#by my co-gm

[seanflnnerty]

player character brennan "fuck me up fam" lee mulligan

[californiaquail]

my brother said he would co sign for me. ok guys should i go for the $1000/mo room with the overly talkative music teacher and two other women or the random guy who may have been flirting with me's room for $700. or should i hold off on choices until i hear back from option 3 which i think is also $1000 and more private and much better commute but would not allow any pets and idk what her application process and requirements are like when i think i've got a good chance with the other ones.

[bellshazes]

could i ask the reasoning behind your dungeons and dragons dislike? is it with the format of the game, the general playerbase, the material, or something else? i dont play and i always think im missing context when i read your posts, but appreciate them nonetheless

haha so for specific context it's probably important to disclosed my first ever job was teaching board games & i did that for ten summers from age 14-24ish. so i have a particular exposure to/long-running beef with certain parts/aspects of the games industries which are both serious & well informed but also kind of inside jokes to some degree with my fellow GMing friends.

Wizards of the Coast have so many problems i don't know where to start, but the recent licensing changes suck for all the poor folk who have cared enough to try and fix their crappy system, a lot of the lore is racist, and I'm friends with MTG fans but not qualified to start explaining what the fuck is up with all that. but even disergarding that, D&D itself has gone through so many evolutions thru its editions that even hardcore fans will disupte which ones are good and which ones are total shit. (the intersection of "catholic priests who are intense about church canon" and "3.5E diehards" is really funny for instance, in my overly specific experience.)

but honestly my beef is that in the wake of the truly absurd and evil fearmongering of the stanic panic, generations of nerds have clung to D&D as the end all be all of TTRPGs to the point that total newbies are told it's a good entry point for the medium which ???? it's not ????

the only reason D&D is a good "first ttrpg" is because it's the most likely be something people you know already know how to play. it is a self-sustaining monster that gobbles up impressionable people curious about this weird, kind of cool hobby. and watching people homebrew D&D to be the game they wish they were playing in total opposition to the core, fundamental design principles of the system because they have been told it can be anything they imagine.... even when the mechanics hinder that. D&D was a dungeon crawler that took over the world, it's a combat game, it can be PLAYED narratively-focused but if that's what you want, you can do so much better i prommy. i think modding games (video or ttrpg) can be its own joy, but D&D isn't even particularly friendly to it without turning it into a different thing! & at that point, you're better served tweaking something else!

it is no individual person's fault. but please for the love of god play ltierally any other game: you can give your money to a passionate indie creator instead of WOTC, it will cost you less, you can work much less hard to get the gameplay you crave, there's something for everyone, there are less complex-to-start/explain systems, etc. noooooooo don't play d&d your so sexy lol <3 and here's beau @beeelderly's RPG training wheels doc for ideas on where to start!

[xyanmajor]

My elf wizard PC had a meeting with Jenny Greenteeth 4 or 5 sessions ago now. She made a pact to gain a "wand of flowers" (you can make flowers of all kind and its flowers, no power no trick. Just flowers).

It is a cool object.

The better i can hace for my sweet child of light in fact.

I offered a flower to Rahadin. A moon flower, his favorite (he said it cause my PC is an elf and he thought she was lying about the gact she can make flowers grow in Barovia)

I offered a flower to Rahadin and it was something different.

(My GM said me to roll a 1d100 cause it would be difficult to grow that particular flower that my PC didnt know about before, and i rolled a 98 ;^;)

Flower wand = best dnd object ever.

[composeregg]

Man if I did a writeup on my danganronpa oc murder mystery homebrew so others could use and adapt it would folks b interested or nah

[the-mist-wanderers]

just had a brainstorming session for my players and UGH i'm so excited. we've had an accidental brief hiatus for the past few weeks because of my schedule but we should be back at it again soon, and i've got some stuff planned now (short-term and longer-term) that i hope makes them yell :)

[divorcedyaoi]

I will say playing ranked got a lot more fun when I started playing with better people

[nerdyqueerr]

I realize that me tagging stuff as "ireena about samaël" or "ireena cos" may be giving you all the impression that she had a much bigger role in-game than she actually did. In reality i was just imagining a parallel version of CoS in my mind where Ireena and Sam had a whole thing. They only ever canonically got together post-canon (despite my best efforts) and Ireena was never explicitly a monsterfucker i just believe it in my heart. So sorry for spreading misinformation on tumblr dot com

[ingravinoveritas]

craftyballoonwinner mentioned you on a post "anna always got to prove to us she still got her…”

I can't wait for @nightgoodomens and @ingravinoveritas takes on today. Something happened and while I'm happy to not have GM around the fact it was MS&DT ALL night makes my eyebrows raise.

