, I have an approximately complete list of games I've played or run here.

What is a TTRPG?

First we're going to have to look at everyone's other least favourite subject of conversation.

TTRPGs have 2 or more people taking on the following 3 roles:

A player, who is responsible for one or more characters who are the protagonists of the story.

A GM, who is responsible for the remainder of the story, such as providing additional characters and other aspects of the environment that the main players exist in. To do so they might determine the outcome of uncertain events or interpret rules agreed upon by the table.

An author, who provides additional, reusable material without being present. I'm using the term "author" for a lack of a better one, but it includes game books, blog posts, maps, drawings, or even fixed principles transmitted orally from game group to game group. These serve to facilitate or even replace GMing, as well as to introduce new ideas to the table without someone being physically present.

The same person often takes on different roles at different times, sometimes in the same game.

If you have only one of these roles, you are probably writing a book, doing improv, or some other activity. Which is of course totally fine.

This isn't the only definition you could come up with, but I think most people would agree it isn't totally wrong, and it's a lens that I'll be using to discuss the game taxonomy.

Maximalist Games

Apparently "maximalist" means something specific in art but I am not educated in such things and might be using the word wrong.

Characteristics of a maximalist game:

The three roles: clearly present and distinct, with the GM and author each taking on a large responsibility for the game experience.

Modularity: Semi-modular: There is a main game system which is designed to be extended by other modules, but these modules cannot be used with other games easily. A game book is typically not a self-contained experience and games are usually open-ended in duration.

Rules: A lengthy, complex ruleset with subsystems for resolving different parts of the game that are likely to come up, primarily oriented around the success or failure of an action and its consequences.

Characters: The complex game mechanics provide an opportunity for players to develop a distinct character before playing them, defined by game mechanics. Character and player motivations are usually aligned.

Narrative structure: Campaigns usually follow conventional narrative structure, but this is driven primarily by the GM, or by adventure modules, which define an outline of the narrative.

Who makes them: Often require more resources to create and thus are made by corporations, but that is changing.

Relationship to other media: While often inspired by fantasy novels, their larger budget and longer history has allowed some of them to develop their own genre conventions distinct from other media, and in some cases have inspired movies and books.

Solo games: Rare, due to the prominent role of the GM.

"Trad" games are a subset of these but a) I hate that word and b) I think the genre, starting especially with 4E and other inspired games, have gone in some very different directions. It roughly corresponds to "Fight D&D" in the Between Two Cairns taxonomy, but some games in this category involve no fighting at all.

Narrative Mechanics Games

The three roles: Blur the lines between GM and player more freely.

Modularity: Usually not very. Each game is made to create a specific experience, and the blurring of GM and player roles makes adding external content more complicated.

Rules: Focused on resolving problems in the context of narrative structures. Rules may facilitate pacing, allow for storytelling outside of linear time, allow players to temporarily take on a GM-like role, and allow for players to work together to create conflict between their characters.

Characters: Mechanics facilitate creating characters according to genre conventions with defined relationships to other characters and to NPCs. Player and character motivations are often not aligned.

Narrative structure: Rules are designed to support conventional narrative structures and genre conventions.

Who makes them: The focused scope of these games mean that they are often made by individuals rather than corporations, but there is a trend towards some of them being made by mid-sized organizations. Long development cycles may be needed to provide a polished experience, leading to some amount of professionalization.

Relationship to other media: Usually strongly inspired by other media, allowing you to create stories similar to movies, books, TV shows, etc.

Solo games: Rare, with Ironsworn as a notable exception.

Some "story games" fall into this, but I think "story games" has split into two meaningfully distinct categories. I've met enough people who only like one of the two categories. I think they are perceived as more similar than they are because there's less internet drama about the difference between them.

Prompt-based storytelling

The three roles: Blur the lines between the GM, player and author, with the GM often being absent.

Modularity: Usually self-contained experiences with limited modularity.

Rules: Often entirely forego mechanics for failure or success; mechanics tend to be minimal and about making suggestions regarding the story to tell, with the written text sometimes acting primarily as a GM or even player who is not present.

Characters: Character creation is usually a minor to nonexistent part of the game, with characters being defined by decisions made at the table. In some cases, all characters are already predefined. Characters are usually defined in words rather than numbers. Player and character motivations are rarely aligned.

