#it's also going to be used for a tabletop character

[swtorramblings]

Valerie Yndera, piecing together the bits of her own soul, by @fleeting-sanity.

The birth had been difficult, but mother and child had both survived. The mother, at least, was healthy. The newborn seemed listless, but she still wailed at the right time, causing cheers among the extended family. No one had been sure if they would survive, so a celebration was swiftly planned.

They named her Valerie.

As a child, she was withdrawn, though she would do her chores and studies without complaint. She spent most of her time alone when not with her parents. They worried, but she seemed content enough. They thought perhaps they shouldn't worry that they happened to have an obedient child.

In her teens, though, Valerie started having health problems. She could not bring herself to eat enough and became gaunt. She slept for extended times and could not be awoken. Her parents were not wealthy, and exhausted their scant resources on their only child. For a time, her parents despaired that they would lose her young.

Then, Valerie discovered thaumaturgy. Or, perhaps, it discovered her.

Thaumaturgy is not a magic that heals, and her health did not improve. On her eighteenth birthday, her extended family was able to send her to the city, where she could learn more of the magic that so fascinated her. If the parting made her sad, no one could tell. Her parents made plans to make the journey to visit before her time was over.

They thought this would at least make her happy, as happy as she was able to be.

Valerie expended as much energy as she could in her new studies, and eventually visited the guild. She did not seem to be a natural spell caster by any means, but she worked as hard as she ever had to learn what she was driven to. Eventually, she caught the attention of the Black Mages, not because of any special ability, but because they realized she was... missing something.

The Soul of the Black Mage was practically screaming that day as it was handed over. She couldn't be ready for it, she hadn't the training yet, and in a way that was true. But the Soul spoke to young Valerie, or rather, one of the many souls swirling within it.

Her own. A missing part of herself.

Then she knew, she was not whole, her soul had been shattered at some point in the past. Or possibly the future, she couldn't be sure. Did souls care about time? Did the Aether? She doesn't know, but that was the first step of her quest, to reassemble herself, trapped in Soul Crystals of all kinds, bits of her being released as she found them.

She was able to re-unite with her family, her health greatly boosted by that first bit of herself. She explained as well as she could that she would have to leave for a time, that she still wasn't "complete". And that she loved them and thanked them for all that they had done for her. Then, she began her travels, which have still not been completed.

[transusopp]

ive really been wanting to reanimate a canon scene as the middle school au kids forever. just ignore the fact they don't sound like squeaky ass preteens i almost considered pitching it up nightcore style as a joke but i ultimately decided against it (also idk shit about tabletop rpgs. please don't hurt me)

[quaranmine]

i had a really good weekend this weekend tbh i just kind of crashed a whole bunch of activities one of my friends planned since she had another friend visiting for the first time from another state. (i mean, she def invited me, but i still felt like i just kind of of Showed Up every day sldfjslkfs.) but i got to her a lot better than before, got to make friends with her out-of-state friends, met a few more cool new friends, and it was really nice :]

[prokopetz]

I apologise if you've already answered this, but I tried searching your blog and I'm unsure if you haven't or if it's another example of Tumblr's amazing search system.

I was talking with a friend recently about how much of a culture clash the Monk Class is compared to the rest of Dungeons & Dragons and was wondering if there is a coherent reason for their original inclusion. I'm aware that they're largely influenced by Shaolin monks as depicted in Hong Kong cinema in the 70's/80's as compared to the Sword and Sorcery stuff most of the rest of D&D takes influence from.

Basically, my question ultimately boils down to, "Is the Monk Class there purely because of an original player wanting to rule of cool their way into playing something wildly out of genre, or is there a stronger link between Sword and Sorcery and Hong Kong cinema that could have organically resulted in the Monk Class joining the rest of the classes?"

A lot of the link between the two was simply a matter of time and place. The kung fu craze hit North America at just about exactly the same time as the sword and sorcery revival that gave us films like Clash of the Titans and Beastmaster and The Sword and the Sorcerer and Dragonslayer and Krull – not to mention the Arnold Schwarzenegger Conan adaptation, which revived popular interest in first-wave sword and sorcery literature – so there was a lot of it going around. Analysis of early Dungeons & Dragons as a product of its media influences often overlooks that it was largely drawing on what was trendy in American popular media in the 1960s, 1970s and 1980s. Even the tonally incongruous Lord of the Rings references weren't a deep cut; while the books were originally published in the 1950s, they'd experienced a strong resurgence in the 1970s, putting them firmly in the popular consciousness at the time that D&D was being developed. All this being the case, it's not surprising that early D&D was also substantially influenced by Hong Kong action cinema.

