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felikatze · 6 months

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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.

#feli speaks #in stars and time #isat #isat spoilers #lays down on floor. it's done. it's done #i actually narrowed down in scope to just focus on the combat by the way. and this is like. several thousand words

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thebibliosphere · 2 years

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This is more of a problem on Facebook and Twitter, but there are some fellow authors who get a tad... upset when you talk about money and royalty earnings.

Needless to say, my frankness about how royalties work and just how little many of us are earning from our labor has drawn the ire of a few people, even here on Tumblr.hell.

I'm not particularly bothered by this. In my view, they're the same people who won't discuss wages in the workplace because they don't want anyone else to earn what they do. They know the system is unfairly rigged, but they like it that way because they're scared if more people are educated about how things work, they'll lose whatever competitive edge they think they have, thus enforcing the status quo.

Needless to say, I don't care for this view.

I'm very much a "holy shit, two cakes" kind of creator. I also very firmly believe in pulling people up behind me and spreading the wealth of information that was shared freely with me by other like-minded individuals who also believe that the mysteries around publishing are gatekeeping bullshit and everyone deserves the chance to earn money from their creative endeavors, not just the people who can afford to.

Anyway, David Gaughran's 'Let's Get Digital: How To Self-Publish And Why You Should' is an invaluable resource for indie authors and provides great insight into how publishing and distribution work. It is available for free through the retailers listed on his website.

If you don't want to publish exclusively through Amazon, draft2digital.com does global ebook and also paperback distribution. (I've only used it for ebooks, but I'll be trying out their paperback options for my next book.) You can pair it up with a books2read account to create easy-to-post buy links. Draft2Digital also allows for distribution through library lending services like Overdrive. So that's neat. (NB: if you use d2d, you can't use Kindle Unlimited, so be aware of what links you have active and where if you decide to enroll in KU. You can always opt for wide distribution again once your KU time expires.)

D2D also recently partnered with FindawayVoices.com for audiobook distribution. You can find voice actors there, or you can upload your own files if you already have them. You can submit to Audible through them, too, but you'll earn a pittance more if you upload directly through Audible. Findaway also allows for library lending distribution through Libby and several other global equivalents.

If you need ISBNs, you can buy them cheaper in bulk from Bowker at myidentifiers.com

Individual storefront options like Payhip.com and Gumroad.com are also great ways to allow people to buy directly from you, though I soured on Gumroad after the whole NFT thing and their CEO harassing people on Twitter over it. Payhip is now my preferred storefront, and as an added bonus, they calculate VAT in European countries as well, so that's one less thing for me as an indie author to work out. As an added bonus, Payhip can be directly integrated into your author website if you have one. It's a feature I'll be implementing soon.

itch.io also allows for the sale and distribution of ebook files, though I haven't used it yet.

If you don't have the means to hire a cover designer or the means to do it yourself in photoshop, Canva.com has some decent-ish ebook templates. Just make sure the images and fonts you're using have the right licenses for commercial use.

Editing and formatting are also extremely important, though I know not everyone can afford them. If you can, I highly suggest doing so and shelling out extra to have them format your work across mediums. Ebook formatting is different from paperback formatting, and it can look very strange if you just try to format an ebook into a pdf. It is a skill you can teach yourself (plenty of youtube videos) if you really want to, but I prefer to throw money at my editors, who provide formatting as an additional service. Whatever you can afford to do to streamline the process is money well spent.

Also, do not be shy about using affiliate links to sell your work. Authors lose a solid chunk of money to places like Amazon, Barnes & Noble, Apple, etc., in distribution fees. Whatever pennies you can scrape back through affiliate links for directing traffic to those sites is hard-earned--and it is literal pennies sometimes. You can also integrate any affiliate links you do have into draft2digital, so they auto-generate, which is handy.

When it comes to paperbacks, BookShop.org offers the best affiliate earnings, and a percentage of the sale goes toward supporting indie bookstores. They do not take that percentage from your earnings, they pay it themselves. Libro.FM is the audiobook equivalent of BookShop.org, and they also give a percentage of sales to supporting indie book stores.

Anyway, I hope that helps someone. Good luck out there.

Also, if you're the person who sent me the irate email about "giving away trade secrets," feel free to die mad about it. 😘

#long post #indie publishing #indie author #author resources #I've posted all this before #but I figure it never hurts to post it again #also lol at that email #what a sad and bitter view

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enavstars · 7 months

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Cyberpunk au

RGB designs for a new au

Important things:

The inspiration for this was the game Stray (that I finally played).

This is a hyperfixation that I don't know when it's going to end. I'll probably draw things from it as much as my motivation lets me but don't expect it to be a constant thing like Eclipse or On the road.

I love worldbuilding so there is a lot of details of this au already, feel free to ask questions.

The world is dark and very corrupted but the tone of the au is chill because the sibs dgaf about the world.

Worldbuilding details (my friend wrote this because this is complicated and I suck at writing) [very long text under the cut]:

The key element of this AU’s worldbuilding is a new biohazardous artificial plant which was originally genetically engineered by the scientist of the RGB’s city-state to fight the air pollution that plagued the region by attempting to reduce the amount of CO2 from the atmosphere (yes this is a biopunk universe :)). However, because they are an ugly reddish colour, have a bitter taste and are extremely nutrient-deficient and unhealthy, they have no natural predators and can spread like wildfire across both fertile plots and forests like weeds. On top of that, due to that nutrient deficiency, which stems from the slow absorption ability of their roots (not nearly enough to keep the heavy rate of photosynthesis), they evolved on their own to attach themselves to other living beings as parasites and basically invaded the entire area around the metropolis. With them being potentially lethal, this caused a massive problem that made the city panic; although they have plenty of weak points (like fire and a vulnerable immune system) and it takes them very long to get their roots to the rest of the body, their grip is so deep and strong that the only option is to remove the infected body part. So their special ability became a critical issue when the plants unexpectedly ended up liking animals better, and with them humans themselves, because they could carry them to other places and infest those too while still sucking the life out of them until they die (oopsie). Ultimately, with the lack of proper information on the parasites, and because the situation was handled very poorly overall, they ended up taking many people’s lives and made the most vulnerable species of the area (like cattle) go endangered or extinct, which in turn altered the balance of the ecosystem and the working class’ means of living :).