@craftyballoonwinner It has taken me the last few days to process everything that happened on Friday, because to say that I am floored by what we got is a tremendous understatement.

We knew that Michael had been in London and had specifically gotten a house in Chiswick close to David's house since November of last year, for his run in Nye at the National Theatre. We knew that the second run in Cardiff ended on June 1st and that as soon as it did, Michael immediately came back to London. We knew that--schedules and work/family commitments allowing--they were likely spending a great deal of time together (despite only seeing three pictures of them over the course of that entire interval: The Macbeth photo, the blurry pic that Anna posted back in November, and the photo from Lapland last December).

The smallest pieces, flashes of something beautiful and bright yet still obscured, ensconced from public view. So much so that I never in a million years expected Michael to come to Pub in the Park--hoped, certainly, but the thought of it actually happening seemed like a distant dream, a dazzling impossibility.

But this past Friday was just...so extraordinary and lovely precisely because it was ordinary. It wasn't a press junket or an interview or Michael and David promoting something...it was just them. The two of them together, basking in the warmth of each other's presence. It was there even in the first picture I saw, and it permeated through every clip, every moment of them at the event:

The smiles. The ease and comfort they have around each other. The effortless love that just exists between Michael and David, and that is tangible in every dimension, as much on a screen as in real life. And when they were on stage together, it wasn't even that they played off each other so well--it was that Michael's last minute appearance didn't cause either of them to lose so much as a step. It was that you just knew that they couldn't have put any other two people up on that stage without prior planning and had that same chemistry, that charm and familiarity. And it was just so damn wonderful to see Michael and David looking so happy and joyful overall.

As for what happened with Georgia, I am just more confused than anything else. For the last month and a half, Georgia heavily promoted PitP, and both she and David billed her as a co-host. Every flyer, every piece of promotion that was shared (both by the PitP social media and Georgia) mentioned her as a co-host, along with David. She even did an interview on the Gaby Roslin podcast with David and Arabella Weir where she was again specifically referred to as a co-host and admitted not knowing her own Instagram handle, as well as saying that she would be active on Insta during the PitP event.

There is a strange irony to the podcast as well, given that David actually said "We're failing our hosting duties right here!" in the above linked clip, and what seemed like a joke at the time actually came to pass. For whatever reason, Georgia failed in her duty, the job that she signed up to do. Had it been because of all the attacks that David was a target of over the past week after the blow-up with Kemi Badenoch, Rishi Sunak, and the entire Tory party, that would have made sense. I would have completely understood if Georgia, who had also been targeted in those attacks, was feeling anxious or worried about her/the kids' safety and elected to stay home instead.

However...Georgia didn't stay home. She actually was at the event, as were several of their kids (Ty and Olive, from what I've seen). She was there, drinking and dancing, and somehow that made her abdication of co-hosting duty even more conspicuous and strange. It also makes it increasingly obvious that Michael's appearance on stage was a last minute occurrence and not part of the original plan of events.

So what actually happened? I don't know. None of us know, and it's likely we won't know until a later time, if ever. But in the real world, if you are given a job to do, if a contract is signed with a written agreement to do that job and you don't do the job, there are consequences. At the very least, it can negatively affect someone's reputation and reduce the likelihood of them receiving offers for future jobs. On the other end, you could be looking at potential lawsuits for things like breach of contract. And none of this even gets into disappointed fans or attendees who might've been hoping to see Georgia host and who could possibly now claim to be victims of false advertising because she didn't.

It also feels like a huge missed opportunity on the part of PitP, who could have potentially raised hundreds or even thousands of pounds more for charity had Michael been booked as a co-host, or even a guest. Regardless of whether Michael was there in an official capacity, though, I am just glad that he was there, and that we got to see the two of them together again.

The night may have lacked the glitz and formal glamour of the NTAs, but it more than made up for it with the relaxed domesticity we got to see between Michael and David. And now that Michael is hanging around London a bit longer, hopefully there will be many more memorable nights like this to come.

[theresattrpgforthat]

As someone who designs games, are there any specific games you've read that do interesting things with the Forged in the Dark or Powered By The Apocalypse systems that get you excited to write your own stuff?