That said, the reason the monk character class in particular (i.e., as opposed to kung fu media influences more generally) is there is allegedly because one specific guy in one of the game's early playtest groups really, really wanted to play as Remo Williams from Warren Murphy and Richard Sapir's The Destroyer; several of the class's signature abilities are direct references to powers Williams exhibits in the course of the novels. Remarks from folks who worked at TSR at the time have pointed the finger at Brian Blume as the Remo Williams fan in question, though accounts are conflicted whether Blume was actually an uncredited contributor to Dave Arneson's Blackmoor (1975), in which the class makes its first proper appearance, or whether Blume's interest merely prompted its inclusion.

This is the case for the character archetypes in a lot tabletop RPGs of that era; instead of trying to work out what classes "ought" be be present, authors would simply start with the types of characters their playtesters actually wanted to play, often based on specific popular media characters, then work backwards to derive an IC rationale for why those were the setting's standard adventuring professions. Other examples from D&D in particular most obviously include the Ranger (based on Tolkien's Aragon, naturally), but also the Paladin (principally inspired by Holger Carlsen from Poul Anderson's 1961 isekai novel Three Hearts and Three Lions, also the source of D&D's goofy regenerating trolls), the Assassin, back when it was still a separate character class (probably mainly based on the Assassin Caste from John Norman's Gor), and even the Wizard to a large extent (less Gandalf than you'd think: a large portion of D&D's iconic wizard spell list is lifted directly from the 1963 Vincent Price film The Raven).

(I often think that modern indie RPGs could benefit from reviving this approach. Like, fuck textual consistency – just pick half a dozen of your favourite popular media characters without regard for the compatibility of the source material and work backwards to explain why these six random assholes are your game's playable archetypes!)

[physalian]

How To Make Your Writing Less Stiff 5

Movement

Dredging this back up from way back.

Make sure your characters move, but not too much during heavy dialogue scenes. E.g. two characters sitting and talking—do humans just stare at each other with their arms lifeless and bodies utterly motionless during conversation? No? Then neither should your characters. Make them…

Gesture

Wave

Frown

Laugh

Cross their legs/their arms

Shift around to get comfortable

Pound the table

Roll their eyes

Point

Shrug

Touch their face/their hair

Wring their hands

Pick at their nails

Yawn

Stretch

Sniff/sniffle

Tap their fingers/drum

Bounce their feet

Doodle

Fiddle with buttons or jewelry

Scratch an itch

Touch their weapons/gadgets/phones

Check the time

Get up and sit back down

Move from chair to tabletop

The list goes on.

Bonus points if these are tics that serve to develop your character, like a nervous fiddler, or if one moves a lot and the other doesn’t—what does that say about the both of them? This is where “show don’t tell” really comes into play.

As in, you could say “he’s nervous” or you could show, “He fidgets, constantly glancing at the clock as sweat beads at his temples.”

This site is full of discourse on telling vs showing so I’ll leave it at that.

Epithets

In the Sci-fi WIP that shall never see the light of day, I had a flashback arc for one male character and his relationship with another male character. On top of that, the flashback character was a nameless narrator for Reasons.

Enter the problem: How would you keep track of two male characters, one who you can't name, and the other who does have a name, but you can’t oversaturate the narrative with it? I did a few things.

Nameless Narrator (written in 3rd person limited POV) was the only narrator for the flashback arc. I never switched to the boyfriend’s POV.

Boyfriend had only a couple epithets that could only apply to him, and halfway through their relationship, NN went from describing him as “the other prisoner” to “his cellmate” to “his partner” (which was also a double entendre). NN also switched from using BF’s full name to a nickname both in narration and dialogue.

BF had a title for NN that he used exclusively in dialogue, since BF couldn’t use his given name and NN hadn’t picked a new one for himself.

Every time the subject of the narrative switched, I started a new paragraph so “he” never described either character ambiguously mid-paragraph.

Is this an extreme example? Absolutely, but I pulled it off according to my betas.

The point of all this is this: Epithets shouldn’t just exist to substitute an overused name. Epithets de-personalize the subject if you use them incorrectly. If your narrator is thinking of their lover and describing that person without their name, then the trait they pick to focus on should be something equally important to them. In contrast, if you want to drive home how little a narrator thinks of somebody, using depersonalizing epithets helps sell that disrespect.

Fanfic tends to be the most egregious with soulless epithets like "the black-haired boy" that tell the reader absolutely nothing about how the narrator feels about that black-haired boy, espeically if they're doing so during a highly-emotional moment.

As in, NN and BF had one implied sex scene. Had I said “the other prisoner” that would have completely ruined the mood. He’s so much more than “the other prisoner” at that point in the story. “His partner,” since they were both a combat team and romantically involved, encompassed their entire relationship.

The epithet also changed depending on what mood or how hopeless NN saw their situation. He’d wax and wane over how close he believed them to be for Reasons. NN was a very reserved character who kept BF at a distance, afraid to go “all in” because he knew there was a high chance of BF not surviving this campaign. So NN never used “his lover”.