Sorry this chunk was so technical, we (@kaigoesbrr and I) are biology nerds, but basically the plants were so good at making more oxygen and so ass at getting what they needed to do so that they became parasites, and now they get what they need from plants and animals (and they like animals better, like humans, because they have more stuff and help them spread further). Then society collapsed :).

All of this caused a deep economic crisis that brought about high rates of poverty, and with it, a deep fear of the infested world outside the city walls. So this whole conundrum led to the city closing off to the lands around it, implementing absurd levels of security like a tight border control and a slower, more strict business traffic, and making a huge dark translucent dome that encapsulates the whole city to keep any potential smuggled plants from ever growing by blocking the natural sunlight. They even made a ditch around their walls (kind of like a moat) and burnt and bombed the fields and suburbs around them to make them extremely infertile. So yeah, this city-state is a terrible place to live, a gloomy prison where not even the sun and stars can be seen, but most the inhabitants never leave out of that paranoid terror and the heavy bureaucracy needed to just go outside and touch grass.

(haha with poor funding corrupt scientists who didn’t know what they were doing made a mess, shocker how that would backfire horribly).

However, the outside isn’t as bad as they make it out to be. In the end, the plants did clean the air as they were supposed to, and, as nature does, it did somewhat recover from the disaster to where human life is now sustainable again.

Taking advantage of their thick crust, trees were the least affected by the plague, and the other plants in the forest developed new natural defences against the parasites, which was yet another reason why they in turn became best at infecting animals. And many of the fungi, abundant in the now more humid forest (haha cooler air equals more rain), took advantage of their weak immune system (due to their fucking incompetent creators making a mess of the original plant’s DNA) and infected them (haha scammer get scammed). So basically, the fields and farmlands were lost to the people, but the forests are still intact. Also, even though one of the rivers around the city, the one which makes its ways under it and is therefore connected to the water supply and sewer systems, is trashed, the other, which is further away, is now perfectly healthy due to the city closing off and therefore leaving it alone for enough time. The real issue here lies within the actual government, which obviously does not want to expose how corrupt and lazy they are when dealing with problems and so they keep fueling the paranoia of their most vulnerable citizens since they are kids :). One way they do so is by manipulating the information their people get, claiming bullshit like “the current ecosystem is wild and polluted, it cannot offer our economy anything anymore!” and “the plants are dangerous and will kill you if you ever come into contact with them, and they have infected virtually every living thing around!”. Another is by not educating their population about “the Outside”, treating it like a sort of taboo. Therefore, they refuse to explain, or hush those who try to, the actual danger of the plants and how to deal with them (they do have many weaknesses, after all).

But the people in this world have yet another nasty problem. In this AU there are beings believed to be anthropomorphic demons due to their pointy ears, fangs, and sometimes strange behaviour. But in fact, these people are descendants of the dragons that once lived in these nations, but their origins were forgotten as the world gradually lost touch with its spirituality and ancestry, and now those who were once revered for their “godlike attributes” (yes, they kinda worshipped dragons, I mean, who wouldn’t) are today facing discrimination. However, even though they aren’t considered exactly “people”, the pure humans are still kind of afraid of them, so they usually choose the subtler kind of racism. In most governments, “Demons” get less job opportunities and are denied high positions, can be freely banned from any establishment, and face unmatched prejudice just for existing, especially those with a stronger blood relation with their ancestry. In the city, they are treated as less than even the robots (nindroids of all kinds), who are treated like any other respected social group by now because they have grown so advanced that most of them are just like humans in metal armour. In fact, many of them are mechanics, who are held in high esteem for making the many bionic implants for the humans.

And all of that combined made the RGB siblings (who are obviously demons, especially Lloyd), decide never to leave the Outside, where they grew up, to go live in the city.

When they were younger, Kai and Nya adopted Lloyd when they found him asleep in a box in the middle of nowhere, after having been abandoned themselves a few years earlier. This time, though, their dynamic in this AU is more of a team than Kai being a mom to them both like he always is, so even if Kai feels the most responsible for being the eldest sibling, they rely on each other almost equally. They fend off the plants that threaten them with fire (no they do not have powers, but Kai uses a fucking flamethrower because it’s Kai), and usually live on whatever they can find in the wild: mostly by making traps for game, fishing in the cleaner river and occasionally foraging edible plats (that’s more risky and they are more carnivorous anyway). Also, Nya routinely strolls through the ruins of the suburbs to collect scrap junk to turn as much of it as she can into useful trinkets, the rest of which she sells to Ed and Edna’s junkyard and their son, who is an amateur mechanic (wink wink but no shipping actually). Apart from that though, they usually sneak into the metropolis to cause a bit of mayhem here and there, which over time and on top of the fear over their species has earned them a reputation of People You Don't Wanna Mess With (or "Demons", more like). More than once they’ve even messed with a few of the gangs around town, which started sprouting up after the disaster, so overall their presence in the city is tolerated, but frowned upon. They manage to bypass the annoying border control thanks to the faulty assistant robot who raised them, named Echo (wink wink), who cannot perform any other social job (what he was made for) than to be the ferryman for those few people who decide to cross the wide moat and venture out into the Outside. They usually take a secret tunnel that a few smugglers managed to make, and the Guard do nothing because they do not give a fuck about demons anyway (in fact, only a few people know that their actual names aren’t Red, Blue and Green because nobody gives a fuck indeed). They do actually know a few people there, some of whom are also demons (like Mistake and Ronin), but especially as kids (which is when the story starts) they spend most of their time in the wild chilling and going on adventures :³.