(Asking those two since Protect the Child is FitD, also excited to hear if another system is excited rant worthy)

My friend, thank you so much for giving me space to ramble lovingly about games and mechanics. I don’t know if anything suggested here will be new exactly, but I am relishing the chance to talk about how the games I’ve read and played have impacted my design journey.

This is going to be a walk-through of various games that have given me a lot of tools to work with. Right now my head is full of Protect the Child, so I'm not really thinking about any other design projects, but I hope you enjoy this nonetheless!

Brinkwood, by Far Horizons Co-Op, Slugblaster, by Wilkie’s Candy Lab, and Moth-Light, by Dissonance.

I knew of a few Forged in the Dark hacks before I heard about Brinkwood, but when I realized that the Masks were basically communal playbooks, my mind was blown. Both Slugblaster and Moth-Light appealed to me because of their setting, but when I read the rule-books I was also impressed by how they were able to take the base Forged in the Dark and change it to make the rules work for the proper genre and tone.

Brinkwood takes the playbooks with special powers and makes them communal. You can pick up a new set of powers every time but still play the same character, so you can have variety while still pursuing the same character’s storyline. Because the Masks are shared, the “crew playbook” doesn’t look the same as it does in a lot of other Blades hacks, as no matter what Masks you take, you’re still engaging in a rebellion against vampires. Brinkwood also gives the GM a lot of guidance on how to flavour the antagonists in a way that is challenging, interesting and dangerous, while also giving the players a way to veto any subject matter that bleeds too much into real-life boundaries. Honestly, I think Brinkwood probably directly influenced my game A Terrible Fate more than Protect the Child, but the initial moment of realizing how much you can play with the game was a really important step in my development.

Slugblaster re-organizes your dice resources as Boost & Kick, and shifts Stress into a currency (Trouble) that you have to spend, rather than a time bomb. This gives your characters more longevity and takes away a lot of the gritty trauma that works for Blades, but doesn’t make sense for hover-boarding teens. Additionally, Slugblaster gives agency of faction creation over to the players in a way that’s way more personalized than it is in Blades. Specific questions are meant to be answered by specific playbooks, which I think is a great way to speed up crew relationships, as well as ensuring that each player at the table has a piece of the world that they contribute to. When setting decisions are left up to the group as a nebulous whole, one player may have more say over setting creation just because they have the loudest voice or the most ideas. By giving specific choices to specific playbooks, you’re ensuring that each player has a piece of the world they can point to and claim as theirs.

Moth-Light takes the CATS safety tool and embeds it into Pact creation, allowing the genre and tone to shift the way the game is played slightly to reflect the kind of story the group wants to tell. The core setting is the same - a planet with gigantic bugs - but the ways the characters interact with the setting changes depending on the Pact that you choose. I think this is a genius way to give a group a way to use Safety Tools without them necessarily realizing it, and it ensure that the group enters the story on the same page. This mindset fuelled my choice to present the world-building as a series of questions for the players to answer, establishing some truths about the technology levels and the use of magic before players make their characters, setting some basic limitations to make sure folks are on the same page. Currently however, I don’t think I’ve achieved the seamless translation of CATS into a game-appropriate setting exercise - I’ve just ported CATS into the game.

External Containment Bureau, by Mythic Gazetteer.

External Containment Bureau minimizes a lot of their character options and does away with playbook options in order to make character creation customizable while still quick, and one of the primary ways they did this was by changing the way gear rules work in the game. In standard Blades, you can only use equipment to improve your Effect, but in ECB, you can use your equipment to add +1d or improve Effect. This is primarily because ECB doesn’t use stats in the way Blades does, but I liked the way that little tweak gave the player an additional resource.

Additionally, ECB doesn’t care about load. Instead, the character comes with some gear associated with their department, and a few gear slots that they can fill themselves. You can always have everything in your Gear section on you - the limitation is in what’s available. I really liked how the game provided a balance between gear that made sense for your department and gear that reflects the way the player wants to portray their character, so I did the same thing in Protect the Child.

Antiquarian Adventures, by acegiak

I heard about the way Stress works in Antiquarian Adventures when I was listening to the Dice Exploder podcast, and it sparked a lot of thoughts about what Stress can be used for, especially since I knew that I didn’t want to give the characters Trauma in Protect the Child. Thematically, it doesn’t make sense to imply that parenting is inherently traumatic, and I don’t want to cast the Child as a source of trauma for the parents.

