#and that's how rpgs generally work

[whathappenedtodess]

previous reblog has me thinking about ralsei again (a year after the debacle that was tea theory) because it really is an understanding of a 'fixed' role and how you act when you are faced with the concept of it. like seam and the secret bosses, ralsei is aware that he's in a rpg to some degree (knowing how to save, awareness of light world layout, etc) and that he occupies the role of a party member, specifically one that is meant to provide guidance to the party leader. his adherence to this role to the point of making it his whole identity because there is scarcely anything otherwise is what makes him adamant in pigeonholing susie and kris to the roles of heroes in chapter 1. he reveres kris to a somewhat uncomfortable degree, and while i'm sure there's a part of him that genuinely thinks kris is a good friend, a good other part of it is also that he thinks admiring kris is the right thing to do. of course, all of the party members are in love with the party leader! it's only the natural thing to do! (nevermind that the person everyone is actually infatuated with is susie.)

there was a post that went into how ralsei only blushes specifically when he's in proximity of the SOUL instead of just anywhere near kris themself, and i think that's the gist of it. ralsei's whole identity is tied to his perceived duty, and he overcorrects for it. the lesson, of course, is learning that he is and will be loved regardless of his performance of his role.

[mantisgodiveblog]

Just so you don't get too-high expectations - there's not really big branching paths or anything like that loop-to-loop. Stuff changes, but it's not like a tree of choices with huge impacts. My partner got very frustrated at the limited choices because she had previously played DBH and Life is Strange and expected something similar (way beyond the scope of an RPGmaker game with one writer). I've also seen people get frustrated at 'unfair' deaths in the story because they went into it expecting a roguelike's fair challenge and got a visual novel in the shape of an RPG instead. Also, there's a couple things early on that almost everyone misses, so I'll let you know. Firstly, there's three Loop chats that are only available when you have done something 2-3 times, 4-8 times, and 13+ times respectively. It's a once per loop thing and you haven't seen it yet. If you lock yourself out of a chat you can still get the later ones. Secondly, there's a secret room - many people find it at some point, but there's interesting dialogue in it in Act 2.

...we think that you presenting "visual novels" as something that doesn't imply that your actions will have a branching tree of consequences with huge impacts that may also include a large amount of scenes locked to obscure and strange combinations of actions that may or may not lock certain things behind them is messing with our brain a bit, sorry.

Maybe it's because of the specific visual novels we're playing, but we're fairly used to them having adjacent staples to older point-and-click games, just with less things to click - which, uhh, older point and click games are actually one of the main genres we enjoy, and probably where we picked up the foundation of our problem solving. The fact that DOSbox is on our desktop probably dates us quite a bit, though we only really remember where a handful of the games we have that work on that currently are.

We quite enjoy visual novels. We've played quite a few of them, they lend themselves well to writing in formats we quite like, and make it very easy to break down where to poke to find certain things. We are also very very used to visual novels having alternate routes and extremely elaborate unlock requirements for those routes. We also use this same sort of technique when we play text-based RPGs, or similar. We spend a lot of time exploring alternative routes for, uhh, pretty much anything - the difference between RPGs and visual novels tends to just be that in the visual novel, the secret might-lock-your-whole-game-if-not-picked-up option is an option that clearly pops up on the screen, rather than a missable pixel on the floor.

...if you can list the things that we need to do 2-3 times/4-8 times/13+ times when they turn up so that we don't accidentally lock ourselves out of conversations, it would be appreciated. We'd rather not run ourself into a wall too early - we'd like all the dialogue we can get! Also, if there's any dialogue that's locked behind stuff like staring at barrels, we've already failed the 2-3 times requirement and the 4-8 times requirement, we've checked literally every barrel in the game that we have access to. Some multiple times.

[crescentmp3]

love planning out an entire video game that will take me years of learning to get started on making.

[icicleteeth]

Every time a post either mentions TES 6 or makes me think about TES 6 I'm that spongebob meme of the guy with the spear, stopping myself from blackpilling all over again....

[unproduciblesmackdown]

they're so right about the diction of course

they're also soooo right about the breath control from william "holds that 'again' in (acoustic) loser geek whatever for fifteen damn seconds and long enough live that other jeremys just gotta be cutting it down a bit when they perform it" roland like my god the consistency in every moment of these lines. that lowest note being such a crisp & cool spritz & he's sometimes holding it too & it just never falters like my god....the mass effecties are having a great time w/this too, hope it gets around to someone official seeing it, which gets around to will. simply going tf off once again lord....

and the extra mile

[kaltacore]

I personally think we should stop obsessing with game adaptations. most games don't need them because they already have superior narrative tools that can't be adapted properly and studios who just want easy cash grab won't even bother to try. tlou show is an exemption and not the rule

[prokopetz]

In recent posts I've complained that a lot of tabletop RPGs which toss around the term "fiction first" don't actually understand what it means, and I've been asked to expand on that complaint. So:

In my experience, there are two ways that game texts which want to position themselves as "fiction first" trip themselves up, one obvious and one subtle.

The first and more obvious pitfall is treating "fiction first" as an abstract ideology. They're using "fiction first" as a synonym for "story over rules" in a way that calls back to the role-playing-versus-roll-playing discourse of the early 2000s. The trouble is, now as then, nobody can usefully explain what "story over rules" actually entails. At best, they land on a definition of "fiction first" that talks about the GM's right to ignore the rules to better serve the story, which is no kind of definition at all – it's just putting a funny hat on the Rule Zero fallacy and trying to pass it off as some sort of totalising ideology of play.

A more useful way of defining "fiction first" play is to think of it not in terms of whether you engage with the rules at all, but in terms of when they're invoked: specifically, as a question of order of operations.

Suppose, for example, that you're playing Dungeons & Dragons, and you pick up the dice and say "I attack the dragon". Some critics would claim that no actual narrative has been established – that this is simply a bare invocation of game mechanics – but in fact we can infer a great deal: your character is going to approach the dragon, navigating any inclement terrain which lies between them, and attempt to kill the dragon using the weapon they're holding in their hand. The rules are so tightly bound to a particular set of narrative circumstances that simply invoking those rules lets us work backwards to determine what the context and stakes must be for that invocation of the rules to be sensical; this, broadly speaking, is what "rules first" looks like.

Conversely, let's say that your game of Dungeons & Dragons has confronted you with a pit blocking your path, and you want to make an Athletics check to cross it. At this point the GM is probably going to stop you and say, hold up, tell us what that looks like. Are you trying to jump across it? Are you trying to climb down one wall of the pit and up the other? Are you trying to tie a rope to the halfling and toss them to the other side? In other words, before you can pick up the dice, you need to have a little sidebar with the GM to hash out what the narrative context is, and to negotiate what can be achieved and what's at stake if you mess it up; this, broadly, is what "fiction first" looks like.

At this point I know some people are thinking "wait, hold on – both of those examples were from Dungeons & Dragons; are you saying that Dungeons & Dragons is both a rules-first game and a fiction-first game?" And yeah, I am. That's the second, more subtle place where game texts that talk about "fiction first" go astray: they talk about it as though being "fiction first" or "rules first" is something which is inherent to game systems as a whole.