All to say, epithets carried the subtext of that flashback arc, when I had a character who would not talk about his feelings. I could show you the progression of their relationship through how the epithets changed.

I could show you whenever NN was being a big fat liar about his feelings when he said he's not in love, but his narration gave him away. I could show you the exact moment their relationship shifted from comrades to something more when NN switched mid-paragraph from "his cellmate" to "his partner" and when he took up BF's nickame exclusively in the same scene.

I do the same thing in Eternal Night when Elias, my protagonist, stops referring to Dorian as "it" and "the vampire" instead of his name the moment they collide with a much more dangerous vampire, so jarringly that Elias notices in his own narration—the point of it being so explicit is that this degredation isn't automatic, it's something he has to conciously do, when everyone else in his clan wouldn't think twice about dehumanizing them.

—

Any literary device should be used with intent if you want those layers in your work. The curtains are rarely just blue. Whether it’s a simile with a deliberate comparison or an epithet with deliberate connotations, your readers will pick up on the subtext, I promise.

[eidolonplaytest]

art by @boocanan

After years of thorough playtesting, you too can now play the complete and beautifully illustrated game of EIDOLON: Become Your Best Self!

EIDOLON: Become Your Best Self is a tabletop RPG for 2-6 players. Look deep inside yourself to find the power lying dormant within, nourish that power through the bonds you build with others, and use the reality-bending abilities it grants you to fight for your ideals, fighting against the pull of the Undertow, the psychic tides that dictate the collective unconscious!

art by @skarchomp

Challenge Fate

EIDOLON uses our own Drawn From the Undertow game system, which replaces dice with a deck of tarot cards. Each action requires a draw, and each card dictates a new direction for the story to go. Play The Magician, and "you achieve an impossible success," but play The Tower, and "something terrible happens." Each character also chooses their own Resonant and Dissonant cards, which act as their own personal critical successes and failures!

art by L.L. Simkowiak

Drama-Driven Battle System

The combat system from 1E has been significantly reworked, while remaining the same core of the Crash system, in which battle is governed by dramatic arcs instead of hard numbers and stats. Short-term victories make enemies more powerful, more deadly, and more desperate, pushing them to further and further extremes until the players reach a moment of climactic triumph!... or, they suffer enough failures, incur enough physical, psychic and metaphysical damage, that they are forced to Face Death, and must cut a deal with the forces of The Undertow to go on fighting.

art by Julie Low

Actually, I Meant for You to Kick My Ass!

With the Reveal Your Master Plan Move, you can dramatically change the flow of a session by revealing a secret strategy that your character's been employing the entire time! Take a bullet? Reveal Your Master Plan to open your shirt and show off the body armor you've been wearing all along! Find yourself alone at the mercy of a powerful villain? Reveal Your Master Plan to declare that you called for back-up before the fight even started! Of course, nothing's ever a guarantee, and you'll often find that your "master plan" has a few hitches you'll need to resolve before it comes to fruition!

EIDOLON was developed in conjunction with the award-winning Eidolon Playtest podcast. Check it out if you want an example of the game in action!

[yerfriendmolly]

EIDOLON: Become Your Best Self 2nd Edition is available now!

EIDOLON: Become Your Best Self is a tabletop RPG for 2-6 players. Look deep inside yourself to find the power lying dormant within, nourish that power through the bonds you build with others, and use the reality-bending abilities it grants you to fight for your ideals, fighting against the pull of the Undertow, the psychic tides that dictate the collective unconscious!

EIDOLON uses our own Drawn From the Undertow game system, which replaces dice with a deck of tarot cards. Each action requires a draw, and each card dictates a new direction for the story to go. Play The Magician, and "you achieve an impossible success," but play The Tower, and "something terrible happens." Each character also chooses their own Resonant and Dissonant cards, which act as their own personal critical successes and failures!

---

My friend Luke and I have been working on this game for the last three and a half years and we are now ready to let you all get your hands on it! If you enjoy story driven tabletop role playing and/or Jojo's Bizarre Adventure or the Persona series, you should check out EIDOLON: Become Your Best Self.

[thydungeongal]

Reading the playtest version of @anim-ttrpgs' Silk & Dagger (an RPG about dark elves navigating a society built on extremely byzantine rules of etiquette) the first thing that stuck out to me was the codification of, essentially, a co-GM in the rules: with one player basically having the role of making sure the characters are acting according to these rules of etiquette and deducting points for breaches of etiquette. And the player is rewarded for doing this, because the player acting in the "spider goddess" role accrues Favor which turns into Boons when enough of it is accumulated, and the player gets to transfer any Boons gained while acting in this role to their character the next time they play.

It's a really cool way of using mechanics and incentives to reinforce the theme: the game is about a society that really hinges on its bizarre social contract and people constantly scrutinizing each other's behavior. The system itself is hostile, so it makes sense for the game to incentivize really scrutinizing the characters.