Antiquarian Adventures solves this problem by allowing Stress to re-set every time you fill it, as long as the player is able to dictate how the character suffers some kind of setback or brings about some form of trouble as a result of getting too stressed out. The exact trouble is attached to the playbook, adding to the distinct flavour of each trope. In Protect the Child, I made sure to add one Reaction that was unique to the playbook, to reflect the same kind of thing.

Last Fleet, by Black Armada Games.

Last Fleet blew me away with the Pressure mechanic. It’s a physical manifestation of stress that exists in the setting, that doubles as both a player resource and a ticking clock. You can spend Pressure to give yourself a better chance at success, but once it hits its cap, your character is forced into a situation that that they cause themselves.

In many ways, Last Fleet is doing something similar to Antiquarian Adventures, but the one thing it adds is that it gives the player options in terms of how they’ll cause trouble. Some options overlap across playbooks, but each playbook has a unique collection that helps keep it somewhat distinct from the others. One of the best moments I had in play was when one of my players realized that he had the option to actually turn on the group - the reaction was like a little present he’d just unwrapped for the entire group, and it made for an extremely memorable moment for the table.

Last Fleet also inspired me to shorten the Stress Clock in Protect the Child. Base Blades has a 8-mark Stress track, but in early play-tests, I felt like it was difficult for anyone to fill up their clock in a single session. The Last Fleet Pressure track can only hold 5 marks of Pressure, and re-setting it doesn’t empty the track, but rather puts it at 2. I think that constant Stress provides a bit of a friction point for players, which is needed since it’s easier for players to achieve bigger dice pools in Protect the Child.

Beam Saber, by Austin Ramsey

When I was agonizing about how to encourage more roleplay between players, someone recommended that I read through Girl By Moonlight. Unfortunately, I don’t own a copy of Girl by Moonlight. I do, however, own a copy of Beam Saber, so when I decided to comb through other Blades games for relationship mechanics, I stumbled on the relationship clocks of Beam Saber.

In Beam Saber, you write down beliefs you have of each other character in the party, and attach each belief to a slice on a Connection clock. During downtime, you have the option to Cut Loose, which helps two Pilots relieve stress with each-other at the same time as filling the Connection clock. Filling the clock awards XP as well as provides the characters an opportunity to confront each-other about the way they see each-other.

I liked the idea of using time together as a chance to relieve stress. As far as I understand, this moment of connection is also seen in Girl by Moonlight, but I decided to limit the amount of stress you could relieve in Protect the Child because I’m still operating under the ethos I was introduced to in Last Fleet - I want to keep the characters under a lot of pressure, making room for them to make terrible decisions, and therefore giving them room to grow.

Lady Blackbird, by John Harper.

I returned to Lady Blackbird when I realized that the way I’ve set up runs in PtC means that it may be hard for players to do things like engage in long-term projects, or train for XP in a regular Downtime session. I also noticed that it was hard to get the players to roleplay with each-other with the way that Downtime is written in base Blades - it’s often navigated through in a very procedural way. Finally, I wanted to make the game a bit more one-shot friendly, with a way to present a Downtime-like section partway through the game without bogging down play too much.

Lady Blackbird has moments in between Action scenes where it explicitly encourages players to engage in flashbacks or character interactions in ways that allow them to clear conditions and provide a bit of exposition into their backstory. This, coupled with the Impressions in Beam Saber, gave me the tools to both encourage the players to role-play while also giving them the tools to foster relationships with each-other.

Right now, Rest Stops only have two moves: Bond with the Child and Bond with Each-Other. By reducing both of your options to moments where your character interacts with other characters, and encouraging both of these options to reflect your character’s ideals and history, I’m hoping to provide some of the maintenance of Downtime while encouraging the role-play that happens in Lady Blackbird. Longer downtime actions are relegated to Time Passes, which will only come up in campaign play.

I still haven’t perfected this stage though. For example, I haven’t figured out what to do about wounds.

Apocalypse Keys, by Rae Nedjadi / @temporalhiccup.

It’s kind of hard to quantify or describe the influence Apocalypse Keys had on my design, but I’ll give it a shot.

In Apocalypse Keys, your character never has to fail. There’s always options to give yourself a success, it’s just a question of how much you want to sacrifice parts of who your character is in order to get what you want. Apocalypse Keys is itself an amalgamation of a number of different mechanics from various places, such as the way you use tokens to improve your rolls, as originally found in Libretè, or the Theorize roll, popularized in Brindlewood Bay but originating in Codex: Moonlight.