(no the city and the plants are not named, we’re lazy :))

Anyway this is what I'll say for now. There's a lot more info, and hopefully drawings, coming. Hope you like this au because I love it for now ^^

(Btw let me know if you want me to make a post/reblog explaining the designs for the Rgb siblings and some info behind them)

#Idk how I come up with these things but I love them #I hope you enjoy them too #ninjago #art #ninjago au #ninjago cyberpunk au #ninjago kai #kai smith #ninjago nya #nya smith #ninjago lloyd #lloyd garmadon #rgb siblings

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dailyadventureprompts · 9 months

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The Mechanics of Baldur's Gate 3

As someone who's constantly tinkering with the mechanics of my favourite RPG, I LOVE a lot of what Larian has done with D&D; not only accurately translating the base system but improving upon in ways I never thought of.

Playing BG3 feels good, and I want to see how much of their work I can adapt for my own table. As such, here's a breakdown of a bunch of little tweaks they've made to 5e (taken from the bg3 wiki) and whether or not I think they're a good fit for regular pencil and paper d&d.

Shove is not a part of the attack action. It is a bonus action available to all characters. Shove only pushes the target back an amount that depends on the shover's strength and the target's weight. It normally does not knock them prone unless they are shoved off a high ledge.

This might be THE best design Larian implemented and is instantly going in my games. Bonus action shoving is such a natural addition to combat, gives so many more tactical options. My one protest is that I am NOT calculating the weight of every creature and object ( mainly because I'm terrible at guessing weights for things) so I'd go with the distance calculation based on the creature's size and con score.

Gaining inspiration based on backgrounds

Gee, a mechanical reward for roleplaying your character, one that's way more straight forward than the DM arbitrated "ideals, bonds, flaws," system. From now on I'm going to give each of my players an upfront " You gain inspiration when you ______" note on their character sheet based on their backgrounds.

The party is limited to two short rests per long rest. Short rests restore each ally's hit points by an amount equal to half their maximum HP (rounded down). There is no hit die rolling. Long rests require camp supplies, which are food items that must be looted or purchased. In towns you will be able to rest at an inn.

This is a mixed bag for me only because I like hitdie as a mechanical abstract and I don't want to see them removed. Tbh I wish more mechanics interacted with them and they were called something abstract like "stamina" or something. That said I ADORE the camp supplies idea because it not only gives you something minor to reward exploration with besides GP. On the otherhand tracking all those supplies without the game's inventory management would be tedious as hell so it'd need to be highly simplified.

I especially like the idea of limited short rests/supplies in larger survival based adventures where time isn't at a premium like it is inside a dungeon.

If you hide while not in a creature's sight cone, you automatically succeed. If you try to hide while in a creature's sight cone, you automatically fail. If you are hidden and enter a creature's sight cone, you must roll stealth against the creature's passive perception. This may be a straight roll, advantage, or disadvantage, based on the creature's senses and the level of lighting. Some creatures with different senses such as blindsight may follow different rules

Congrats on fixing stealth rolls Larian. No notes.

LOTS more opinions under the cut.

When a creature is at least 10 ft above their target and makes a ranged attack, they receive a +2 bonus to the attack roll due to high ground. When a creature is at least 10 ft below their target and makes a ranged attack, they receive a -2 penalty to the attack roll due to low ground.

This is fine, and quite inline with a lot of fixes I've seen for flanking rules. I'm fine with a little extra battlefield math in order to make moments of advantage (spending inspiration, reckless attacking etc) shine.

The game does not stop a character from casting a leveled spell with both an action and a bonus action

Mixed on this, on one hand I've played enough clerics to know how much it sucks to have to use your bonus action to do a necessary spell and then be stuck with a so-so cantrip or melee attack for standard. On the other hand there's some design balance issues at play here.

Help is an Action. This ability allows characters to aid an ally in combat and remove negative Conditions. Using the help action on a downed ally brings them back to 1 hit point and leaves them prone.

Love the idea of help doing multiple things AND being a solution to minor status conditions. and giving everyone the ability to help means I can be a lot more aggressive when it comes to knocking character to 0. if I had to further patch this, I'd say that this also allows for a medicine check to allow a creature to spend a hitdie when they're downed, or allows the helping character to make a "SNAP OUT OF IT, WE'RE YOUR FRIENDS" charisma roll for charmed allies.

Jumping is a bonus action which consumes 10 ft of movement speed. With a Strength score of 10 or below, a creature can jump 15 ft, and this increases by 5 ft for every two points in strength above 10. At 20 Str a creature may spend 10 ft of movement speed and a bonus action to jump, and can travel 35 ft effectively increasing the creature's movement speed by up to 25 feet.

This, combined with the prone rules (see below) is JUICY, as it allows for risk-reward battlefield mobility . That said I'd add some caveats/clarifications: The jump always succeeds in moving you, but if you're taking damage, jumping up or down more than 10ft, or into rough terrain you need to make an acrobatics check not to beef it and fall prone (ending your turn). Your jump is likewise a buffer for how far you can willingly fall before taking damage, but if you fall after your jump, you always land prone.

Weapon actions, 'nough said.

It's more complexity than I'd give to first time players but HOT DAMN if it isn't a great idea to give the martial characters some options instead of just making the same attacks over and over again. I've actually been sockpiling 3rd party versions of this for a while now and I can't wait to add them in.

All The conditions are great:

Blinded: In addition to the other effects, ranged attacks are limited to 15 ft range. Blinded creatures can also make opportunity attacks.

Frightened: Creatures which are frightened are unable to move at all (rather than being unable to move toward the source of their fear), unless the effect instead makes them "fearful" which gives them the frightened effect as well as making them flee.