It also makes me think of how few games actually account for rotating player roles in their mechanics. I have seen many games promote the idea of rotating player roles, but with very little incentive for doing so: the main incentive usually presented is "the GM should get to take a break every once in a while." The idea of rewarding a player acting in a somewhat GM-like role is pretty remarkable, because it's very rarely done. I have heard of some Japanese tabletop RPGs giving incentives for rotating GMs, but the idea of rewarding the player actually facilitating the game beyond the intrinsic reward of it being enjoyable is still quite rare.

Anyway, I'm really looking forward to seeing more of this. It's already inspired a few ideas that I might want to plug into my World's Best Dungeon Game (a weird mishmash of ideas borrowed from other games that represent the ideal, platonic form of the coolest dungeon game I could ever want). They're gearing up for an alpha release on itch.io March 10th, so look forward to that (and while you're at it go check out Eureka and the funny hedgehog game from these folks)

[txttletale]

hello...what is this "eidolon playtest". i thought it was perhaps some kind of MTG since you like that and "playtest" but then i keep seeing like.....random character art. is this a tabletop thing. is it mtg and i just dont understand mtg. i know i can probably google this but jt seems like something you wnjoy and id like to hear you talk about it :^)

eidolon playtest is an actual play series in which the creators of the ttrpg 'eidolon: become your best self' and their friends -- as the name implies -- playtest aforementioned TTRPG. it has a pretty interesting format in which the same GM runs two separate campaigns for two different parties which slowly become more and more intertwined until they start crossing over directly. so far they have two pairs of campaigns finished, eidolon POP and ROCK (seasons 1 & 2) and eidolon SKA and DISCO (seasons 3 & 4), and season 5 (eidolon VGM and EDM) currently ongoing. they also have a couple of short mini-campaigns of 3-4 sessions each, which i'm not going to list all of because there's a lot.

eidolon playtest is really good for so many reasons i can't possibly provide a comprehensive account but here's some:

the tables are really, really good at taking something and running with it. the number of goofy, seemingly one-off jokes that get called back to and built up and end up becoming extremely serious and plot-critical has to be in the double digits by now

there is very much a lack of... for want of a better word 'preciousness' to the play -- like, one of the things i really don't like about dimension 20 is that because there is an entire production staff making all these little minis and sets, right, there is an investment and a need to put the money in front of the camera, it's basically impossible for e.g. combat encounters to be skipped or for anything to go too 'off the rails'. meanwhile in eidolon everyone will get excited when someone pulls a fucking insane plan out of nowhere that radically reshapes an encoutner, or when someone rolls/draws badly and something awful happens -- i fucking love that kind of play, where everyone is excited to see cool shit happen whether it's bad or good, and the eidolon playtest team do it really well

the characters are really good and bounce off each other really well. something i commented recently is that i love diska for the fact thaqt nonoe of the players are afraid to have their character just be a huge cunt sometimes. every campaign has some amount of interpersonal drama and it always seems like the players are really excited to have it, too. there are conflicts, some get resolved, some don't, some spiral into irreconcilable differences, some pave the way for extremely close bonds.

eidolon, the system (especially the 2e version that's used for diska onwards) is a great system which encourages fun and cool things to happen. every character has a jojo-style extremely specific power, which means that fights aren't boring slogs of people rolling dice (i hate combat in actual plays that use wargames, lol, even games with well-balanced combat systems that are fun to play often make horrible audio) but instead wacky and consistently dramatic encounters where the players make clever and creative use of their powers to take on a freak-of-the-week

the cast is just really damn good! i mentioned how the characters on all the shows have ineresting and complex dynamics, but even apart from that there's just so many characters on this show that i'm genuinely attached too, so many memorable and interesting pcs and npcs.

the show is funny as fuck!! constant laugh out loud bits throughout every campaign, often alongside the extremely heartfelt or dramatic ones. i've been refernecing a bit from eidolon disco so much recently it's been driving oen of my gfs crazy (you can buy rat poison for free at the store)

i, yknow, go back and forth on whether to mention this when recommending it bc i'm sure that the eidolon playtest folks don't, like, want to be pigeonholed as A Trans Podcast or whatever, but, like, when it feels like every AP podcast that advertises itself or is advertised as 'super queer' is like, two cis gay people and maybe one transmasc if you're lucky at an otherwise super cishet table -- it is such a breath of fresh air to listen to an actual play with a legit preponderance of transfem and nonbinary players playing all kinds of trans and queer characters.

tldr: its like homestuck but good

[contract-crawdad]

Apartment 21 Theories and Headcanons

Let’s overthink Lyle’s weird as hell living space.