This is not in fact true: being "fiction first" or "rules first" is something which describes particular invocations of the rules. In practice, only very simple games spend all of their time in one mode or the other; most will switch back and forth at need. Generally, most "traditional" RPGs (i.e., the direct descendants of Dungeons & Dragons and its various imitators) tend to operate in rules-first mode in combat and fiction-first mode out of it, though this is a simplification – when and how such mode-switching occurs can be quite complex.

Like any other design pattern, "fiction first" mechanics are a tool that's well suited for some jobs, and ill suited for others. Sometimes your rules are fine-grained enough that having an explicit negotiation and stakes-setting phase would just be adding extra steps. Sometimes you're using the outputs of the rules a narrative prompt, and having to pin the context down ahead of time would defeat the purpose. Fortunately, you don't have to commit yourself to one approach or the other; as long as your text is clear about how you're assuming a given set of rules toys will be used, you can switch modes as need dictates. However, you're not going to be capable of that kind of transparency if you're thinking in terms of "this a Fiction First™ game".

(Incidentally, this is why it can be hard to talk about "fiction first" with OSR fans if you're being dogmatic about fiction-first framing being an immutable feature of particular games. Since traditional RPGs tend to observe the above-described rules-first-in-combat, fiction-first-out-of-combat division, and OSR games tend to treat actually getting into a fight as a strategic failure state, a lot of OSR games spend most of their time in fiction-first mode. If you go up to an OSR fan and insist that D&D-style games can never be fiction-first, then attempt to define "fiction first" for them and proceed to describe how they usually play, they'll quite justifiably conclude that you have your head up your ass!)

[thydungeongal]

That's the thing isn't it? There's a culture of giving out GM advice in the RPG hobby, a lot of which actually doesn't relate to how to run the games themselves, but how to handle the interpersonal side of the game and the administrative side of things like scheduling and so on. I've said before that the GM should be treated as another player and thus the rest of the group should actually make an effort to make sure the GM isn't overwhelmed with work, including helping out with the rules (I think players should know the rules, because having to arbitrate the rules while also running the game can easily get exhausting), helping out with administration (scheduling, arranging a play space, etc.), and also helping with various jobs in game that don't need to be arbitrated by the GM (initiative tracking, tracking statuses and effects, etc.)

But we also need to start giving more player advice of the interpersonal variety. The GM shouldn't have to work to motivate the rest of the group to engage with the game. The GM shouldn't have to fumble in the dark not knowing what their players want to do in the game. The GM should be able to know what the players want to do so they can prep accordingly and then have the players respect that prep.

And to be clear, this isn't a major source of frustration for me personally, but just an observation about tabletop RPG. We obviously shouldn't stop with the GM advice altogether, since there are parts of the job of facilitating an RPG that are exclusive to that role, but I think we should be giving player advice in general.

Respecting the prep others put towards the game should of course be reciprocal: if a player writes a cool backstory in their own time it should be respected by the rest of the group. However, players should not expect the GM to include that in their prep without discussion. This should be an ongoing conversation about the facilitator's vision of the game and what the players want out of it: the GM's vision of the campaign might not have room for detailed player backgrounds and if this was something that was made clear at the outset of the campaign and agreed upon by the group, suddenly jumping the GM with a multi-page backstory and expecting them to include it in the prep is a breach of that agreement.

[orkbutch]

Rambling about Astarion bc im bored at work. I like Astarion because I think he is a genius take on The Evil RPG Companion, and is an especially great take on The Fixable Bad Guy. I don't think hes evil, but I do think Astarion is a genuinely bad person at the beginning, and I think Astarion is only drawn away from being a bad person - and experiences a great redemption arc - via active intervention from others. Astarion would not redeem himself without guidance; he is absolutely bent toward self destruction and evil at the beginning of the story.

I think comparing him with Shadowheart is what drew me to that conclusion. If you are nice to Shadowheart, as in you talk to her and respect her boundaries and do stuff she generally agrees with, she will choose to free Nightsong all on her own. You don't need to roll to convince her at all, or romance her or even push back on her Shar worship that much. You just leave it up to her, and she chooses that path. (Side note, what brilliant writing.)

Astarion is not like that at all. Even if you were tight as fuck he would not choose the good option, with no input, in Act 2. Astarion, like all the companions, needs help and connection to reach healthy actualization, but I think its great, resonant writing that Astarion needs the most active intervention of all. Because he's had his autonomy so completely taken away from him, he simply doesn't know how to use it anymore. He doesn't know how to connect with other people anymore. He's someone that's learned to enjoy cruelty, to resent the pleasure of others, and to be entirely selfish for survival. It makes sense that he must be dragged back into being capable of trust. He needs to be forced to be part of a community again; caring about things; allowing for vulnerability and optimism.

And like. How fucking smart is it to have THIS guy in THIS game. Because of the tadpole and the existential threat they're up against, he is actually forced to work with you. This kind of character is so hard to do in most RPGs because its like... why wouldn't he just betray you all and leave? Why would he stick with you? The tadpole clears all of that up. Astarion must stick with you or hes lost and dead. Astarion knows that you and the other companions are collectively stronger than him, so he can't betray you. He is forced to rely on you by default.

This is also what makes him SUCH a good version of the "you can fix him" romance; you are almost never the direct target of Astarion's bastardry because he can't fuck with you. The problem with Fix Him's is that usually they are a threat to the romantic lead, and fixing him requires enduring, soothing and forgiving the worst of his badness as some kind of test of loyalty, hopefully proving to him that being bad isn't necessary (toxic shit). But Astarion... can't do that. He is afraid to actually fuck you over because you are directly tied to his survival, and because you quickly show yourself to be more capable than him. He cannot have real power over you. (Until he's ascended, then he becomes the absolute worst version of the fix-it.)

I do think the trade off is that Astarion not directing his bastardry at you makes it easier to Ignore that Astarion is A Bad Guy, but I think that'd happen even if he was more of an asshole to you, so who cares. I think he's got the best written Redeemable Evil RPG Companion arch I've seen honestly. I love that he's so fun while being so tragic, whether redeemed or not.

[jonnywaistcoat]

Hi Jonny, if you don't mind I have a question about the TMA TTRPG! So I noticed that on the player's guide there's this guy, who my friends and I assumed is probably Jon. If it is him, is this a canon design, or more like some of the non-canon stuff that's in the merch?

So, I hope you don't mind if i use this ask to go a bit off on one. I'm not specifically dragging you (I'm actualy glad you asked, as I've thinking about posting on the topic), but all the discussion around the RPG art and how "official" or "canon" it might be is, to my mind, slightly silly.

First up, is it "official" art? I mean, yeah, its art for the officially licenced Magnus Archives RPG. This means Monte Cook Games have commissioned someone to do a beatiful illustration broadly based on some aspect, episode or character from the podcast and it goes in the book. But that's kinda all it means. "Official" is a legal distinction, not an artistic one. The fact that it's in an official product doesn't make it any less one artist's cool interpretation of a character that has only been vaguely described in audio.