Prone: Being prone gives disadvantage on Strength and Dexteritysaving throws, attacks against a prone creature have advantage out to a range of 10 ft rather than 5 ft, and ranged attacks against a prone creature do not have disadvantage. Your character cannot do anything while prone. Starting the turn while prone will cause you to automatically use half your movement to stand up. Becoming prone during your turn automatically ends your turn.

Wet: This is a new condition that prevents the character from burning (e.g. from Searing Smite) and grants resistance to fire damage, but also makes the creature vulnerable to lightning and cold damage

#bg3 #baldurs gate 3 #d&d mechanics #dnd homebrew #homebrew mechanic #dnd #dungeons and dragons #d&d #ttprg #pathfinder #yes I know I misspelled the title

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beatingtheouijaboardallegations · 3 days

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forever tired of our voices being turned into commodity.

forever tired of thorough medaocrity in the AAC business. how that is rewarded. How it fails us as users. how not robust and only robust by small small amount communication systems always chosen by speech therapists and funded by insurance.

forever tired of profit over people.

forever tired of how companies collect data on every word we’ve ever said and sell to people.

forever tired of paying to communicate. of how uninsured disabled people just don’t get a voice many of the time. or have to rely on how AAC is brought into classrooms — which usually is managed to do in every possible wrong way.

forever tired of the branding and rebranding of how we communicate. Of this being amazing revealation over and over that nonspeakers are “in there” and should be able to say things. of how every single time this revelation comes with pre condition of leaving the rest behind, who can’t spell or type their way out of the cage of ableist oppression. or are not given chance & resources to. Of the branding being seen as revolution so many times and of these companies & practitioners making money off this “revolution.” of immersion weeks and CRP trainings that are thousands of dollars and wildly overpriced letterboards, and of that one nightmare Facebook group g-d damm it. How this all is put in language of communication freedom. 26 letters is infinite possibilities they say - but only for the richest of families and disabled people. The rest of us will have to live with fewer possibilities.

forever tired of engineer dads of AAC users who think they can revolutionize whole field of AAC with new terrible designed apps that you can’t say anything with them. of minimally useful AI features that invade every AAC app to cash in on the new moment and not as tool that if used ethically could actually help us, but as way of fixing our grammar our language our cultural syntax we built up to sound “proper” to sound normal. for a machine, a large language model to model a small language for us, turn our inhuman voices human enough.

forever tired of how that brand and marketing is never for us, never for the people who actually use it to communicate. it is always for everyone around us, our parents and teachers paras and SLPs and BCBAs and practitioners and doctors and everyone except the person who ends up stuck stuck with a bad organized bad implemented bad taught profit motivated way to talk. of it being called behavior problems low ability incompetence noncompliance when we don’t use these systems.

you all need to do better. We need to democritize our communication, put it in our own hands. (My friend & communication partner who was in Occupy Wall Street suggested phrase “Occupy AAC” and think that is perfect.) And not talking about badly made non-robust open source apps either. Yes a robust system needs money and recources to make it well. One person or community alone cannot turn a robotic voice into a human one. But our human voice should not be in hands of companies at all.

(this is about the Tobii Dynavox subscription thing. But also exploitive and capitalism practices and just lazy practices in AAC world overall. Both in high tech “ mainstream “ AAC and methods that are like ones I use in sense that are both super stigmatized and also super branded and marketed, Like RPM and S2C and spellers method. )

#I am not a product #you do not have to make a “spellers IPA beer ‘ about it I promise #communication liberation does not have a logo #AAC #capitalism #disability #nonspeaking #dd stuff #ouija talks #ouija rants

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brucewaynehater101 · 15 days

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Tim ruler of worlds

The reason why no one of the batfam knew that Tim is a king/emperor is simply because they didn't ask, Tim is almost constantly with a tablet or a computer managing his empire, but he never actually explained what he's doing to anyone outside of YJ, so everyone just assumed that his hobby was playing planet mangement games.

at the beginning Bruce thought that Tim gaming so much would end up interfering with Tim's life, but at the time he was still beginning to care about Tim so he just didn't say anything and left Tim to suffer the consequences of his own actions if it affected his studies or Robin.

But the only thing that happened was that Tim was happier than usual, and let's not talk about the fact that Tim felt better when he was helping a planet full of people who acknowledged him and were openly grateful for his actions, unlike someone who despite everything Tim did, was constantly testing him and barely acknowledging all that Tim did for him.

And so Bruce lost the chance to ask what Tim about his 'game', in fact Alfred was happy that Tim had a hobby and the positive effect it had on Tim, so time passed and everyone 'knew' that Tim liked to play those games and was constantly playing even multitasking while solving cases, the only one who could notice that it wasn't a game but instead a system that Tim made for managing his planets would be if Barbara hacked Tim's game to check it, but she has no reason to do that.

That's how despite not hiding at all what he was doing, no one ever noticed anything, in fact Tim thought that everyone knew about it but didn't care, the closest someone ever got was when Jason decided to mess with Tim by doing something on his 'game', but the second Jason touched something the glare that Tim gave him was so terrifying that Jason feared for his life, after that no one even tried to touch Tim's 'game'.

You went for Bruce's throat in this and I appreciate it so much: "unlike someone who who despite everything Tim did, was constantly testing him and barely acknowledging all Tim did for him."

Let's go!

Also, I imagine Jason would feel so guilty about going to mess with Tim's game if he knew that his actions would have drastically affected real people's quality of life.

You are absolutely correct that Tim would design himself an entire program to mimic the games he usually plays to help him understand ruling the world better. It's genius, even if it's unorthodox. That is part of the reason he's able to assume control so quickly.