Narrative structure: Stories often forego conventional narrative structures, and are focused around exploring relationships, ideas, or experiences. If a narrative structure is defined, it is usually in the form of a defined endpoint, with the purpose of the game being to explore how the characters get there.

Who makes them: Leans heavily towards DIY or single creators. Often comes in formats other than books.

Relationship to other media: Inspiration comes less from established genres and more from life experiences. Genre fiction is less likely to be an inspiration.

Solo games: Very common, due to the reduced role of the GM.

Adventure/exploration games

The three roles: Blur the lines between GM and author, both at the table and culturally.

Modularity: Are highly modular: not only are supplements and adventures often interchangeable, but are often not tied to specific systems.

Rules: Have relatively short rulesets focused on generating situations (on the GM side) and resolving danger (on the player side).

Characters: Characters are mostly created organically in play through interactions with the environment, including the tools at their disposal. Random generation is common. Character and player motivations are usually aligned.

Narrative structure: Campaigns often do not follow a typical narrative structure, aside from perhaps an escalation in danger, scope and/or strangeness.

Who makes them: Their modular nature means that they are often created in a DIY manner, through zines, blog posts, and informal discussions, though mid-size companies are also prevalent.

Relationship to other media: Inspiration from other media is often mostly vibes-based, with genre fiction, folklore, and even musical genres and political movements (for better or worse) being prominent. It doesn't seek to emulate the characters or narrative structure of other genres.

Solo games: Relatively common, usually provided by an additional module that may be specific and general-purpose, often focused on a GM emulator known as an "oracle."

"OSR" games are a subset of these, but a good number of these also make many OSR people very angry. It roughly corresponds to "Door D&D", but dungeon crawling is not inherent to this genre.

Other ways of looking at these categories

You could also map these on axes:

distinct GM/player/writer role vs combined roles: maximalist vs prompt-based at opposite ends of this spectrum

Highly self-contained vs highly modular: narrative vs adventure/exploration

Strong genre conventions vs naturalistic approach: maximalist/narrative vs adventure/exploration/prompt based

Resembles a D&D vs does not really resemble a D&D: maximalist/adventure/exploration vs narrative/prompt based

for symmetry I want to put another axis for maximalist/prompt based but I can't think of anything they have in common. Oh well.

But I also don't think this is a complete enumeration of all possible types of games either - this is some kind of n-dimensional space that has only 4 blobs on it

The part of the taxonomy blog post where you realize this is actually just me going on about my own preferences this entire time

I've played and enjoyed all 4 types of games, but putting this together has helped me figure something out - why it is that I like both the NSR side of OSR games and like the "super weird" story games. And why I don't seem to be the only one, even though these are often talked about as opposites. Because if you split story games into two genres, the similarities between prompt-based games and adventure/exploration games comes out.

[sidecast-text]

hey your tags abt project hail mary on that one post were fascinating can you pleeaseeee elaborate :3. the white saviorism & consent ones…. that book took my brain over for a month and im still in its clutches every now and then

HI HELLO YES OF COURSE

(disclaimer: i just love sci fi and literature and took a sociology module this year i am Not a media scholar this is just my personal analysis of this book)

Project Hail Mary was a really intriguing read for me because I went into it somewhat cynically, you know? I really like Andy Weir's writing, but from the moment it became apparent that this is another book in first person about a guy stuck alone in space I was fully expecting for the style and tone to match the Martian. After finishing it, I think he clearly managed to separate Mark Watney from Ryland Grace, mostly by their general attitudes but also with the situations they are getting put in. Watney is an astronaut, he knows what he is doing, and he has (sort of) been trained for the crisis he is in. Grace has no idea who is or why he is in the Tau Ceti system and this memory loss trope is exploited audience for loop after loop.