First off! The titular Lyle! Going to try to keep this section limited to what we can learn about Lyle through his apartment rather than just thoughts about Lyle himself, as he is possibly the single most-discussed character in the whole game. And we can infer a lot!

Jeanne’s dialogue confirms that apartment 21 is actually Lyle’s apartment, seeing as she does consider him her neighbor. It’s not a situation where Lyle moved into someone else’s abandoned apartment after the apocalypse started.

The D&D M&W stuff makes it clear that Lyle’s a fan of tabletop games! Do you suppose he’s part of an ongoing group, or is he looking for people to play with? It can be so hard to find a local playgroup! I like to think he and Edwin had a group going, maybe with a few other astronomers involved.

Considering we get the crossword book from him but also that it’s completely unstarted, I assume that it’s one of those things that’s he’s been meaning to get around to but never quite found the time (been there, buddy).

We can find anxiety meds in Lyle’s bathroom! Which is a minor if interesting detail. Lyle really does get more and more relatable.

Funnily enough, one thing that we don’t see in his apartment that we should be in there is the zoom lens that Edwin’s loan log says Lyle is currently borrowing! But considering his partly mechanical form, it’s possible that the zoom lens is simply part of his body now.

Lyle’s dark room! I’d wager Mr. Henderson wouldn’t exactly approve if it’s existence if he were to ever find out. This strikes me as something that breaks some kind of agreement found in you average renter’s agreement.

Notably you can only ever access the dark room if you kill Lyle to get the key! He doesn’t grant you entry under any circumstance, and it’s not exactly hard to see why considering what his ‘special project’ is.

On that note, Lyle will never attack you! It is impossible to get him to be the one to instigate a fight, you have to attack him out of the blue.

The photos of Sam make it clear that Lyle’s affection for Sam isn’t a new development by any means.

More concerningly, though, is the key you can find between two of the bookshelves. It’s SAM’S apartment key, which the more eagle-eyed and elephant-memoried of you out there will recall is the spare that’s missing from the plant outside Sam’s apartment! It’s dubious as to whether or not Lyle has ever used the key.

As far as I’m aware, the key has no actual purpose other than to serve as an ominous reminder of Lyle’s obsession.

What the fuck is Lokjaw’s deal. Seriously. Lyle. Why do you have a man in your unlocked closet? I can excuse the hamburger man you have locked in your bedroom (we’ll get to him), but this is just ridiculous.

My thought on why Lokjaw hasn’t just left the (completely unlocked) closet is because their mental state has deteriorated to the point where they cannot operate a door. Maybe they don’t even recognize that a door is a thing that leads to another place anymore.

But that’s assuming Lokjaw was ever human to begin with! I’ve seen theories that they were Lyle’s dog (credit to @crankyteapot once more), which would explain the mutant’s posture, strange lower jaw, and why they’re in Lyle’s closet in the first place!

But considering that there’s no dog bowl, no collar, and no reaction from Lyle if you kill Lokjaw? I’d wager that if they are a dog, they’re not Lyle’s dog, but rather just some random already-mutated dog he came across! It went sniffing around the closet and Lyle just shut the door behind it. This making it a problem for future Lyle.

Lokjaw does drop raw pork if you kill it, which is… hmm. Something.

I… don’t think there’s any pleasant explanation as to why it drops raw pork actually.

Something about Lokjaw, whether human or canine, makes me think they had a very nervous disposition. There’s something so defensive about their posture, and their facial expression seems so scared! Unfortunately for us, this translates to the mindset of ‘kill the thing that is scaring me’.

Unfortunately, the reason for Tumorhead’s presence in apartment 21 isn’t any clearer than Lokjaw’s! If anything it’s stranger because he’s in what appears to be Lyle’s bedroom, and he’s even locked in there by those strange fleshy growths.

On thing IS clear: the hamburger found around the room is pretty clearly implied to be meat that’s fallen off of a Tumorhead himself, judging by what happens in battle. Sam is the bravest man alive for taking this meat and cooking it.

@crankyteapot pointed out a few visual similarities between Tumorhead’s clothing and the Onlookers, and I could see there being a connection!

I really love the idea that Tumorhead, having looked outside but while still human, stumbled drunk into Lyle’s apartment and collapsed into his bed (with Lyle being too timid to correct them). The poor guy nursing a splitting headache that manifested very viscerally as his metamorphosis completed in his sleep.

Located in Lyle’s bathroom, we finally have an easy-to-explain mutant presence! The broken-down door makes it pretty clear that this guy forced his way in from F1 through Lyle’s shortcut.

Since this guy is pretty clearly implied to be from F1, I wonder if he has any association with that one gigantic eye in the unnumbered rooms? On one hand there’s some surface level similarities, but on the other hand Eyecluster’s eyes are functionally distinct: they’ve been modified into acid-launchers and it’s unclear if he can still see out of any of them!