Poor Tim probably isn't getting enough sleep with all the worlds he is managing. Though, he probably set up automatic processes to help them become independent, self-sufficient, and less reliant on him. He's still there to help them, but he's not directly assisting everything. My hc is that he went dark from Bruce for a few weeks until the worlds were able to manage on their own. He periodically has to "go help YJ with a mission" whenever he acquires a new world to rule. That stuff is better to implement in person, after all

#dc comics #tim drake #dc universe #thank you for the ask!!!!#dc au #tim drake ruler of worlds

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weirdmarioenemies · 24 days

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Name: Pyroclasmic Slooch (Sulucina vulcanis)

Debut: Pikmin 3

I think Pyroclasmic Slooch has one of the best names of any Pikmin creature! This is the one I break out if I ever need to explain what a Pikmin name feels like. A large scientific jargon-y sounding word, followed by a single silly little syllable it's perfect! And it IS meaningful, because Pyroclasmic is only one letter away from Pyroclastic, as in pyroclastic flow, a hot volcanic gas/rock current. And Slooch is just, look at this thing! It's what "slooch" looks like! Both as a noun AND a verb!

Fire in video game and monster design is usually pretty boring to me, just for how common it is. I get it, since it is pretty much the most "yeowch! don't touch" thing everyone is familiar with, but I have had enough of Charizardlikes bloating my media! Thank goodness, then, for Pikmin, which implements "conventional" elemental properties into fun, pseudoscientific speculative creatures! It may often be a big load of nonsense, but they explain the nonsense so confidently. Yeah alright. Whatever you say! Maybe a slug could be on fire.

Hello Slooch! What a nice smile you have, framed by your oral tentacles! I wonder if Pyroclasmic Slooch's eyes are useful at all. A regular slug's eyes are mostly just for sensing light and dark, but that doesn't seem practical for a creature that makes its own light that would constantly be in view! Just to be safe, you should give this Slooch a thumbs up, in case it can indeed see you! (computer screen is a real portal to another world where pretend creatures live)

So yeah, Pyroclasmic Slooch is a slug on fire, or maybe a snail whose shell IS fire. It doesn't really matter, either way, the DESIGN is fire! The vibrant orangish stripes on its black body evoke flowing and cooling lava! Lava joke: I bet it was a real "aa moment" when they came up with that design quirk!

As much as I love Pyroclasmic Slooch, it is a wild animal! And it will try to eat the min that you picked, with its funny blue tongue! Louie, everyone's favorite menace Louie, recommends cooking this tongue and no other part of the creature. Would You Eat? I wouldn't, but I wouldn't judge you for doing it. If you have plenty of Red Pikmin, though, their fire immunity makes Slooches very easy to deal with.

You know, real slugs like mold! Do you think Pyroclasmic Slooch likes mold? Maybe it could be friends, with mold. Let's introduce them!

Name: Moldy Slooch (Parasitus pseudofungi elasticis hostus)

Debut: Pikmin 4

Hooray! Now they're inseparable! You may notice that Moldy Slooch's scientific name differs greatly from that of Pyroclasmic Slooch, and that is because the Slooch is no longer in control. It is being puppeted by a fungus! Its nervous system and slime organs have been entirely taken over. Isn't that nice? Now the Slooch doesn't have to do any work, because the fungus does all of that for it! This slug can just relax for the rest of its life, because it is not dead! A dried-up corpse wouldn't be useful a very good friend, would it? In fact, if the Moldy Slooch does die, it can be instantly revived by a phallic, yet kindly Toxstool! The gift of eternal life!

Moldy Slooch's description by Dalmo (the animal enthusiast who could have been writing for this blog the whole time and you would be none the wiser includes the incredible line "Slugga slugga choo choo! Here comes the fungal spore train." So fun! Whee! I want to ride the train!

Moldy Slooch is really the best friend someone could ask for. After I met it in person, and it introduced me to Toxstool, I've never felt better! So what are you waiting for, fellow living animals? Come visit our damp cave sometime! You are always welcome :)

#pyroclasmic slooch #pikmin 3 #moldy slooch #pikmin 4 #pikmin #pikmin enemies #not mario #funky friday #mod chikako #mod toxstool

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jennamoran · 4 months

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The Far Roofs: Systems

Hi!

Today I’m going to talk a little bit more about my forthcoming RPG, the Far Roofs. More specifically, I want to give a general overview of its game mechanics!

So the idea that first started the Far Roofs on the road to being its own game came out of me thinking a lot about what large projects feel like.

I was in one of those moods where I felt like the important thing in an RPG system was the parallel between that system and real-world experience. Where I felt like the key to art was always thinking about the end goal, or at least a local goal, as one did the work; and, the key to design was symmetry between the goals and methods, the means and ends.

I don't always feel that way, but it's how I work when I'm feeling both ambitious and technical.

So what I wanted to do was come up with an RPG mechanic that was really like the thing it was simulating:

Finding answers. Solving problems. Doing big things.

And it struck me that what that felt like, really, was a bit like ...

You get pieces over time. You wiggle them around. You try to fit them together. Sometimes, they fit together into larger pieces and then eventually a whole. Sometimes you just collect them and wiggle them around until suddenly there's an insight, an oh!, and you now know everything works.

The ideal thing to do here would probably be having a bag of widgets that can fit together in different ways---not as universally as Legos or whatever, but, like, gears and connectors and springs and motors and whatever. If I were going to be building a computer game I would probably think along those lines, anyway. You'd go to your screen of bits and bobs and move them around with your mouse until it hooked together into something that you liked.

... that's not really feasible for a tabletop RPG, though, at least, not with my typical financial resources. I could probably swing making that kind of thing, finding a 3d printing or woodworking partner or something to make the pieces, for the final kickstarter, but I don't have the resources to make a bunch of different physical object sets over time while I'm playtesting.

So the way I decided that I could implement this was by drawing letter tiles.

That I could do a system where you'd draw letter tiles ... not constantly, not specifically when you were working, but over time; in the moments, most of all, that could give you insight or progress.