Spoilers under the readmore because honestly going in blindly is the best way to read Project Hail Mary in my opinion GO READ IT GO NOW

So. We figure out who Grace is, why he is 12 light years away from Earth, what he has to do: he has to save Earth from a major extinction event by sacrificing his own life. The rest of his crew died while they were in comas for the voyage, so the entire fate of humanity is resting exclusively on his shoulders. This is where I kind of heaved a sigh. At least it's not a twelve year old saving the world, but it is a white American man. This plays into the white saviour trope stemming from colonialism in the 15th-16th century, wherein concepts such as humanity and civilisation are values inherently tied to whiteness, exclusively possessed by white societies and must be spread to "uncivilised" areas through colonialism. Overall its an ethno- and eurocentric way of thinking that views the image of the white man as cleaner, better, more educated, et ceatera. This bias remains present in Western society and therefore in our media as well, in the form of the aforementioned white saviour trope, which I had expected Project Hail Mary to unintentionally cater to.

In the case of Project Hail Mary, Grace must be the saviour of humanity by journeying through space. The book makes references to Arthur C. Clarke's 2001: A Space Odyssey, and you can see the general similarity in the premise of both stories: men are sent on a voyage further into space than ever before with varying certainties of return. While the men abroad the USSC Discovery know they will be placed into cyro-freeze and retrieved by another mission in the vague future, the crew of the Hail Mary have no such hopes. They are sent out into space at nearly light-speed with no fuel for a return trip. Hail Mary plays with the trope of the traveler changed by his journey by making return both figuratively and physically impossible for Grace. As readers, we assume he was aware of this when setting out.

The audience also assumes that Grace is on the Hail Mary mission because he volunteered. He is set up as feeling great responsibility for his students and the children of the world, so although we are not shown for a long time why he decided to volunteer for the Hail Mary, we assume that at some point he must have, since we are tied to his first person perspective and he assumes the same. We keep on waiting for some sort of eureka moment in his flashbacks when he realises what he must do and with newfound conviction pledges his life to save humanity. We find out that he was not the first choice for the mission's science specialist; he wasn't even the second. The book introduces Shapiro and Du Bois, and as the audience we know that they will either die before the launch or be incapacitated in such a way that Grace is forced to step up. Again, I was rolling my eyes here. Somehow, Grace had to be switched into Du Bois's place, changing the intended protagonist from a black man to a white one, and I thought somewhat begrudgingly that if the author acknowledges that it could have been Du Bois who saves Earth, then why not just write it as so? After all, all the accidents and consequences through the story are conscious choices by the author. Why does it need to be the white man who bravely steps up and declares that he will sacrifice his life? I felt that there were biases in the writing and in the choice to portray the white man as the brave, lonely hero who will die for the greater good in the far depths of space, alone, afraid, and without complaint.

The actual reveal of the circumstances that landed Grace on the Hail Mary is expertly teased and foreshadowed. We see from the start that Ryland Grace isn't a particularly courageous man. He leaves his academic field after his paper is badly received, he surrounds himself with students who are easy to impress and who idolise him, he doesn't seek out relationships or even friendships because he fears rejection. He throws up in zero g, is not used to space travel, he's queasy around the idea of self administered death and generally lacks the brave enthusiasm and commitment that other astronauts in his flashbacks are shown to have.

So when we find out that Grace is actually a sort of coward, it all falls into place. Stratt gives him the option of joining the Hail Mary mission after Shapiro and Du Bois die, and Grace presents an obviously weak excuse and it's painful to read because the eureka moment we were waiting for never comes. I was personally thinking "wait a second, this isn't how it's supposed to go". But it also makes sense, after all, Stratt is asking him to go die in space and he's a high school teacher.

Stratt is also set up as someone who always gets what she wants. She is legally exempt from any consequences; she could kill a man and she would be pardoned since pulling together the project that will save Earth is her responsibility. She is ruthless, but as a readers we think that Grace is safe from her decree; he's her right hand, and furthermore Captain Yao is adamant that no one be forced to join the mission. If Grace decides to go, it must be on his own. Up until the last moment, we expect Grace to experience sudden onset character growth, to stop when he reaches for the door-handle and to overcome his cowardice and to say "yes, I will go, I will die for Earth".

And it doesn't happen. At this point I was texting all my friends "i am gouing to throw up". It is revealed that Grace was only given the illusion of a choice. In hindsight, it makes sense; he was given no choice about joining the project to begin with or at any step in the process. Stratt was hoping that he would choose to join, but when he refuses it the carpet is immediately pulled from under his feet and it becomes apparent that he has had no agency at all since meeting her. He has been set up and manipulated to be the second backup for the role of the science specialist on board of the Hail Mary by being placed with Shapiro and Du Bois and learning to use space equipment under the guise of testing it. He was kept close to Stratt, so he would always be at hand. Even more terrifying, Stratt has a way to work around Yao's demands. She has Grace drugged so he forgets that he is on board involuntarily and he is heavily sedated until launch.