The character playbooks are also centred on different struggles that the player has decided to wrestle with. The Summoned has a lot of moments centred on fighting destiny, while the Last wrestles with grief and loss. Some of the themes in these playbooks give you a lot of freedom to explore struggles and traumas that affect people in real life, but are flavoured in a way to give your monsters great power and extremely interesting backstories.

Finally, the way your character looks is completely up to you, and is irrelevant to the things your character can do. If you want a thousand glowing eyes, it doesn’t matter which playbook you choose. If you want to be the spirit of all werewolves that came before you, it doesn’t matter which playbook you choose. If you want to carry a golden spear that can listen to the regrets of the restless dead, I don’t think it matters what playbook you choose. I think that there’s a bit of a carryover from what I love about Changeling: the Lost to be found in Apocalypse Keys, in that your character’s origin and presentation can be as varied as whatever you can imagine, and can fit into the themes of whatever playbook you decide to wrestle with.

Protect the Child doesn’t directly borrow any mechanics from Apocalypse Keys, but I think the ethos behind the design is there. I want the players to experience the same creative freedom, while tying down specific themes to specific playbooks. I want to enable conversations about real issues that affect real people, while allowing the table to situate those issues in whatever setting makes the most sense for the group. I want the players to feel powerful, and at the same time recognize that the biggest obstacles to being good parent are generally incredibly personal.

I also admire the way that Nedjadi designs, from the rigorous play testing, to the purposeful openness about his inspirations, to his careful documentation of who has inspired him and where his ideas came from. I think being able to provide a clear through-line to the ways your were influenced by other design works is good for the historians of our hobby, and it also reinforces a culture in which game designers influence and allow themselves to be influenced by each-other.

[samuraiko]

Thoughts on CANDELA OBSCURA from a longtime gamer and GM

Wow.

Just wow.

Full disclosure here: I’m a long, LONG, *LONG*-time gamer (I have been playing RPGs for almost 40 years now), and I will scrutinize the fuck out of any new system or setting that I think is interesting.

So when CO was announced, I was eager, I was interested, but I was very much withholding judgment because I wanted to see the system. I wanted to look at its rules, crunch numbers, get a sense of the setting, see how well it was written, and so on.

And I cannot tell you how many times I’ve been excited for games only to get my hands on the rulebook and see that it is riddled with contradictions, missing information, sloppy editing, etc.

THANK FUCK THAT CANDELA OBSCURA MAKES NONE OF THOSE MISTAKES.

(Seriously, I saw *ONE* spelling mistake in the book and it is LAMPSHADED by the margin notes.)

The Quickstart Guide is efficient without being too sparse, detailed without bogging you down, and gives you just enough information to get up and get going, while plainly indicating where greater breadth and depth will be available in the full ruleset.

Spenser Starke (one of the two creators) has openly acknowledging standing on the shoulders of others when creating the rules and mechanics for this game, so gamers familiar with other systems will see how those have influenced CO - for example, Blades in the Dark’s influence is definitely felt, as well as nods to the FATE system, and I also see hints of Modiphius’ 2d20 system in here (especially their Momentum mechanic).

Also, and I cannot sing their praises highly enough for this, CO absolutely calls out the inherent social issues with running a game in a setting like this, as well as warnings about steering away from certain all-too-baked-in stereotypes and cultural Zeitgeist impressions. To their credit, they provide alternate suggestions (far more useful than just “don’t do this”) and examples. Over and over and over throughout the QSG, the creators address these issues, and even in some instances call out the real world equivalents and how and why they are problematic. Bravo.

Is this game for everyone? Absolutely not - and the creators know it and openly state it.

But if this is your jam, or you’re even curious about dipping your toes into supernatural horror RPGs... this one has got your back.

EDIT: MORE IN-DEPTH ANALYSIS HERE.

[tanukitheater]

Something came over me. Shout out to my GM for feeding into Kaspar being gullible as shit because of the abysmal empathy stat

Original comic by Miss @punkitt-is-here

Catch Kaspar and co on The Obsidian Cabaret YouTube channel! We post Witcher TTRPG live plays every Sunday!