Then, at some point, you'd have enough of them.

You'd see a word.

That word'd be your answer.

... not necessarily the word itself, but, like, what the word means to you and what the answer means to you, those would be the same.

The word would be a symbol for the answer that you've found, as a player and a character.

(The leftover letters would then stick around in your hand, bits of thought and experience that didn't directly lead to a solution there, but might help with something else later on.)

Anyway, I figured that this basic idea was feasible because, like, lots of people own Scrabble sets. Even if you don't, they're easier to find than sets of dice!

For a short indie game focused on just that this would probably have been enough of a mechanic all on its own. For a large release, though, the game needed more.

After thinking about it I decided that what it wanted was two more core resolution systems:

One, for stuff like, say ... kickstarter results ... where you're more interested in "how well did this do?" or "how good of an answer is this?" than in whether those results better fit AXLOTL or TEXTUAL. For this, I added cards, which you draw like letter tiles and combine into poker hands. A face card is probably enough for a baseline success, a pair of Kings would make the results rather exciting, and a royal flush result would smash records.

The other core system was for like ... everyday stuff. For starting a campfire or jumping a gap. That, by established RPG tradition, would use dice.

...

I guess technically it didn't have to; I mean, like, most of my games have been diceless, and in fact we've gotten to a point in the hobby where that's just "sort of unusual" instead of actually rare.

But, like, I like dice. I do. If I don't use them often, it's because I don't like the empty page of where to start in the first place building a bespoke diced system when I have so many good diceless systems right there.

... this time, though, I decided to just go for it.

The Dice System

So a long, long time ago I was working on a game called the Weapons of the Gods RPG. Eos Press had brought me in to do the setting, and somewhere in the middle of that endeavor, the game lost its system.

I only ever heard Eos' side of this, and these days I tend to take Eos' claims with a grain of salt ... but, my best guess is that all this stuff did happen, just, with a little more context that I don't and might not ever know?

Anyway, as best as I remember, the first writer they had doing their system quit midway through development. So they brought in a newer team to do the system, and halfway through that the team decided they'd have more fun using the system for their own game, and instead wrote up a quick alternate system for Weapons of the Gods to use.

This would have been fine if the alternate system were any good, but it was ... pretty obviously a quick kludge. It was ...

I think the best word for it would be "bad."

I don't even like the system they took away to be their own game, but at least I could believe that it was constructed with love. It was janky but like in a heartfelt way.

The replacement system was more the kind of thing where if you stepped in it you'd need a new pair of shoes.

It upset me.

It upset me, and so, full wroth, I decided to write a system to use for the game.

Now, I'd never done a diced system before at that point. My only solo game had been Nobilis. So I took a bunch of dice and started rolling them, to see ... like ... what the most fun way of reading them was.

Where I landed, ultimately, was looking for matches.

The core system for Weapons of the Gods was basically, roll some number of d10s, and if you got 3 4s, that was a 34. If you got 2 9s, that was a 29. If your best die was a 7 and you had no pairs at all, you got 1 7. 17.

It didn't have any really amazing statistical properties, but the act of rolling was fun. It was rhythmic, you know, you'd see 3 4s and putting them together into 34 was a tiny tiny dopamine shot at the cost of basically zero brain effort. It was pattern recognition, which the brain tends to enjoy.

I mean, obviously, it would pall in a few minutes if you just sat there rolling the dice for no reason ... but, as far as dice rolling goes, it was fun.

So when I went to do an optional diced system for the Chuubo's Marvelous Wish-Granting Engine RPG, years later, to post here on tumblr ... I already knew what would make that roll fun. That is, rolling a handful of dice and looking for matches.

What about making it even more fun?

... well, critical results are fun, so what about adding them and aiming to have a lot of them, though still like rare enough to surprise?

It made sense to me to call no matches at all a critical failure, and a triple a critical success. So I started fiddling with dice pool size to get the numbers where I wanted them.

I'm reconstructing a bit at this point, but I imagine that I hit 6d10 and was like: "these are roughly the right odds, but this is one too many dice to look at quickly on the table, and I don't like that critical failure would be a bit more common than crit success."

So after some wrestling with things I wound up with a dice pool of 5d6, which is the dice pool I'm still using today.

If you roll 5d6, you'll probably get a pair. But now and then, you'll get a triple (or more!) My combinatorics is rusty, so I might have missed a case, but, like ... 17% of the time, triples, quadruples, or quintuples? And around 9% chance, for no matches at all?

I think I was probably looking for 15% and 10%, that those were likely my optimum, but ... well, 5d6 comes pretty close. Roughly 25% total was about as far as I thought I could push critical results while still having them feel kind or rare. Like ...

If I'm rolling a d20 in a D&D-like system, and if I'm going to succeed on an 18+, that's around when success is exciting, right? Maybe 17+, though that's pushing it? So we want to fall in the 15-20% range for a "special good roll." And people have been playing for a very long time now with the 5% chance of a "1" as a "special bad roll," and that seemed fine, so, like, 20-25% chance total is good.

And like ...

People talk a lot about Rolemaster crit fail tables in my vicinity, and complain about the whiff fests you see in some games where you keep rolling and rolling and nothing good or bad actually happens, and so I was naturally drawn to pushing crit failure odds a bit higher than you see in a d20-type game.

Now, one way people in indie circles tend to address "whiff fests" is by rethinking the whole dice-rolling ... paradigm ... so you never whiff; setting things up, in short, so that every roll means something, and every success and failure mean something too.

It's a leaner, richer way of doing things than you see in, say, D&D.

... I just didn't feel like it, here, because the whole point of things was to make dice rolling fun. I wanted people coming out of traditional games to be able to just pick up the dice and say "I'm rolling for this!" because the roll would be fun. Because consulting the dice oracle here, would be fun.

So in the end, that was the heart of it:

A 5d6 roll, focusing on the ease of counting matches and the high but not exorbitant frequency of special results.