Second, is it Jonathan Sims the Archivist? I mean, it's probably based on the idea of him, but it's certainly not set in stone. When we were first discussing art with MCG, we advised that character pictures be more vibes-based and not explicitly tied to specific people (ie. a portrait inspired by Tim wouldn't be captioned "This is Tim" and wouldn't be placed opposite a profile for Tim Stoker, archival assistant.) This was mainly because we wanted the artists to have plenty of freedom to interpret and not feel too tied down by the need to know everything about the podcast. But, to be frank, it was also because we know that there are a few fans out there that are kinda Not Chill about what they've personally decided these characters look like and can get a bit defensive over depictions that differ.

It strikes me as particularly strange to be having this discussion about art that's for a roleplying game book. Something that's explicitly and solely designed to give you the ability to play in your version of the Magnus universe. The idea that this is the thing where we'd for some reason try to immutably establish unchangable appearances for these characters would be pretty funny if some folks weren't taking it so seriously. Similarly ridiculous is the idea we could reasonably have said to MCG "We'd love for you to make a huge beautiful RPG book of our setting... Just make sure you don't depict any of the iconic characters or events from it!"

But... is it "canon"? Now, to my mind, this highlights a real weakness in a lot of fandom thinking around "canon", which is that it generally has no idea what to do with adaptations. All adaptation is interpretation, and relies on taking a work and letting new creatives (and sometimes the same ones) have a different take on it. Are the appearances of the Fellowship of the Ring in the LOTR movies "canon"? How much, if at all, does that matter? Neil Gaiman's book Neverwhere was originaly a 90s BBC series made with a budget of 50 pence; is anyone who makes fanart of Mr Croup that doesn't look like the actor Hywel Bennet breaking canon? What about the novel that describes the character differently? Or the officially licenced Neverwhere comic where he looks like neither of them? Which is his "canon appearance"?

Canon is an inherently messy concept, and while it is useful for a creative team trying to keep continuity and consistency within a creative work, for thinking about anything beyond that it tends to be more hinderance than help.

Anyway, all this is to say that the above picture and all the others in the RPG are exactly as canon as every other picture you've ever seen of the Archivist.

[bogleech]

I keep saying variations on this but food does not work like an RPG item pickup. You don’t have a set of “health values” that immediately raise and lower with everything you eat. People talk as if a pizza “damages your body” or a vegetable “lowers your cholesterol” or that every “fattening” thing you eat is literally adding a little more fat to your body per serving.

This is not remotely how a real body works. That’s how a video game character works. The long term trends of what you eat condition your metabolism in different ways over time. If your cholesterol improves because you’re eating more vegetables it’s because you gave your cells more time to use up the cholesterol they actually need to build their membranes, not because the vitamins in vegetables are generating some magic Healthfulness Energy. If you’re gaining weight from eating lots of cake every day it’s because the excess sugar is affecting how your body distributes and retains the surplus resources long-term, not because each bite of cake physically adds like 1 more point of fat cells to your stomach. That’s not biology.

[indie-ttrpg-of-the-week]

Trans made TTRPGs

Due to… recent events that I would rather not talk about, today's post is a highlight of different tabletop games made by trans peeps! These games are fantastic in their own right, of course, but you can also know that they were made by incredibly cool and attractive people

(Also, these are flyover descs of the game, they'll get more in-depth singular posts later, this is because I am lazy)

Perfect Draw is a phenomenal card game TTRPG that was funded in less than a day on backerkit, it's incredibly fun and has simple to learn hard to master rules for creating custom cards, go check it out!

Songs for the dusk is fucking good, pardon my language, but it's a damn good post apocalyptic game about building community in a post-capitalist-post-apocalypse-post-whatever world. do yourself a favor and if you only check out one game in this list, check this one out, its a beautiful game.

Flying Circus is set in a WW1 inspired fantasy setting full of witches, weird eldritch fish people (who are chill as hell), cults, dead nobility, and other such things. It's inspired by Porco Rosso primarily but it has other touchstones.

Wanderhome is a game about being cute little guys going on a silly adventure and growing as the seasons change, its GMless and very fun

https://weregazelle.itch.io/armour-astir Armour Astir has been featured in here before but its so damn good I had to post it twice. AA demonstrates a fundamental knowledge of the themes of mech shows in a way that very few other games show, its awesome

Kitchen Knightmares is… more of a LARP but its still really dang cool, its about being a knight serving people in a restaurant, its played using discord so its incredibly accessible

https://grimogre.itch.io/michtim Michtim is a game about being small critters protecting their forest from nasty people who wish to harm it, not via brutal violence (sadly) but via friendship and understanding (which is a good substitute to violence)

ok this technically doesn't count but I'm putting it here anyways cuz its like one of my favorite ttrpgs of all time TSL is a game about baring your heart and dueling away with people who you'll probably kiss 10 minutes later, its very very fanfic-ey and inspired by queer narratives. I put it here because its made by a team, and the expansion has a setting specifically meant to be a trans "allegory", so I'll say it counts, honestly just go check it out its good shit

https://willuhl.itch.io/mystic-lilies

Mystic Lillies is a game inspired by ZUN's Touhou Project about witches dueling powerful foes, each other, and themselves. Mystic Lillies features rapid character creation and a unique diceless form of rolling which instead uses a standard playing card deck.

https://preview.drivethrurpg.com/en/product/141424/nobilis-the-game-of-sovereign-powers-2002-edition I… want to do a more general overview on Jenna K as an important figure in indie RPG design, but for now just know that Nobilis is good

https://temporalhiccup.itch.io/apocalypse-keys Apocalypse Keys is a game inspired by Doom Patrol, Hellboy, X-men, and other comics about monstrousness being an allegory for disenfranchisement. Apocalypse Keys is also here because its published by Evilhat so its very cleaned up and fancy but I love how the second you check out the dev's other stuff you can tell they are a lot more experimental with their stuff, this is not a critique, it is in fact a compliment

Fellowship! I've posted about this game before, but it is again here. Fellowship has a fun concept that it uses very well mostly, its a game about defining your character's culture, and I think that's really really cool

Voidheart Symphony is a really cool game about psychic rebellion in a city that really does not like you, the more you discover for yourself the better

Panic at the Dojo is a phenomenal ttrpg based on what the Brazilian would call "Pancadaria", which basically means, fucking other's people shit up. Character Creation is incredibly open and free, meaning that many character concepts are available

Legacy 2e is a game about controlling an entire faction's choices across time, its very fun

remember to be kind to a trans person today! oh also don't even try to be transphobic in the reblogs or replies, you will be blocked so fast your head will spin

[felikatze]

ISAT and Ludonarrative Harmony: Combat is a Storytelling Tool

Or: How Siffrin is stuck in the endgame grind, forever

Please Note: This is primarily aimed at an audience that already played In Stars and Time, because I am bad at explaining things, and it's good to already know what the fuck I'm talking about. I tend to only bring up game elements as I want to talk about them.

Spoilers for.... all of ISAT! Especially Act 5!

(image to show how i feel posting this and as an attention grabber over my wall of text)

To pull a definition of ludonarrative harmony out of a hat, game writer Lauryn Ash defines it as follows:

Ludonarrative harmony is when gameplay and story work together to create a meaningful and immersive experience. From a design implementation perspective, it is the synchronized interactions between in-game actions (mechanics) and in-world context (story).