[wyrmguardsecrets]

Nearly a week ago, Draenei guild lead gets notified their co-GM is RPing an underage character and being promiscuous. Goes on a psuedo-Machiavellian witch hunt for the "Traitor" and has their simp/goons nuke the evidence gdoc and imgur via mass reporting. Conveniently states they'll start their own investigation with a limited window of accepting any evidence while playing coy "Oh my, I don't know what happened but the evidence is gone..." You ain't slick, try to sniff out my Fromunda Cheese.

-

[indie-ttrpg-of-the-week]

Lancer RPG

pfft, your mech is your dead mom's soul? well MY mech is co-piloted by Cthulhu!

Touchstones: Armored Core, General Mech Media

Genre: Mecha, Tactics game

What is this game?: Lancer is a tactical TTRPG focused on mechs, and the folks piloting them, with a sturdy "Gameplay over Realism" mentality to its game design

How's the gameplay?: Lancer is a tactical RPG using primarily d20s for attack rolls and other problem solving, it's primarily based on the tactical combat rules of Dungeons and Dragons 4th edition, however it is mostly its own thing, with new mechanics, simple but fun character creation, and a high focus on quick and aggressive combat rather than lengthy and Defensive combat. in effect imagine character creation as going to a subway (of mech parts) and picking your ingredients, with a mech's frame being your choice of bread, and combat as an SRPG of your choosing but everyone is in giant mechs

Out of Combat is a bit different, to the point where I didn't even bring it up during my first draft of this! the Out of Combat rules are deliberately bare bones, you can very easily insert straight up a different game in there, or mod it to be something else. But I wouldn't recommend it, as the rules by themselves are 100% useable, fun, and blend into the combat portions pretty easily, Lancer is fully aware of this, and the lack of out of combat depth is partially covered by the KTB book, which gives characters simple out of character skills

What's the setting (If any) like?: Lancer throws you into a world where mankind's either solved, or is close to solving, most of the issues back on earth... too bad we also colonized other planets 10k years ago! Now, while Earth thrives, planets outside of it struggle with poverty, imperialism, dictatorships, and human and non-human rights issues, Earth tries its best to help, but they're stretched very thin. Lancer also has many small details to its setting that are way too in-depth to get into right now, but a major one is the existance of non-human people, eldritch beings strapped to computers in order to create effective and fully sentient artificial intelligence

What's the tone?: Lancer's tone is generally speaking, hopeful. Empires are mighty, but there are people fighting, and they will be toppled, mankind's horrors have attempted to wipe out entire species, but survivors remain, and secretly thrive. While there is some doom and gloom and grimdark stuff, especially with how the highly unethical and wicked corporations are treated as necessary evils for enterprising pilots, but overall lancer is a setting where no matter how bad things get, there will always be hope

Session length: A few hours, it depends on how mean your GM is, generally speaking however combat heavy sessions will only run you around 2-3 hours, with RP sprinkled in between

Number of Players: I generally like to recommend around 4 or more, but I'm sure you can do it with less

Malleability: While lancer's mechanics are pretty hardset in its setting, the existance of Beacon RPG and how at its core its very much a Lancer hack does show that Lancer can be hacked into differing settings, a very popular one I've seen is Magical Girl Lancer.

Resources: Lancer's primary resource is Comp/Con, it effectively serves as a do everything tool for lancer, allowing you to manage characters, encounter, and homebrew, while also having a very slick and easy to use UI Lancer also has many pre-made modules, of... varying quality, Siren's song and Solstice rain are pretty good, Wallflower is very good but the encounters are of mixed quality, and it's not great for introducing people to the game in my experience

Homebrew is also fairly popular, new frames, NPC types, Bonds, and modules are all pretty popular, my personal favorite being Field Guide to Suldan and Field Guide to Iridia, I also enjoy Field Guide to Liminal Spaces though that one's a bit on the "Be Very Careful" side

Overall, lancer is effectively THE indie ttrpg, being quality, fun, and affordable, with the core rulebook being 100% free if you just wish to see the player-side content, it's a great time, and everyone who's interested in the indie ttrpg scene should check it out at least once

[beesmygod]

maybe a different kind of bloodborne question and hopefully a simple/fun one, is there anything in the game that you think DOESN'T have a real or subtle meaning to the story? For example, your thought on the Orange Light of Fucking Get You is just a color contrast. And as much time as I've spent looking around at and thinking about all the chairs and chair imagery...I'm thinkin there's just a bunch of chairs in this game. That's it.

i have a VERY GOOD ANSWER FOR THIS FINALLY. it's been on the tip of my tongue bc i knew there was something specifically i wanted to point out as entirely meaningless: your entry into forsaken castle cainhurst.

why is there an invitation with your name to forsaken castle cainhurst? why does a carriage arrive with no driver to take you to the otherwise unreachable castle? why are the horses dead after you arrive? the answer to all of these are "because that's what happens in the dnd module 'curse of strahd'" lol

[sp-by-april]

🚨 Ermm Michael x reader who's his girlfriend that works at village inn fucking in the back room of the shop while all the goths are wondering where he is!!