This is what I meant by saying that Grace's autonomy is entirely taken away. Thorough the entire book, he is dragged and ordered around by Stratt's men, and now he is drugged and forced into a coma. His violation goes to the extreme; not only is he not allowed to say no, he is also not allowed to Remember wanting to say no.

Overall, Grace is a really interesting character to me. He is faced with a situation where only he can do what must be done and instead of rising up to the challenge he pleads and begs for someone else to be chosen. The book completely and satisfyingly flips the white saviour trope on its head. The protagonist is so against the idea of self-sacrifice that he threatens to doom Earth by self-sabotage if he is sent into space. Grace is not a bad person, but he has accepted that other people will take care of the crisis, that other people must die and that is the way things must be. It reminds me of Omelas; it is impossible to walk away, so how do we each accept the world that we live in? Grace accepts that three people must be sent to die in space in order for the rest of the Earth to have a chance of survival, but he thinks of that sacrifice as something that unquestionably happens to others. This echoes the contemporary state of affairs more closely; Western society is upkept by Eastern and Southern labour. We are aware of this, but still benefit from it.

Ultimately, Grace rises to his task and manages to save humanity. He could even return to Earth, but he doesn't. That's the part I think about the most. The journey changes and improves Grace, to the point where he does choose to sacrifice himself in order to save Rocky and Erid. We can ask what happened to make him more willing to save an alien world than he was to save his own. He does have a real choice, he could return to Earth and experience no consequences for leaving Rocky behind. I think the reason is that Grace has changed, yes, but Earth has changes as well in his eyes. Earth violated him, and in way exiled him, ruling through the figure of Stratt that his life was expendable.

First I thought the ending was cheap, but I've been thinking about it for days and I am coming around. It's just!!! I haven't formed concrete thoughts about it but God. God Fuck UGH. It's been 26 years on Earth. His students are grown and up his knowledge is probably archaic by now. His use for humanity has been expended. I am in pain. Would you crawl back home if the value of your life had been dismissed. Would Odysseus go home if he knew no one was waiting for him. I'm going to be sick.

[whomeidontknowthem]

If I do end up writing murderbot fanfic, it'll probably include some nasty taking over control virus that will not be conveniently stopped before it can actually start acting. The way murderbot was absolutely terrified when faced with that alien shit in Network Effect was absolutely delicious. I need that, but ten times worse and also painfully drawn out.

It would miss the moment it got into its system for "trying to save humans no time to waste" reasons, and by the time it had a chance to get a diagnostic it would have already hidden itself. By the time it noticed something was off, it would already have enough control to stop it from doing something about that. Maybe changing the memory files so that it struggles to keep track of it, and maybe directly stopping its body from cooperating.

A scene that came to me had Murderbot try and tell Mensah about the virus and have the output be cancelled (perhaps before it got to that point it would have noticed a slight delay in the reaction time, which would definitely be hella concerning), just completely being unable to notify others that there is a problem. Except that they have those code words with Mensah and so it does tell her that something is really really fucking wrong, but can't elaborate. Now everyone is worried, and it is struggling to fight off the virus that has had enough time to prepare to really not make it easy.

Anyway, ideally it all escalates despite everyone's attempts to figure out what the fuck -- Murderbot's diagnostic tools are fucked from the inside and humans have better luck at noticing the problem but can't really help much. The perfect culmination would be total control. Murderbot just being completely trapped into its own body, forced to do something it doesn't like or even just stand still (no access to media if you want to turn it into an especially excruciating torture). Tho turning its control completely is a waste of its talents. Maybe the virus could just get the governor module back online, but completely under its control, so Murderbot can enjoy being electrocuted some more.

Gods I just love to torture my favorite characters. If I end up writing a fanfic, it would be this kind of terrible no good scenario

[petsdenonne]

hi!! may i request some arkham knight jason smut with a lot of oral? 👀

Should’ve listened

Pairing: ArkhamKnight!Jason x Fem!Reader

Warnings: SMUT 18+, Gun against jaw (for a second in a non-sexual scene), Oral, brief mention of church, semi-public sex.