It is, generally speaking, how well game mechanics work hand in hand with the story. I, personally, think ISAT is an absolute masterclass of it, so I want to take a look at how ISAT specifically uses its battle system to emphasize Siffrin's character arc and create organic story moments. I want you to keep this in mind when I talk here.

So, skills, right? If you've played any turn-based RPG, you know your Fire spells, your "BACKSLASH! AIRSLASH! BACKSLASH!" and the many ways to style those.

Well, what does casting "Fire" say about your character? Not all that much, does it? Perhaps you'll have typical divisions. The smart one is the mage, the big brawny one is your tank, the petite one's the healer. And that's the barebones of ISAT's main party, but it's much more than that.

Every character's style of combat tells you something about them. Odile, the Researcher, is the most well-travelled and knowledgable of the bunch. She's the one with the expertise to keep a cool head and analyze the enemy, yet also able to use all three of the Rock-Paper-Scissors craft types.

To reflect her analytical view of things, all her skill names are just descriptive, the closest to your most bog-standard RPG. "Slow IV" or "Paper III" serve well to describe their purpose. The high number of the skills gives the impression there were three other Slow skills beforehand - fitting, considering the party starts at level 45, about to head into the final dungeon. She's also the oldest, so she's the slowest of the bunch.

Isabea, the Fighter, has all his skills in exclamation points. "YOUR TURN!!!" "SO WEAK!!!" "SMASH!!!" they're straightforward, but excited. He's a purposefully cheerfull guy, so his skills revolve around cheering on his allies. He's absolutely pumped to be here, and you see that from his skill names alone.

Mirabelle, the Housemaiden, is an interesting case. She's by all means the true protagonist of this tale - She's the one "Chosen by the Change God," the only one who survived the King's first attack, the only one immune to his ability to freeze time, the only dual-craft type of the game - just a lot of things. And her skill names reflect that facade she puts on herself - she can do this, she can win! She has to believe it, or else she starts doubting. This is how you get "Jolly Round Rondo" and "Mega Sparkle Heal" or "Adorable Moving Cure." She's styled every bit a sailor scout shojo heroine, and her moveset replicates the naming conventions of "In the name of the moon, I'll punish you!"

Even Bonnie, the Kid, who can't be controlled in combat, has named craft skills. And they very much reflect that Bonnie is, well, a kid. "Wolf Speed Technique" or "Thousand Blows Technique" are very much the phrasings of a child who learned one complicated word and now wants to use it in everything to seem cooler than they are, which is none, because they're twelve.

Siffrin's skills are all puns.

You have an IMMEDIATE feel for personality here. Between "Knife to Meet You!" and "Too Cleaver by Half," you know Siffrin's the type to always crack a joke no matter the situation, slinging witticisms around to put Sonic the Hedgehog to shame. It's just such a clever way to establish character using a game mechanic as old as the entire history of RPGs.

This is only the baseline of the way the combat system feeds into the story, though.

The timeloop, of course, feeds into it. Siffrin is the only character who retains experience upon looping, whereas all other characters are reset to their base level and skills. And it sucks (affectionate).

You're extremely likely to battle more often the earlier in the game you are - after all, you need the experience (for now.) Every party member contributes, and Siffrin isn't all that strong on their own, since they focus on raw scissor type damage with the addition of one speed buff. (Of course it's a speed buff. They're a speedy fucker. Just look at him).

At first, the difference in level between Siffrin and the rest of the group is rather negligible. Just a level or two. Just a bit more speed and attack. And then Siffrin grows further and further apart. Siffrin keeps learning new skills. He gets a healing skill that doubles as an attack boost, taking away from both Mirabelle's and Isabeau's usefullness. He gets Craft skills of every type that even give you two jackpot points instead of one - thus obliterating Odile's niche. Siffrin turns into a one-person army capable of clearing most encounters all on their own.

Siffrin's combat progression is an exact mirror of story progression - as their experience inside the loops grows, they also grow further and further away from their party. The party seems... weaker, slower, clumsier. Always back at their starting point, just as all of their character arcs are reset each loop. Never advancing, always stagnant. And you have Siffrin as the comparison post right next to them.

I also want to point out here a change from Act 2 to Act 3 - Siffrin's battle portrait. He stops smiling.

Battles keep getting easier. This is true both for the reason that Siffrin keeps growing stronger even when all enemies stay the same, but also for the reason that you, the player, learn more about the battle system and the various encounters, until you've learned perfect boss clear strategies just from repetition. Have you ever watched a speedrunner play Pokemon? They've played this game so many times, they could do it blindfolded and sleeping. Your own knowledge and Siffrin's new strength work in tandem to trivialize the game's entire combat system as the game progresses.

(Is it still fun? Playing it over, and over, and over again? Is it?)

You and Siffrin are in sync, your experience making everything trivial.

As time goes on, Siffrin grows to care less and less about performing right for their party and more and more about going fast. A huge moment in his character is marked by the end of Act 3; because of story events I won't delve too deeply into, Siffrin has grown afraid of trying something new. And his options of escape are closing in. They need an answer, and they need it fast. He doesn't have the time or patience to dumb himself down, so you unlock one new skill.

It doesn't occur with level up, or with a quest, or anything at all. At the start of Act 4, it simply appears in Siffrin's Craft skills.

(Just attack.)

No pun. No joke. Just attack. Once you notice, the effect is immediate - here you have it, a clear sign of how jaded Siffrin has become, right at every encounter. And it's a damn good attack, too! The only available attack in the game that deals "massive" damage against all enemies. Because it doesn't add any jackpot points (at least, it's not supposed to), you set up a combo with everybody else, but Siffrin simply tears away at the enemy with wild abandon. Seperated from the rest of the party by the virtue of no longer needing to contribute to team attacks (most of the time. It's still useful if they do, though).

Once again, an aspect of the battle system enhances the degree of separation between Siffrin and the static characters of his play. You're incentivized to separate him, even.

Additionally, there are two more skills to learn. They're the only skills that replace previous skills. You only get them at extremely high levels, the latter of which I didn't even reach on both of my playthroughs.

The first, somewhere in the level 70 range, Rose Printed Glasses, a paper type craft skill, is replaced by Tear You Apart. It's still a pun about paper, but remarkedly more vicious.

The second is even more on the nose. At level 80, In A While, Rockodile!, a rock type craft skill, is replaced by the more powerful Rock Bottom.

I didn't get to level 80. If you do, you pretty much have to do it on purpose. You have to keep going much longer than necessary, as Siffrin is just done. And the last skill he learns is literally called Rock Bottom.

What do I even need to say, really.

Your party doesn't stay static forever, though.

By doing their hangout quests, side quests throughout the loops that result in Siffrin and the character having a heart to heart, all of them unlock what I'd call an "ultimate" skill. You know the type - the character achieved self-fulfillment, hit rank 10 on their confidant, maxed out their skill tree, and received a reward for their trouble.

These skills are massively useful. My favorite is Odile's - it makes one enemy weak to all Craft types for several turns, which basically allows you to invalidate the first and third boss, as well as just clown on the King, especially once Siffrin starts racking up damage.

But the thing is. In Act 3, when you first get them, yeah, they're useful. But... do you need them? After all, they're such a hassle to get. You need to do the whole character quest again, you can't loop forward in the House or you'll lose them. If you want to take these skills to the King, you need to commit. Go the full nine-yards and be nice to your friends and not die and not skip forward or skip back. Which is annoying, right?