But at the same time ...

I'm indie enough that I do really like rolls where, you know, every outcome is meaningful. Where you roll, and there's never a "whiff," just a set of possible meaningful outcomes.

A lot of the time, where I'm leaning into "rolls are fun, go ahead and roll," what it means to succeed, to fail, to crit, all that's up to the group, and sometimes it'll be unsatisfying. Other times, you'll crit succeed or crit fail and the GM will give you basically the exact same result as you'd have gotten on a regular success or failure, just, you know, jazzing up the description a bit with more narrative weight.

But I did manage to pull out about a third of the rolls you'll wind up actually making and assign strong mechanical and narrative weight to each outcome. Where what you were doing was well enough defined in the system that I could add some real meat to those crits, and even regular success and regular failure.

... though that's a story, I think, to be told some other time. ^_^

#the far roofs #jenna moran #rpgs

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nahoney22 · 9 months

Text

Dirty Whispers***

All Bad Batch Boys X F!Reader

How the boys react to you talking dirty into their ears in a crowded room.

warnings: NSFW, 18+ only, implied sexual content, flirting, slightly cheesy, explicit language, dirty talk, female reader, with Hunters it’s insinuated that reader has tattoos, with Crosshairs he’s quite dom towards the end. established and non-established relationships. Brief mention of alcohol.

Authors notes: big thanks to @eyecandyeoz & @raevulsix who gave me inspiration for this work as I’ve been drawing blanks all week. 😵‍💫🩵

Echo

The mission unfolded smoothly, with everything going according to plan and the group right on schedule. However, a momentary standstill shifted the focus onto Echo. Amidst surveying the surroundings of the room you're trapped in, you, along with the rest of the team and the five rescued prisoners, identified an accessible circuit that could make or break the situation. Luckily, Echo just so happened to possess the exact tool required for the job.

He gets to work and after a few minutes you get bored of waiting around and found yourself feeling a little... naughty.

You had been flirting with Echo for a long while now and judging by how he acts around you, you're fairly certain he feels something for you aswell. Though his flirting is not particularly reciprocated back, his flushed expression, gentlemanly manners and shy stuttering was too cute to ignore.

You kneel down next to him, everyone else in their own conversations and smile softly at him. "Any luck?"

"This system is a bit intricate. Usually, plugging into terminals and computers isn't a challenge but this coding is new.," he responded with a sigh, his brows furrowing in deep concentration.

Humming softly, you took a daring step, leaning in until your lips brushed his ear, causing his scomp to momentarily pause. "I might have something simpler for you to plug into," you whispered, the hint of innuendo igniting a fire across his skin, his stomach fluttering and excitement stirring in his pants.

He pulled away, wide-eyed and taken aback by your flirtatious advance. Yet, as you tilted your head with a feigned innocence, his scomp spun to life again, generating sparks that held promise. The door hissed open successfully.

"I knew you could do it," you grinned, acting as though nothing provocative had been said, before joining the others in making your exit.

He stands back for a few moments, breathing heavily and wiping the sweat off his brow. "She's not wrong." He mutters to himself with a small smirk, knowing he had to get you alone tonight.

Hunter

When the time came to redecorate your armour, you were happy to design your gear anyway you wanted to. However one day, a certain design catches Hunters attention.

You’re all in the Marauder, going through gear inspections when Hunter came towards you and points to your chest plate. “Mind if I take a look?”

You nod simply, offering him a smile as you unclipped the armour from your body and passed it over. You grew curious however as he traced his finger over a particular drawing you implemented into the artwork. “See something you like?”

He chuckles but nods. “Didn’t take you for someone who likes to doodle.”

You shrug, “Only sometimes. All my armour pieces have different designs.”

“Oh yeah? Mind if you show me?” His eyes dance with mischief and your heart fluttered as you knew he was flirting with you which wasn’t uncommon recently.

Then, a lightbulb appears above your head. You take a step closer to him, glancing at the others who seems to be in their own mind before standing on the tips of your toes towards his ear, lips brushing against his lobe and breath fanning over his skin. “You know… all these customs aren’t just on my gear. I could show you more tonight?”

He inhales sharply and closes his eyes, easily imagining your nude skin etched in designs that you were clearly willing to show him. He looks to his brothers, none of them seeing the exchange between the two of you. “I really like that idea,” then, he leans down to you, his eyes dark with lust as he whispers, “perhaps I could show you some of mine as well, darling?”

Wrecker

Back on Coruscant, Wrecker's confidence was on full display in one of the training rooms, especially when around the Regs. His raw strength turned heads effortlessly. While his captivating personality was what made you fall for him, his powerful physique and his ability to lift ships as if they were mere trinkets only deepened your admiration.

After your own training session, you turned to find Wrecker in the midst of deadlifting an impressive 450kg, surrounded by a group of about 30 Clones. The way his muscles strained against his clothing ignited a sense of heat within you; you couldn't help but be captivated.

As he settled down, taking a swig from his canteen, you approached, your own workout completed, and boldly took a seat in his lap. The unexpected move caught him off guard, but a grin spread across his face as he recognized you. "Hey gorgeous girl, what ya up to?"

A mischievous smirk played on your lips. "Oh, I couldn't resist admiring your workout and felt the urge to come give you a kiss," you replied, leaning in to plant a lingering kiss on his lips. Your satisfaction grew as he emitted a soft moan.

"Babe, the regs are watching," he eventually pointed out, prompting you to open your eyes and glance toward the clones who were suddenly trying to appear nonchalant after having undoubtedly been ogling the scene of your public display of affection.

You shrugged, a devil-may-care attitude in your demeanor, your smirk growing wider. Leaning closer to him, you brushed your fingers along his cheek, your lips tantalisingly close to his ear as you whispered, “I dare you to carry me to the storage unit and fuck me. Hard.”