Word Count: 1,426

Summary: After zoning out at a bad time, you come to learn that maybe it isn’t bad after all.

Authors note: oh my god, I forgot how feral I am for AK!Jason, like ugh, I went down a little rabbit hole of research to refresh my brain after writing so much RH!Jason and I’m sure glad I did. Thank you, Anon 💕 Gonna have to play Batman: Arkham knight again even though I’ve already finished it.

✨MASTERLISTS✨

---------------------------------------------------------

Your breathing faltered as the air got caught in your throat at the sight of him, your heartbeat ringing loudly in your ears. You had heard others talking about him, and you’d seen photos and videos in the media, but none of them had quite done him any sort of justice.

You couldn’t even see his face, it being covered by a full helmet with bat ears and an LED panel front, yet you were still intrigued. 

The way he walked and carried himself, the way his body language demanded respect, and how his voice came out all husky and modified through the modulator had a dampness forming in your underwear. 

You shook your head a little to try to clear the thoughts swarming your mind, thoughts you definitely should not in any circumstances be thinking about the Arkham Knight- 

“Did you just shake your head no?” His voice abruptly cut in.

Oh, shit. 

Your head shake had been a lot stronger than you had intended for it to be, causing him to think that you were disagreeing with what he had been saying to the group of mercenaries present tonight, which you had zoned out of to focus on what his hands might feel like on your body, so you had no idea what you had even accidentally said no to. 

“No”

“No? Are you sure?” 

“Maybe?”

Scoffing he pushed past a couple of people to get to where you were standing in the back row, looming over you as he closed the gap between you intimidatingly. 

“I said that I am going to hand-pick people present here for my personal squad tonight, and you thinking that you have a say of your own makes you target number one, you shaking your head no, thinking you have freewill means you’re stuck to my side tonight… Say no to me again, and I’m going to make you wish you don’t even have a head to shake next time. Am I clear?”

“Yes” You said under your breath, distracted by how close he was to you. If you were brave enough you could reach out and touch him, run your hands along the armoured plating on his chest. 

“Excuse me? Speak up” You only registered what he had said as you felt the cold barrel of his gun press into the underside of your jaw, the metal digging into your skin a little bit.

“Yes” You repeated, this time a lot louder “Yes, you are clear.”

—-------------

Oh, of course, the one day you mess up and get forced to stick to Arkham Knight��s side is the one where he decides he is going to stand on a random Gotham rooftop and overlook the city. 

You’d never really been that fond of heights, not since you’d fallen off that wall at school and broken your left arm in three places. This must have been God’s way of punishing you for not going to church since you’d flown the nest. 

To your right, you could see him in your peripheral setting up some sort of equipment quickly and gracefully like he had done it a thousand times before, which you realised he probably had when you turned to look at what it was and saw that it was a sniper tripod. His fingers worked smoothly to set up the rifle and attach it to the joint. As a bone-biting breeze blew through you, you began to rub your arms a little to try to generate some sort of warmth, walking over to where he was working as you began to feel a little dizzy from how close you were to the edge, you really didn’t need to be fainting and going over. 

The thought made you dry heave a little which caused him to stop working momentarily. His hands paused as if he was listening to see if you were going to throw up. 

“Sit” He instructed bluntly as his hands again began to move, a small tut under his breath as one of the parts didn’t quite click in as it should. 

Blinking a couple of times you stayed standing for a few seconds before you immediately began to move so your arse was on the asphalt as he turned to look at you, even though you weren’t able to see his eyes you could feel them burning into you. 

“Good” a small huff sounded through his modulator “Now stay there. I don’t have time to scrape you off of the pavement” 

You don’t know why you did it, but you scoffed at that statement. As soon as it left your mouth you could feel the air around you tense up, oh shit. 

“Excuse me?” Standing up, he walked over so that he was towering over you. Making you feel like an ant against him, the flickering LED display of his helmet causing a sense of unease to burrow deep into your gut “Up. Now. Get over there.” 

—--------

You knew the Arkham Knight liked to punish those who went against him, liked to torture them until they were so out of it that even prayers and begging wouldn’t pass their lips anymore, because they knew they were already in hell. 