Well, I sure did think so during Act 4. After all, a base level party can still defeat the King, just with a few more tricky pieces involved. Siffrin can oneshot almost all basic enemies by the time of Act 4. It's this exact evalutation that you, the player, go through everytime you return to Dormont. Do I want this skill, still? Would it not be faster to go on without it? I'm repeating myself, but that's the thing! That's what Siffrin is thinking, too!

I also want to take a quick moment to note, here - all skills gained from hangouts have art associated with them, which no other skills do. This feature, the nifty art, hammers home these as "special" skills, besides just how they're unlocked.

Siffrin also has one skill with associated art.

Yeah, you guessed it, it's (Just attack.)

At first, helping the characters is tied to a hefty in-game reward, but that reward loses its value, and in return devalues helping Siffrin's friends every loop. It's too tedious for a skill that'll make a boss go by one turn faster. You, the player, grow jaded with the battle system. Grinding experience isn't worth it, everybody's highest levels are already recorded. Fighting bosses isn't worth it, it's much faster to loop forward.

Isn't this what all endgame in video games looks like? You already beat the final boss, and now... what challenge is left? Is there a point to keep playing? Most games will have some post-game content. A superboss to test your skills against, but ISAT doesn't have any of that. You're forever left chasing to the post-game. That's the whole point - to escape the game.

As most games get more difficult as time passes, ISAT only gets easier. The game becomes disinterested in expanding its own mechanics just as I ran out of new things to fight after 100%-ing Kingdom Hearts 3. Every encounter becomes a simple game of "press button to win."

The final boss just takes that one up a notch.

Spoilers for Act 5 ahead boys!

In Act 5, Siffrin utterly loses it. His last possible hope for escape failed him, told him there's nothing she can do, and Siffrin is trapped for eternity. So of course, they go insane and run up the entire House without their party.

This just proves what you already knew - you dont need the party to proceed. Siffrin alone is strong enough. And here, Siffrin has entirely shed the facade of the jokester they used to be. Every single skill now follows the (Just attack.) naming conventions. Your skills are: (Paper.) (Rock.) (Scissors.) (Breathe.)

To the point. Not a moment wasted, because Siffrin can't take a moment longer of any of this. Additionally, his level is set to 99 and his equipment becomes fixed. You can't even pick up items anymore! Not that you needed them at this point anyway, right? Honestly, I never used any items besides the Salty Broth since Act 2, so I stopped picking items up a long time ago. Now you just literally can't.

Something I've not talked about until now - one of the main equipment types in this game are Memories, gained for completing subquests or specific interactions and events. They all by and large have little effects - make Odile's tonics heal more, or have Mirabelle cast a shield at the start of combat. For the hangout events, you also gain an associated memory that boosts the characters' stats by 30. It lets them keep up with Siffrin again! A fresh wind! Finally, your party members feel on par with you again!

...For a time. And just like that, they're irrelevant again, just as helping them gave Siffrin a brief moment of hope that the power of friendship could fix everything.

In Act 5, your memory is set to "Memory of Emptiness." It allows you to loop back in the middle of combat. You literally can't die anymore. Not that Siffrin could've died by this point in the first place, unless you forgot about the King's instant-kill attack. This one memory takes away the false pretense that combat ever had any stakes. Siffrin's level being set to 99 means even the scant exp you get is completely wasted on them. All stakes and benefits from combat have been removed. It has become utterly pointless.

Frustrating, right? It's an artistic frustration, though. It traps you right here in Siffrin's shoes, because he hates that all these blinding Sadnesses are still walking around just as much. It all inspires just a tiny fraction of that deep rolling anger Siffrin experiences here in the player.

And listen, it was cathartic, that one time Siffrin snapped and stabbed the tutorial Sadness, wasn't it? Because who enjoys sitting through the tutorial that often? Siffrin doesn't. I don't, either.

So, since combat is an useless obstacle now meant to inspire frustration, what do you do for a boss? You can't well make it a gameplay challenge now, no. The bosses of Act 5 are an emotional challenge: a painful wait.

First, Siffrin fights the King, alone. This is already nervewracking because of one factor - in every other run, you need Mirabelle's shield skill, or else you're scripted to die. You're actually forced to fight the King multiple times in Act 3, and have to do it at least once in Act 4, though you'll likely do it more. Point is: you know how this fight works.

You know Siffrin's fight is doomed from the outset, but all you can do is keep slinging attacks. Siffrin is enough of a powerhouse to take the King's HP down, what with the healing and buff skills they have now, not to even mention you can just go all in on damage and then loop back.

(And no matter which way you play it, whether you just loop or use strategically, it reflects on Siffrin, too. Has he grown callous enough not even death will stop their mission? Or does he still avoid pain, as much as he can?)

This fight still allows you the artifice of even that much choice, not that it matters. The other shoe drops eventually - Siffrin becomes slower, and slower. Unsettling, considering this game works on an Action Gauge system. You barely get turns anymore. The screen gets darker, and darker. Until Siffrin is frozen in time, just as you knew he had to be, because you know how this encounter works, know it can't be cleared without Mirabelle.

And, then, a void.

Siffrin awakens to nothingness. The only way to tell you've hit a wall is if Siffrin has no walking animation to match your button inputs. You walk, and walk, until you're approached by.... you. The next enemy encounter of the game, and Siffrin's absolute lowest point: Mal Du Pays.

Or, "Homesickness," in english. If you know the game, you know why it's named this, but that's not the point at the moment.

Thing is, where you could damage the King and are damaged in turn, giving you at least a proper combat experience, even if its doomed to fail, Mal Du Pays has no such thing.

You can attack. You can defend. But it is immune to all attacks. And in return, it does nothing. It's common, at least, for undefeatable enemies to be a "survive" challenge, but nope. The entire fight is "press button and wait." Except, remember the previous fight against the King? The entire time, you were waiting for the big instant death attack to drop. That feeling, at least for me, carried forward. I was incredibly on edge just waiting for the other shoe to drop. And, as is a pattern, Siffrin is, too. As Siffrin's attacks fail to connect, they start talking to Mal Du Pays.

But he gets no response, as you get no attacks to strategize around. The wait for anything to happen is utterly agonizing. You and Siffrin are both waiting for something to happen. This isn't a fight. It just pretends to be. It's an utter rugpull, because Siffrin was so undefeatable for most of Act 4 and all of Act 5 so far. It's kind of terrifying!

and it does. It finally does something. Ma Du Pays speaks, in the voice of Siffrin's friends, listing out their deepest fears. I think it's honestly fantastic. You're forced to just sit here and listen to Siffrin's deepest doubts, things you know the characters could not say because it references the timeloops they're all utterly unaware of. This is all Siffrin, talking to himself. And all you, all Siffrin, can do, is keep wailing away on the enemy to no effect whatsoever.

So of course this ends with Siffrin giving up. What else can you do?