He laughs but as he sees the lust in your eyes, he knew that you were not just teasing him. “Really?”

“Really.”

Let’s just say the regs were swift to file out the gym when things got a little heated.

Tech

Sitting across the bar from Tech in the, surprisingly, lively atmosphere of Cid's parlour, you couldn't help stealing glances in his direction. His head was buried in his datapad, a not so unusual sight. Amusement welled up within you as you observed his growing agitation, patrons brushing against him, drinks spilling over the bartop and likely onto his clothes and boots. Feeling a desire to relieve his discomfort, you decided to take action.

With a subtle smirk, you retrieved your own datapad and sent him a message that read, 'why don't you come over here?' Watching closely, you noticed him squint as he read the message before his gaze scanned the room until it landed on you. A smile emits immediately on his lips, and without delay, he abandoned his stool and made his way toward you.

"Your message came just in time. I was starting to fear that another drink might find its way onto me and I may not have the patience to hold back," he admitted with a sigh, a quick glance revealing various splatters and stains on his clothes.

Raising your drink to your lips, a surge of boldness surged through you. "How about I help you get out of those clothes?" you proposed, your voice carrying a hint of suggestion.

He briefly shifted his gaze to his device, processing your words before his attention returned to you, focusing on your eyes that shined over the brim of your cup. He seemed to think before speaking, "I must admit, I'm not entirely sure if I'm interpreting this situation correctly. Are you genuinely offering help, or..." His words trailed off as a small group of people moved behind you both, resuming once they had passed. "Or are you implying something else?"

His innocence was endearing and as you take a swig of your drink, eliciting more liquid courage, you turn to him fully and lean forward until your lips brushed against his ear. You feel him shudder under your gentle touch. “I help you out of your clothes, you help me out of mine. And then you can do whatever you want to me.”

He inhaled a sharp breath. “Anything meaning…?”

You giggle, not being able to help yourself as you gently nibble on his earlobe, eliciting a gasp from him and his hand to instantly land on your thigh. “Yes. Anything.”

In a split second, Tech stands and you feared you may have took things too far but then he takes a hold of your hand before leading you out of the parlour and straight to the Marauder…

Crosshair

As you feel an object hitting the back of your head, you pivot to find a toothpick landing at your feet. Your expression tightens into a frown as you scan the surroundings, only to spot Crosshair lounging against the doorway, smoothly placing another toothpick between his teeth. Cockily.

"Real comedian," you quip with a sarcastic tone. However, as you begin to turn away, another toothpick whizzes towards you. A sigh escapes your lips as a small skirmish unfolds, involving toothpick projectiles flying between you and Crosshair.

The confines of the Marauder had kept all of you cooped up for too long, and the signs of boredom were evident. Little did you anticipate that it would be Crosshair who initiated a kind of entertainment, seemingly innocent yet playful, involving the tossing of items back and forth—much to Echo's apparent dismay who told you both to clean up after yourselves.

Later, as you find yourself in the cockpit, steering through hyperspace towards your next destination, Crosshair's foot brushes against yours from the chair opposite you. An involuntary response makes you kick back, and a realisation washes over you: this isn't just playful banter anymore, but a glimmer of flirtation. With a hint of a smile, you and Crosshair have unknowingly transitioned into a game of footsie. But boredom takes over again.

Sitting next to him, the two of you listening in on the bickering between Hunter, Wrecker, Echo, and Tech, you lightly tap your head against the wall repeatedly. His attention eventually turns to you, a hint of a smile gracing his lips. "Bored, pretty girl?" he remarks, causing a delightful flutter in your chest, even though you try to downplay it.

"Yeah, I'm bored," you reply with a sigh, your fingers idly strumming against your thighs.

He starts a sentence but then pauses, seemingly reconsidering his words. You give his shoulder a gentle nudge, encouraging him to continue after a brief silence. He inhales, then turns to face you, his closeness apparent, seemingly unbothered by his brothers' presence who don’t seem to notice you both. "So, how do you think we could change that?" he inquires, his tone laced with flirtation and desire.

Exhaling deeply, feeling your cheeks warm up, you decide to meet his tone. Leaning in toward his ear, your warm breath caresses his skin as you reply, “How about we go to the refresher and you fuck my ‘pretty’ face?”

Your bold and straight to the point answer makes his eyes briefly widen and his fists clench. You watched your eyes intensely, seeing if there was any sign of reluctance but there wasn’t.

He keeps his closeness and speaks, voice raspy and filthy. “Meet me in there in two minutes. You may as well speak to the others before you come in because you won’t be able to move your jaw after I’m done with you.”

Masterlist

If you feel like buying me a coffee 🤗

Tags: @andyoufollowyourheart @photogirl894 @fantasyproductions @littlefeatherr @kaitou2417 @captxin-rex x @jesseeka @ashotofspotchka a @oohyesplease @theroguesully @mustluvecho @ladykatakuri @jambolska-grozdova @arctrooper69 @padawancat97 @rain-on-kamino @either-madness-or-brilliance @staycalmandhugaclone @ko-neko-san @echos-girlfriend @fiveshelmet @dangraccoon @plushymiku-blog @chrissywakingup @kixs-husband @pb-jellybeans @nunanuggets @sleepycreativewriter @erellenora @zippingstars87 @erellenora @tech-aficionado @grizabellasolo @therealnekomari @tech-depression-inventory @brynhildrmimi @greaser-wolf @tinyreadersmur @seriowan @kaminocasey @marvel-starwars-nerd @ladytano420 @ladyzirkonia @imalovernotahater @whore4rex @imperialclaw801 @temple-elder @mysticalgalaxysalad

#the bad batch x reader #the bad batch x you #nahoney22 writes #tbb x you #tech bad batch #wrecker bad batch #Hunter bad batch #echo bad batch #crosshair bad batch #the bad batch

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