When he told you to get up and move you were convinced you were about to go over the edge of the roof, he said he didn’t want to scrape you off of the pavement, but that doesn’t mean that he wouldn’t cause the mess himself. You hadn’t ever pictured his punishments as…this.

The cold night’s air that had been cutting at your face earlier on was now cutting at your bare arse and pussy, soothing the aching handprint now present on your behind, the firm smack noise and burning sting making you aware that the handprint was now a pair. His fingers lightly rubbed against the growing welt to soothe it a little before tracing down the back of your thigh as he knelt down behind you, making you bend further over the air conditioning unit that was currently supporting your body weight. 

“Keep your head forward” He demanded, not wanting to piss him off more you obeyed, keeping your eyes locked on the city view as you heard his helmet release and slide off of his head, there was a slight heavy noise as he placed it down- fuck. 

Holy shit.

Your focus was interrupted by the feeling of his tongue gliding through your folds, teasingly skipping over your clit as he went. You could feel him gripping onto your thighs as he repeated the path a couple of times before he finally focused in on the bundle of nerves. Closing his lips around it he began to suck, gently at first but quickly growing in force. A whimper-like moan left your lips, causing him to spank you again “Shut up.” 

Without his helmet on you could hear his voice for what it actually was. Liquid gold. 

A thick Gotham accent with a husky tone to it, you didn’t really care for the specifics of his voice too much, you just know it added to the growing pressure in your stomach. 

Whilst you had been distracted by what he sounded like he had decided that he was done being soft, and was now going to eat you like a starved man.

His tongue lapped at your wetness before pushing deep into you, his calloused thumb moving to circle your clit to help you reach your peak faster. Hard breathy moans vibrated into your pussy as he went, causing you to moan louder than before, but this time he didn’t silence you. Because this time he would be a hypocrite. 

As you tilted your head down slightly to try to not lose yourself you could see that he had unbuckled his trousers and the tact straps that usually kept his pistols on his thighs so he could pull his trousers and boxers down to his knees, his hard cock currently trapped in his tight fist as he pumped in time with his tongue moving in and out of you. 

The sight made you hit your high, releasing over his mouth and chin as you let out a strangled groan, after a few short moments you’d hear a similar noise but deeper, more masculine, before the asphalt where he was kneeling was glazed in his own spend. 

“I think you should be a brat more often, Doll” He said as he kissed your inner thighs.

His boyish cocky grin would be ingrained in your brain until you died.

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[anim-ttrpgs]

We reached our minimum funding goal for December and can continue operations!

Woo!

Thanks to the support of our fans, we have ended December 2024 above our minimum funding goal with $1,182.94/$950! Thank you so much for your support, and we hope that you will continue to to support us and tell your friends to support us so that we can continue doing what we do for you like creating cool RPGs and giving lots of exposure and sales to other cool RPGs our TTRPG Book Club Discord Server! (and so i can keep up with my expenses)

At the time of writing this (January 1st, 2025), our new minimum funding goal for the month is $1,360.82. If you'd like to make sure we hit it and continue operations, here are some things you can do:

Follow us on tumblr and bluesky

(reblogging/retweeting/whatever our posts on these sites, even if you don't have many followers, makes a huge difference and is actually how we get most of our new fans and patreon subscribers.)

Join our TTRPG Book Club Discord Server and/or invite people there

(this not only makes people more aware of us, it also makes people more aware of all the other indie rpgs that we play and promote here)

Talk about us!

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Thank you again to all our supportive fans!

[wisteriagoesvroom]

schools of thought

A landoscar college AU, told through social media

oscar, a quiet english major, and lando, chaotic maths boy, are paired together in a philosophy module at Federation U.

author's notes:

we're being a bit fluid with grid ages, but oscar and lando are sophomores/year 2 of college here

ignore the timestamps, they don't really matter

if you enjoy it, please consider liking / reblogging / commenting! 💙

part 1 🍊 (of 4?)