My favorite detail is how Eyecluster’s posture seems off balance from the sheer volume of eyes he has, it’s a neat touch that conveys just how ungainly their newly added parts are! And I adore how the Visitor’s effects clearly don’t care about what an organ USED TO do. Your eyeballs spit acid now. Your hair can eat things. Your tongue is easier to get around on than your legs.

This is nothing but pure headcanon, but I like to think that on the morning Eyecluster beheld the Visitor, he woke up wearing contact lenses that he’d left on overnight by mistake. The unpleasant sensation in his eyes ended up heavily influencing the results of his transformation.

It’s what you all came here for, it’s LYLE BATHTUB THEORY TIME!!

So. Lyle’s bathtub. It’s weirdly long, right? And that’s not just sprite perspective weirdness! The comically long bathtub has actual inspection dialogue that reads ‘huh this thing is long as hell, weird huh?’ and it also points out that the whole room looks stretched. Sure enough, the less conspicuous but still very conspicuous counter across from it is also weirdly long!

But why? I’ll tell you why. I think Leigh stretched Lyle’s bathtub. it’s not what’s INSIDE the bathroom, but rather OUTSIDE!

The other side of the south bathroom wall is the hallway where Leigh chases you. You know, the hallway that she supernaturally lengthened so she could have more fun chasing Sam. Not only that, but this chase is required in order to access Lyle’s apartment in the first place, you cannot access Lyle’s bathroom without having done the Leigh chase!

So Leigh’s space-warping chase tunnel seems to have had some lasting effects on the adjoining rooms! Which makes sense. Sure, Leigh has some kinda of vague elongating powers, but you can’t tell me she knows how they work or how to use them in a way that doesn’t have some lingering effects.

Hopefully it’s helpful to Lyle! I mean, he’s larger now. He definitely would not fit comfortably into a normal bathtub, but on the other hand it’s also questionable if he even can bathe, what with all his mechanical parts.

[jelloapocalypse]

Hey Jello, a few nights ago I actually ran the Cinnamon Josh one-shot for my friends and had a great time. I really enjoyed the flexibility and imagination that the mini-game system encourages for character creation. Had an absolute ball during the design process with most of my players-had some truly knockout gimmicks arise from it. Unfortunately for one of my players they had a hard time clicking with the openness of the system and kept trying to push power first without a hint of flavor, got any advice for working with a “power-gamer” in a system where the design space is so improv based and cooperative while not throwing balance out the window?

Hey, sorry for the super long wait.

I actually forwarded this question to @eternal-savvy-blog because she has a lot more experience playing AC-based tabletop systems than I do. Here's her answer:

There's a couple of different approaches to this kind of a problem! I've had plenty of times that I have run games for "power gamers" and it kind of depends on the person as to what the best solution is

Don't

The easiest, but also harshest, being "This game isn't for power gamers". With any TTRPG there is a measure of tailoring the choice of players to who you think fits. This works both ways! There are games that reward power gaming and trying to do too much flavour gets in the way. And for AC, to a large extent, if you aren't down with flavour-first combat, it's not easy. I generally only reserve this option for if you've already tried everything, or the person in question is stubborn/not receptive and you know it!

2. Specific Questions/Prompts

If you reckon they just need some guidance, try altering how you talk/ask questions while running AC. Instead of "It's your turn, what do you do?" which will prompt them to lean on their instincts of "pick thing on sheet" or "what's the best damage", try making your questions have more context and specifics.

"Cinnamon Josh caught the cactus and is on his way out! how do you wanna fuck with him to stop this? He's running past the sandtraps."

Something like that is subtle but COULD be enough to stop someone from going "big number" and instead go "Maybe I can trip him into the sand?" This approach is not always gonna work. A lot of the time Power-Gamers are not open to thinking that way and are pretty dead-set on doing "the optimal thing". But for that same reason, if you suggest certain actions to be "optimal" it can nudge some people into the right mindset 3. Tailor the Character

Sometimes it's a matter of making their character in such a way that it feels more familiar and easy to run for that player in particular. But then injecting stuff into the kit that encourages some creativity. A LOT of people will get intimidated and paralyzed by an ability that says "make an item". Giving specific limitations can help most people get MORE creative like "make an item that is related to cats" Suddenly they'll be throwing explanations at you for why something "is TOTALLY a cat item"

Power-gamers are a little different. Instead, give an itemized list of options WITH EFFECTS and make ONE of the options WAY more open ended. That way they'll always be able to just pick something but over time they'll see that "hmm…. yaknow i can usually just think of something better using the last option" Something like: "Magic cat bell. Summon a magic collar that gives you a cat-like ability! (Claws for +2 damage, perfect balance, Enhanced scent, etc.)"

Notice it still has options to choose, but leaves it open to what "cat-like" means. It gives attractive "numbers" options, but is clearly showing it can be ANYTHING they can think of! 4. JUST TALK TO EM!