And then Siffrin's friends show up and unfreeze them and it's all very cool yay. The pure narrative scenes aren't really the main focus but I want to point out here:

A) Mirabelle is in the first party slot here, referencing how she's the de facto protagonist, and Bonnie fills in the fourth slot left empty, which shows all characters uniting to save Siffrin

B) this is the only instance of the other party members having act specific battle icons: they're all smiling brightly, further pushed by the upbeat music

C) the reflecting shield Mirabelle uses to freeze the King uses a variation of her hangout skill cut in, marking it as her true "final" skill and giving the whole fight a more climatic feeling.

It's also a short gameplay sequence with Siffrin utterly uninvolved in the battle. You can't even see them onscreen. But... it feels warm, doesn't it? Everybody coming together. Siffrin doesn't have to fight anymore.

At last, the King is defeated. Siffrin and co. make for the Head Housemaiden, to have her look at Siffrin's sudden illness. Siffrin is utterly exhausted, famished, running a fever. And this isn't unexpected - after all, their skills in Act 5 had no cooldown. For context, instead of featuring any sort of MP system, all skills work on a cooldown basis, where a character can't use it for a certain number of turns. The lowest cooldown is actually Siffrin's Knife to Meet You, which has a cooldown of 1. In universe, this is reasoned as the characters needing a break from spamming craft in order to not exhaust themselves.

Siffrin's skills in Act 5 having no cooldown/being infinitely spammable isn't a sign of their strength - it's a sign that he refuses to let himself rest in order to rush through as fast as possible.

Moving on, Siffrin panics when seeing the Head Housemaiden, because seeing her means one thing: the end. Prior to this in the game, every single time you beat the King, the loop ends when you talk to the Head Housemaiden.

Reality breaks down, the whole shebang. It's here that Siffrin realizes - they don't want the loops to end, because the end of their journey means their family will leave, and he'll be alone again. The happiest time of his life will be over.

Siffrin goes totally ballistic, to say the least.

As it turns out (and was heavily foreshadowed narratively), Siffrin has been using Wish Craft to subconciously cause the timeloop because of their abandonment issues. It's rather predictable if you paid attention to literally anything, but it's extremely notable how heavily Siffrin is paralleled to the King, the antagonist they swore to kill by themself at the start of Act 5. The King wants to freeze Vaugarde in time because it is, in his mind, "perfect," for accepting him after he lost his home - a backstory he shares with Siffrin.

Siffrin has become the exact antagonist he swore to kill, and it's shown by how the next fight utterly flips everything on its head.

Siffrin is the final boss.

In a towering form made of stars, Siffrin looks down at their friends. His face is terrified, because of his internal conflict; he can't hurt his friends, but he can't let them go, either. The combat prompt is simply changed to "END IT!"

This fight is similar to the previous, in that you just need to wait a certain number of turns until its over. However, this time, it's not dreadful suspense. It's... confusion, and hesitance.

You have two options for combat: Attack your friends, or attack yourself.

And... you don't really want to do either, I think. I certainly don't. But what else can you do? It's Siffrin's desires clashing in full force. Attack your friends, and force them to stay? Or attack yourself, and let them go safely without you?

Worth noting, here - when you attack Siffrin's friends, you can't harm them. Isabeau will shield all attacks. And when you attack yourself, Mirabelle will heal you back to full. And the friends don't... do anything, either. How could they? Occasionally, Mirabelle heals you and Isabeau shouts words of motivation, but the main thing is...

(Your friends don't know what to do.)

None of them want to harm Siffrin. Both sides simply stare at each other, resolute in their conviction but unwilling to end it with violence. It's of note that this loop, the last one, is the only loop where the King isn't killed. Just frozen. And now here is Siffrin, clamoring for the same eternity the King was. Of course everything ends in a tearfilled conversation as Siffrin sees their friends won't leave him, even after the journey ends, but I still have to appreciate this moment.

Siffrin is directly put in the position with their friends as his enemies, forced to physically reckon that keeping them in this loop is an act of violence, against both their friends, and against himself.

It's a happy ending. But... what does it mean?

Of course, ISAT is obviously about the fear of change. Siffrin is afraid of the journey ending, and of being alone. However, ISAT is also a game about games. Siffrin is playing the same game, over and over, because it's comforting. It's familiar. It's nice, to know exactly what happens next. These characters might just be predictable lines of dialogue, but... they feel like friends. Have you ever played a game, loved it, put countless hours into it, but you never finished it? Because you just couldn't bear to see it end? For the characters to leave your life, for there to be a void in your heart where the game used to be?

After all, maybe it became part of your routine! You play the game every day, slowly chipping away at it for weeks at a time. For me, I beat ISAT in four days. It utterly consumed me during this time. I had 36 hours of playtime by the end. Yeah, in that week, I did not do much more than play ISAT.

And once i beat it, i beat it, again. I restarted the game to see the few scenes I missed, most specifically the secret boss I won't talk about here. I... couldn't let go of the game yet. I wanted to see every scrap I could. I still do. I'm writing this, in part because I still do. It's scary to let go.

Ever heard the joke term of "Postgame Depression?" It's when you just beat a game, and you're suddenly sad. Maybe because the ending affected you emotionally and you need to process the feelings it invoked, or you search for something that can now fill your time with it gone.

The game ends, for real this time, the last time you talk to the Head Housemaiden. But Siffrin gets... scared. What if everything loops back again? And so, his family offers to hold his hand. They face the end, together.

For all loops, including the ending, you never see what happens after. After they leave the loop for good. Because the loop is the game itself. It's asking you to trust that life goes on for these characters, and it holds your hand as it asks you to let go. There's a reason for Siffrin's theater metaphors. He is the actor, and the director, asking everyone to do it over one more time. He's a character within the game, and its player.

There's a reason I talked about endgame content. This, the way it all repeats, there's nothing new, difficulty and stakes bleed away as you snap the game over your knee - it's my copy of White 2 with two hundred hours in it. It's me playing Fire Emblem Awakening in under 3 hours while skipping every cutscene. Are you playing for the sake of play, for the sake of indulging in your memories, because you're afraid of the hole it'll leave when you stop?

Of note: the narrative never condemns Siffrin for unwittingly causing their own suffering. He's a victim of circumstance. It's seen as endearing, even, that Siffrin loves their friends to the point of rather seeing the world destroyed than them gone. But Siffrin is also told: we'll stay with you for now, but we'll part ways eventually. And one day, you'll have to be okay with it.

Stop draining the things you love of every ounce of enjoyment just because you're afraid of what happens next. I'm not saying to never play your favorite games again. Playing ISAT a second time, I still had a lot of fun! I saw so many new things I didn't before, and I enjoyed myself immensely, reading the same dialogue over and over. But... it makes me look at other games I love and still play, and makes me ask... is this still fun? Do I still need to play this game to enjoy it? Even writing this is an afterimage of my enjoyment, but it's a new way to interact with the game, to analyze it through this lens. Fuck, man, I write fanfiction. Look at me.

All of this, fanart, fanfic, analysis, is a way to prolong that enjoyment without making yourself suffer for it. Without just going through the motions of enjoyment without actually experiencing any. But one day, the thing you love won't be fun to talk and write and draw about. And it's okay. You'll have new things to love. I promise.

In the end.... I'm certain I'll replay ISAT one day. Between great writing, art, puzzles and unresolved mysteries, it's my shoe-in for game of the year.