——————————introducing our protagonists——————————————

INSTAGRAM

@landoooonorriz

📍fed U more like fed UP

liked by charliesangles, carloswithone_S, wochi_jianbing and 158 others

landoooonorriz get in my dump truckkk

view 23 replies

charliesangles photos taken moments before disaster 🕷️😬

maxisnot_here: batman isn't part of the MCU ⤷carloswithone_S: buzzkill

wochi_jianbing nice pic bro ⤷landoooonorriz: ty GY, enjoy shanghaiiii. haha that rhymed comment liked by wochi_jianbing carloswithone_S: on the decks next week let's gooo

GOODREADS

@oz-peartree

oscar spent most of his summer (or australian winter) hanging out in cafés and reading. he once wrote a 2,000 words review on the merits of good omens on goodreads, but then got embarrassed and also thought it would interfere with his deliberate choice to not leave any reviews besides stars. so he deleted the whole thing and saves it in a folder for himself instead. one of his sisters once stumbled on his goodreads page by accident. he has tried to block her IP across multiple devices but has largely been unsuccessful.

——————————— the seminar —————————————

we zoom in on Federation Internationale University (FIU), a sunny campus nestled up in the hills of monaco. two students, lando norris and oscar piastri, have made it into their sophomore year.

prof vettel's philosophy 204 module is notoriously hard. both of them have to take it as part of their degree requirements (but for lando, maybe also because he enjoys a challenge).

assignment pairs are set by prof seb early in the semester. lando already knows of oscar, and vice versa, but nothing substantial beyond passing each other in the hallway or the occasional library run-in in freshman year. lando's made quite an impression because he once spent half the seminar chatting about how "young stalin was kinda cute" despite stalin not being related to the philosophy syllabus, and it being totally tangential to the topic at hand. half the class agrees with lando, the other half is too overwhelmed by his energy to argue.

oscar just wants to get on with the work already. he was the best kid at his prep school, the prep school that he moved halfway across the world for at 14 and worked hard at, and doesn't like being distracted from his very important goal of being class valedictorian at FIU eventually.

lando gets oscar's number after class, before they both skirt off in different directions. oscar wants to talk to lando about the assignment, but when lando exits the room he's already off talking to another bunch of friends, and oscar's too awkward to jump in.

lando texts first.

iMessage

oscar rolls his eyes and gets back to writing his eighteenth century literature class notes.

meanwhile, lando texts max, his roommate and padel bud, about it. max is at a campus hackathon. (max is a junior who has been scouted by at least three big tech firms already, and is on track for early graduation. but lando thinks max has other reasons for wanting to stick around...)

the other thing lando is sure of is that oscar is not in fact better than him at padel. but he is not going to worry about that. or think about how oscar might look, red-faced and flustered and sweaty...

lando's phone pings with social notifications, and the thought disappears.

————meanwhile, the boys do some research——————

lando:

oscar:

and contrary to popular belief, oscar does have some feelings on the matter. he makes these feelings known to his friend logan, one of the few non-europeans on campus who also knows distinctly what it's like when people make fun of his accent. nevermind that everybody has an accent, oscar thinks. the idea of a neutral accent is an arbitrary invention. he'd just rather not expend the energy fighting people about it.

if oscar has any thoughts about how he would feel should lando choose to turn his flirty energy towards oscar himself, well... that is besides the point. because that would never happen. oscar is not interesting, oscar is not noticable. oscar is here to get his grades and move on.

oscar can think of three things that he hates, which he is in the process of overcoming. flight delays, going to the dentist, and now: working in group projects.

but, oscar tells himself, he is a grown man. he's moved halfway across the world to pursue his dream of getting his degree, and then heading on to work in publishing. he tells himself he'll stay focused on this, and nothing else. because pursuing his goals requires singleminded determination. or like the great poet pitbull once said: for anybody going through tough times, been there, done that. every day above ground is a great day, remember that.

so oscar puts his phone face-down on the table. he tries very hard not to think about bee statues or lando for the rest of the day.

(he fails.)

——————————— What happens next, you ask? Stay tuned for Part 2 to find out —————————————

📚 part 2 now live!

more author's notes:

eyy it's my first multimedia(?) fic for f1blr!

this was inspired by an ask. i took some key elements from this (lovely!) prompt and remixed. i meant it to be just one post but i think it's now gonna be four parts, oops.

i love chatting so if you have thoughts or even remotely enjoyed this story, let me know what you think :) or lmk if you want to be tagged on the next updates!

bye!