This one is pretty spicy! Just talk to them plainly!

Don't accuse them of being a power gamer or whatever. The idea isn't to say "you're playing wrong", just "Hey I noticed there was a mismatch!". Just establish that you noticed they play different and may be used to more number heavy games. Then just clearly explain "Hey, Anime Campaign is an open and flavour-first system. it's less about the numbers and what's 'Best' and more about being silly on purpose! Try taking a different approach next time we play!" Most people just don't realize that different TTRPG's operate differently and just need it CLEARLY said to them how the game expects people to play

If they're receptive, they'll try it out! Maybe they'll come around! But they may also try it and go "ehh, not really for me!" and that's fine too! Either way it's a win.

And if they aren't receptive. Welp. Option 1 is there for a reason!

[tinytablepodcast]

Help Us Choose Our Next Game

We received so many wonderful submissions from the indie ttrpg community of games to play next on Tiny Table. We need your help to narrow them down! We will be taking the top 3 games to Patreon for our patrons in the Mini and Micro tier to vote on.

Reactors and Romance: Reactors and Romance is a rules-light RPG about flirting while piloting a giant robot. You only have one stat, and that is your HEAT 🔥. Your HEAT measures how hot your mech's reactor is getting, and how hot of a pilot you are 😉 Will you fight or flirt your way through battle? Can you keep your mech from overheating? What will it be hotshot? https://jp-bergamo.itch.io/reactors-and-romance 

Dawn of the Orcs: Dawn of the Orcs is a GMless dark fantasy worldbuilding and roleplaying game. You play as the magical technocrats who create the first Orcs as weapons of war, modify and improve them over time, and tell the story of how the Orcs become their own people. https://lymetime.itch.io/dawnoftheorcs 

The Trains of the Glorious Republic of the People: The Trains of the Glorious Republic of the People is a tabletop RPG where players take on the roles of a train crew in a fictional 1930s totalitarian state. Your mission is simple: get yourselves and your unique train from point A to point B though things are never that easy on the tracks of the Glorious Republic. The game requires only d6s, pen, paper, and, above all, your loyalty to the party.

'til it kills us: in ‘til it kills us, you play as a group of young, reckless queer activists fighting to make a difference in the world. you’re angry, and you’re scared, and rightfully so. not to mention, you’re all a little bit fucked up. whether you’re dealing with issues at home, struggling with mental illness, or just learning to stand on your own two feet, life isn’t easy. but you’re also in love with the world, and with each other, so you keep fighting anyway. it’s the only thing you can do. the only problem is your magic. sure, it protects you. sure, it helps you fight. but you can feel it – feeding on the most unpleasant parts of you. and the longer you have this magic, the more you fear by those feelings. you worry it might be powering but you keep fighting. what else is there? remember what you always said: we’re going to keep on fighting ‘til it kills us. https://damsels-dice.itch.io/til-it-kills-us

Dragon and the Warrior: Create your own oldschool JRPG world as you play, by drawing monsters and maps; creating magic items, spells, allies, and quests; or filling the world with towns and dungeons. Every conflict, whether a sword and sorcery combat with monsters, or an argument with your overbearing mother, is imagined as turn based combat with a card based system. Players constantly switch between playing the hero protagonist and taking on varied GM roles, controlling Allies, Monsters, or Treasure! https://orioncanning.itch.io/ 

here, there, be monsters!: here, there, be monsters! is a rules-lite response to monster-hunting media from the monsters' point of view. It is an explicitly queer, antifascist and anti-capitalist game about the monstrous and the weird not as something to be feared, but to be cherished and protected. It features a simple tag-based system and resolution mechanics based on a pair of six-sided dice (2d6), as well as 100 pre-made character backgrounds and dozens of other tables to get you started as fast as you want. Play as a diverse crew of monstrous, anomalous or just generally odd people. Create and populate your own supernatural underworld, abnormal gang and extra-dimensional haven. Hunt monster hunters! Punch nazi occultists! Eat the rich! Protect each other! Fight back! Here, there, be monsters! https://soulmuppet-store.co.uk/products/heretherebemonsters 

Speedrune: SpeedRune is a rules-lite ancient world fantasy game. Inspired by myths and fairy tales, players build and maintain a community between seasonal adventures. It's like if Xena: Warrior Princess fought the Bible but weirder. Check it out for free here: https://erinking.itch.io/speedrune

I’m in!: A fast-paced game where you pull off a one-shot heist, including everything from assembling the crew to the getaway. Using the rules of Blackjack to resolve the various obstacles of the game, it's a snazzy, jazzy time! https://gobbogary.itch.io/im-in 