But I won't replay it for quite some time. I've had enough, for now, so I let my love take other forms.

Siffrin is never condemned, because love is no evil. Be it love for another person, or for a game. And please, if you're overempathetic - it's still a game, at the end of the day. The great thing about games is that you can always boot them up again, no matter how long its been.

A circle within a circle indeed.

To summarize:

The repetitiveness of ISAT's combat, lack of new enemies, and Siffrin's ever increasing strength eventually allows you to snap the combat over your knee, rendering it irrelevant and boring. Though this may seem counterproductive at first, it perfectly mirrors how Siffrin has also grown bored with these repeated encounters and views them only as an obstacle to get past. The reflection of Siffrin's own tiredness with the player's annoyance increases the compassion the player has for Siffrin as a character.

Additionally, the endgame state of the combat system serves as commentary on the state of a favorite game played too often, much like how Siffrin has unwittingly trapped themself in the loop. Despite the game having no more challenge or content left to over, a player might return to their favorite game anyway, solely to try and recreate the early experience of actually having fun with it. This ties into ISAT's metanarrative about the fear of change and refusal to let go of comfort even when the object (here, your favorite video game) offering that comfort has become utterly bereft of any substance to actually engage with. Playing for the sake of playing, with no actual investment to keep going besides your own memories.

Later on, stripping away even the pretense of strategy for a "press button and wait" format of final bosses highlights the lack of options at Siffrin's disposal and truly forces the player into their shoes. Truly, the only way to win is to stop playing.

[featherquillpen]

Gained in Translation

I speak four languages (at varying degrees of fluency) and do translation both for smooth and peaceable family reunions and for fun, with works of literature I enjoy. It's practically a truism at this point that meaning gets lost in translation; in fact, I'm currently reading an excellent book, Babel by R.F. Kuang, in which there is magic powered by the meaning lost in translation. But a topic I hardly ever hear anyone discuss is how meaning can be gained in translation.

Example 1: References

A type of meaning that can be gained in translation is that when you translate from language A to B, you can make references to other texts in language B that the person who wrote the original in language A wouldn't have been aware of. Here is an example from a translation I did of a Pablo Neruda poem:

Yo te recordaba con el alma apretada

de esa tristeza que tú me conoces.

I remembered you with my soul gripped

by the tragic ordeal of being known by you.

These lines in Spanish reminded me a lot of the meme based on the viral New York Times article about how you need to submit to the mortifying ordeal of being known in order to reap the rewards of being loved. So I decided to make a subtle reference to that quote in the way I phrased the English translation. This meaning, of course, doesn't exist in the original Spanish; I added it in.

Example 2: Meaningful Distinctions

Meaning is often gained in translation because the target language makes a distinction that the source language does not. The translator has to choose one side of that distinction, and so meaning is gained.

Here is an example from the Spanish localization of the Japanese RPG Fire Emblem: Three Houses. There are two unlockable scenes in which the character Hubert is given a gift as a romantic gesture. Now, I don't speak Japanese, but through reading the analyses and translations done by Japanese speakers, and by checking for consistency in the kanji, I can see that the same word for "gift" seems to be used throughout these scenes. However, in Spanish, there are multiple words for "gift" with rather different connotations, which becomes relevant in the localization.

In Spanish, there is no generic word for "gift" that applies in every situation. There is a distinction made between gifts that are personal, between people who care about each other, and gifts between people who are not close, such as charitable gifts and formal gifts given to a diplomat. The translators of the game had to choose which of these words to use in the Spanish, and they used the distinction to add some very interesting meaning to these romantic scenes.

In each scene, what happens is that Hubert notices the person has a gift and comments on it, thinking it's for somebody else. In these lines, in Spanish, Hubert uses the personal intimate word for gift. Then, when he finds out the gift is for him, and reacts very awkwardly, he switches to a formal word for gift, creating an emotional distance between himself and the romantic token. This is excellent characterization and adds a layer of meaning in translation.

Example 3: Meaningful Ambiguity

Sometimes, the opposite phenomenon occurs, where the target language does not make a distinction that the source language does, and that ambiguity or vagueness adds something to the translation.

I have a Finnish friend who has told me that fiction that plays with gender is often more meaningful for him in Finnish translation than in the source language, because Finnish does not have gendered third person pronouns. Where books like The Left Hand of Darkness or Ancillary Justice have to make a conscious decision about which gendered pronoun to use for characters that fall outside the Western gender binary (The Left Hand of Darkness uses "he" and Ancillary Justice uses "she"), the Finnish translations can just use the default neutral pronoun they use for everyone, and never have to resolve that ambiguity in any direction. My friend has told me that there are some books about non-gender-normative characters that he wishes he'd read in Finnish instead of English because the experience would have felt more authentic in some ways.

What It Means

The reason why I bring all of this up is that the concept of meaning lost in translation is tied to the idea of translation as an act of violence. Indeed, there is a saying in Italian, "Traduttore, traditore," which means "Translator, traitor." I agree that translation can definitely be an act of violence that destroys the intended meaning of a text and warps it to suit the needs of the speakers of the target language. But when we focus only on what is lost in translation, at the expense of what is gained in translation, then we deny that translation can be an act of liberation and power.

I was raised in a bicultural household speaking both English and Spanish, and when I translate between these languages, it makes me feel empowered and proud of my heritage. It feels insulting to me to claim that when I translate, I can only ever deplete the meaning. That is not true. Every translation requires a translator, and we are more than thieves and traitors. We are more, even, than archivists, trying to minimize loss and decay as much as possible. We are creatives and inventors who can add something beautiful and meaningful to the text via our translations.

[erose-this-name]

Kabru is such a brilliantly written character, one of the best in Dungeon Meshi (which is a high bar as it is, most of the main cast are similarly genius). 

His thing is that he is very friendly and nice confident and maxed out his charisma stat, but is also kinda ambitious and manipulative. But not in an overtly malicious way. Which kinda scares me.

The most impressive thing about him, writing wise, is that it’s all show-don’t-tell. He very frequently uses his charm and empathy and understanding of how people think in really clever ways. We’re often walked through his thought process of how he does these social deductions. We’re never told he’s scarily charismatic, besides other characters reacting to him being scarily charismatic.

Kabru is a natural-born leader and social engineer with superlative skills in both, which makes him the perfect foil for Laios, who’s too autistic and unambitious that he’s not even the de facto leader of his own party that he’s the official leader of. He’s so bad at leadership that his party just, sort of, doesn’t have a leader. They just kinda argue and do stuff.

What’s also neat, and perfectly inline with Meshi’s general theme of clever and logical subversions of fantasy tropes, is that Kabru’s character design in no way clues us in on this fundamental character trait of his.

He’s sort of a human fighter / knight archetype, which in the language of fantasy RPGs is a class most would associate with being a white bread jock, chivalrousness optional. (Laios subverts the same trope in the same way. It’s really funny that the walking exposition dump of the group looks like the character creator default preset spec’d as the most generic class available.)