Sorry this took so long, thank you for your patience!! I had some technical difficulties. (aka my brain wasn't cooperating lol) 🖤🖤🖤

Michael x F!Reader

[What are we doing tonight??] [South Park Master Lists]

My boyfriend Michael and his friends came to visit me at work. I’m a server at this little diner franchise, Village Inn, and sometimes Michael and his friends come in for coffee and whatever.

I brought everyone their coffee and sat next to Michael in the booth while the only other table I had was eating.

Henrietta rolled her eyes, “This Mortal Coil is Goth,”

Pete leaned forward and tapped his finger on the table for emphasis, “No, they’re not,”

“This coming from the guy who said Jack off Jill wasn’t Goth,” Henrietta scoffed.

“Jack Off Jill – Not Goth. Rasputina – Goth. I don’t know why you can’t grasp that...”

Michael put his arm around my waist as I listened to Pete and Henrietta debate. Then I slowly started to tune them out as an idea formed in my head.

I leaned in Michael’s ear, “Come with me,”

I grabbed his hand and led him to the manager’s office. I knew for a fact our manager was across the state at some big meeting with our GM, so now was our only chance.

Once we were locked safely inside, I was ready to pounce.

He looked me over and smirked, “At work?”

“Why not?” I asked kissing his neck.

“I can’t see a reason not to,” He said as he watched me unbutton my black slacks and push them down to my thighs.

He wasted no time bending me over the desk.

His breath hitched as his fingers traced my slit. I could feel him behind me, getting his own clothes out of the way and the anticipation was killing me.

Finally, I could feel him, rubbing the head of his cock over my slit, picking up all my desire before pushing his way inside of me.

As he began to shift into me, I was in heaven. He felt so good, I could barely stand it.

“I love it when you’re needy like this,” Michael leaned over me and I could hear the smugness in his voice, “You can’t even go a few hours without me,”

I almost couldn’t believe he said that. I couldn’t believe it got me so worked up. I was even more revved up with he grabbed onto my work shirt and used it to pull me back and fuck me even harder.

I tried to stifle my moans, but I was so turned on by getting fucked at my job, the way he was fucking me without abandon, and I was pretty unsuccessful.

Suddenly he thrust into me hard and the way he groaned just pushed me right over the edge.

My back arched sharply as my muscles tensed up. My legs started to shake and I hoped my knees wouldn’t buckle. He clapped a hand over my mouth; Just in time. A loud quivering moan poured out of me and into his palm. The soft, warm walls inside the innermost part of me closed around him and I grasped onto his dick like it was my only tether to this mortal coil.

He groaned over me and suddenly his hips jerked into me so hard that I winced. Michael growled low and I could feel exactly how intensely his cock was pulsing as he pumped me full of hot, milky spurts.

He finally let go of my shirt and I quickly hopped up. I pulled my pants up and grabbed my apron.

Michael grabbed me and pulled me into a quick kiss before we unlocked the door.

As we sat back in the booth, all eyes were on me. Especially Firkle’s.

“You were gone awhile,” Pete noted with a faux nonchalance.

“I uh…” My face suddenly felt hot, “Needed some help in the back,”

Michael smirked, “Yeah you did,”

“You guys are gross,” Henrietta said with one of her notoriously common eyerolls.

“You’re just mad because the guy you like is a total perv and hasn’t even made a move on you,” Michael shot back.

I knew where this was going and I took it upon myself to intervene, “Guys, I was just talking to my co-worker and she was trying to say that MSI was Goth,”

“Mindless Self Indulgence?” Pete asked as his nose wrinkled.

“Fucking posers,” Michael sneered, “Everyone knows MSI are scene kids through and through. What’s next? Fall Out Boy?”

I may have upset the balance of the group, but I knew how to put everything back on the right axis. After all, bickering like some sniveling Timothee Chamalet or Sydney Sweeney wannabes?

Totally not Goth.