If Kabru was a bard or noble and Laios a wizard, their character traits would be far less interesting

Even better is that we would expect someone who looks like Laios to have Kabru’s personality, and vice versa. Their character designs are flipped; the confident super charismatic leader is a short wide-eyed twink, while the slightly naive and very autistic monster enthusiast is a tall conventionally attractive Aryan lookin’ mf. (see what I mean by Kabru being such a good foil for Laios?? No wonder everyone ships them, they’re perfect for each other!)

Yet, their designs also work for them. Kabru just has a face that’s easy to talk to, his piercing blue eyes and curly hair gives him a false sense of naïveté, while his iconic 👁️👁️ expression hints that there’s actually quite a bit going on inside his head. Meanwhile, Laios believably looks like someone who doesn’t know what hair conditioner is. His armor’s collar gorget thing is also pretty dorky.

You can’t trust people like that (I mean overly charismatic people with a manipulative streak, not blue-eyed twinks) because you can’t know what their real motives are. You can’t know they aren’t pretending, you can’t know they aren’t trying to or haven’t already manipulated you. How could you? When he has so much more social intelligence than you do, average socially awkward Tumblr user? He’s touched all the grass!

In episode 16 (spoilers, btw) Kabru finally meets Laios’s party, who he’s been trying to find and fight for the better part of the season, and he just decides that no confrontation is necessary. Like, immediately upon meeting the guy. Just from how Laios looked at him. He figures that since Laios didn’t seem to recognize him, they either have never met meaning he has the wrong guy, or Laios forgot meaning he didn’t think it’d be a big deal, meaning the treasure was a trap or something. Which is pretty in line with Kabru’s established ability to always roll nat 20s for every charisma and deductive reasoning check, so cool.

But he doesn’t even seem curious about which of those cases is true. (He might be interested to find out some of the treasure wasn’t dangerous, but accidentally got thrown off a bridge). Much to Rin’s dismay, he’d rather just not bring it up because that could upset the leader of the party he might be working with for the foreseeable future.

Actions speak louder than words. So, all we really learn in this scene is that Kabru’s goals and M.O. can change on a dime, and that he values reputation and political capital more than money and vengeance. More than his own party’s desire for those things. Not only is he someone with a silver tongue, but he knows its value and is determined to use it at every opportunity.

Kabru and his party might not be very good at fighting or surviving in the dungeon, in fact their frequent TPKs are a running gag. But, he also doesn’t need to be when he can just manipulate Laios’ and Shuro’s much more proficient parties into helping him.

So far, Kabru seems like the most likely one to become king of the dungeon or whatever the mcguffin is. He is the only protagonist so far who has said that’s an actual goal of his. He’s said that he doesn’t think someone like Laios who isn’t a born leader should get it.

In fact, Kabru seems to have very strong opinions on what kinds of people should be allowed to adventure in the dungeon, evidenced by the fact that he murdered an entire party over it, justified or not. Kabru seems to think that Kabru is such a leader, and he’s probably right about that, but what kind of leader? 

What would Kabru do with that kind of power if he gets it? Because I’m not sure. All I know is that he is the kind of person with the ability to use real political power to its full potential. For good, or for very, very bad.

I’m not saying that Kabru is evil or that he’s secretly gonna be the surprise villain. I dunno, I haven’t read the manga. He could just be a nice guy that’s just, like, is like that. Everything he’s done could be justified by the explanations he’s given. He actually reminds me a lot of one of my IRL friends, and I’d trust him with my life.

But, I can’t help but feel a distinct sense of unease whenever he’s on-screen. I try not to trust confident natural-born leaders like him right out of the gate. I don’t like that our instinct as humans is to blindly follow them without thinking about it.

Tyrants and psychopaths also use confidence and charm and a friendly demeanor to make people think they’re a good guy, while manipulating everyone into thinking their self-serving actions are altruistic. Benevolent, confident, skilled leaders do exist. But there exists many more snakes wearing their skin. Wolves rarely bother with sheep’s clothing, they dress as shepherds and sheepdogs.

Anyway, my point is that I think it’s kinda neat that it’s possible to overthink this much about a character whose probably just a nice guy that is the mirror opposite of an autistic person. Writing that kind of ambiguity is hard, and employing it in this way is inspired.

[flightyquinn]

thinking about how cursed objects work in most fantasy RPGs.

typically, they wind up just kind of being a big middle finger from the game master - a kind of "whelp, you should have been more paranoid, so now you get hosed" sort of deal. which includes the somewhat game-y trope of objects that you can't get rid of. it's kind of an un-fun mechanic, when you think about it, which is why in most games I've been a part of cursed items often don't see much play, unless it's as a "punishment", or part of a story arc.

...which naturally leads me to think about how to do it better. in the past, I've tried using a curse as a kind of limiter. restrictions or drawbacks to a mostly functional item that is still worth using despite being "cursed". that's good, but it doesn't let you draw on truly nasty curses, because the item needs to be worth using, but also still needs to be balanced.

so, I'm drawing from a lot of sources here, like the cursed shield in Final Fantasy VI, and especially the comics by @foldingfittedsheets, where curses exist to (literally) teach the recipient a lesson

MEAT OF THE POST STARTS HERE:

what about cursed items that have a way to overcome their curse?

it's actually a fairly common trope in classical literature / fairy tales. every curse has a way to be broken. yet in D&D and Pathfinder, most often the only way to break a curse is to find someone with the specific curse-breaking spell.

so, give each cursed item a condition. perhaps a weapon that fuels a person's rage and causes them to fly into a blind rage in battle waits for them to sincerely forgive a hated enemy. perhaps boots that slow the wearer are actually making them heavy with the weight of past transgressions and a sufficient act of atonement will free them. maybe the perpetually bloody doll that gives its bearer horrible nightmares simply waits for someone to be motivated to action by them, either to right some past wrong, or generally bring a certain number of murderers to proper justice.

...maybe a Bag of Devouring. which is technically actually a creature, not a cursed item (but usually classified with them), can be befriended by figuring out a treat it likes, and will not only carry things for the player if fed and cared for, but even cough up a few things that previous bearers had stuffed inside.

the specifics aren't too important, but the idea is that any item with a curse on it has a reason for that curse, and a way to break it. the players can drop the item at any time, sell it off, give it to someone they hate, whatever, but if they put in the time and energy to actually breaking the curse, it becomes better than it was before, sometimes simply losing a drawback, or sometimes gaining new powers.

for an example, let's look at how that doll idea from earlier could work in D&D 5e;

while the party has the doll in their possession, they will all be afflicted by horrible nightmares, seeing themselves as children being attacked by a group of eight bandits with indistinct features. the details of the dreams change each night, and the players awaken before learning their ultimate fate, but the general gist is always that they are completely helpless, and subjected to harm.

after a long rest, have them roll a Wisdom or Charisma save (challenging DC, but not too difficult), or take a small amount of psychic damage.

if the players bring murderers to justice - meaning deliver them to the proper authorities and see them punished for their crimes - the content of the dreams starts to change. one bandit gets caught or killed by the end of the dream for each real world criminal successfully punished, possibly hinting to the players what they need to do. once eight murderers in total have had their sentences enacted, the next morning the doll will be in pristine condition with a serene expression, emitting a faint glow. thereafter, any player may attune to the doll to gain the ability to cast the Guidance cantrip without components (as thought the doll's ability to project what it wants the players to do into their mind was turned to their benefit.