Wizards of the Longest Night: WotLN is a game about WIZARDS, DOMINOES, ESCAPING DEATH and OBSCURE RULINGS. You and your FELLOW WIZARDS are trying to escape DEATH ITSELF as it twists the world around you back towards it. You are FULL OF WIZARD HUBRIS and think you can BEAT BACK THE CONCEPT OF ENTROPY which of course you can, because you have WIZARD MAGIC. You lay down paths to meet death as you lay down cards to beat it. Or tarot. Or scrabble times. Fuck it, play uno. Swap someone's hand. Play poker with a hand full of small rubber pigs. Cast wizard voltron. Read the rules. Cheat at the rules. Stick postit notes on your friend so you can offload your entire hand and declare uno. Watch the gameshow wheel of fortune. Be a horse. Email god. Cast the estrogen spell. BEAT DEATH AT ALL COSTS. The darkness stretches on forever, but if you set enough things on fire you dont need the sun to know the dawn again. https://moonhawk.itch.io/wizards-of-the-longest-night 

Death Cap Sauté: Death Cap Sauté is a GM-less one-shot TTRPG for 2 to 5 players. Players will compete in a deadly cooking competition in the weird post-apocalypse to gain the favor of the elusive Shroomp Lord! Using a simple push-your-luck dice system, face-off in 5 unique cooking challenges to see who will come out on top! https://junkfoodgames.itch.io/death-cap-saut

If you submitted a game to us and don't see it on the list, don't fret! We will be hosting many polls like this and your game is still in consideration. If you game is on here and isn't chosen to move on to our next poll, also don't fret! We may add it on to the next poll again.

[theresattrpgforthat]

My roommate made a joke about wanting to play a sonic the hedgehog tabletop game. Is there a ttrpg for that?

THEME: Sonic the Hedgehog.

Your roommate is about to be surprised because there isn't just a single Sonic ttrpg. There's at least seven.

Speeding Bullets!, by Princess Grace.

In SPEEDING BULLETS!, you play as three to five intrepid, plucky anthropomorphic animals on a quest to save the day- or end it. It’s up to you, some six-sided dice, and your beloved SO (Shadow Operator) to determine the fate of the world.

SPEEDING BULLETS! is a single-page Lasers and Feelings hack where your stats are FAST! (hero) and GUN! (antihero). You and your friends will create Sonic OCs, randomly assign them backstories like "Dark Warrior's Advent" or "Purification via Ruination" from a table of 326 genders, and put them up against insurmountable odds, Dr. Robotnik, and their own rivals.

Lasers and Feelings games all have the same basic premise: you have one number that represents your abilities in two different stat, in this case, Fast and Gun. Rolling above the number is good for one stat, while rolling below the number is good for the other. Roll your number exactly? Then something special happens.

What Speeding Bullets takes from Sonic is rivalries, a perpetual quest to defeat Dr. Robotnik, and an alternate suggestion for playing as your character's rivals, taking references from Dark Mirror. The game also comes with a Gender Table, a roll-table that appears to reference every Shadow the Hedgehog ending.

Rainbow Runaways, by UkeleleBard.

You are an animal living in a human’s world. The humans have found you, and the military will pursue you with every weapon, vehicle, and trap they have at their disposal. You’ve only got one option. RUN!

Rainbow Runaways was created for the Caltrop Core game jam, and runs on the Caltrop Core engine by Titanomachy. You can play it Solo, or with a GM, with a deck of cards and a 1-3 d4's per player.

The goal is simple: escape the military by reaching the edge of the city. You track this by using a clock with 12 slices. The deck of cards represents the actions of the military as they pursue you. Your character is composed of three stats and three techniques.

All in all, Rainbow Runaways is succinct and to the point. I think one of the benefits of fan games like this is that much of the lore is already assumed to be known by the players, and as a result reading the game book can be much quicker, since you just need to learn the rules.

Edge Hedge Arena (Beta), by ANIM TTRPGS (@anim-ttrpgs).

Throughout all human history, people have been given names. You thought yours was only mean to be used as an identifier, but you were wrong. Your name was chosen carefully, with the conscious (or subconscious) knowledge that one day it would inextricably link you to a champion of immense power who is also a hedgehog. This “game” serves as a set of instructions for revealing this mighty guardian, so they can defend your honor and name in a battle to the freaking death!

Still in the early stages, Edge Hedge Arena is partially a battle game. This is firmly a pvp game, using your weapons, powers and style to give you an advantage in the arena. However, first and foremost, Edge Hedge Arena feels like a bit of a love letter to the Sonic Fandom, more than Sonic itself. When you make a character, you actually have to search for art of a hedgehog OC online!

Chaos & Control, by farmergadda (@farmergadda).

Chaos & Control is a hack of Lasers & Feelings by John Harper, inspired by a similar hack, Steel & Spirit by Occupied Hex. In this game, Players will take on the roles of colorful, cartoony animal people and go on adventures through fantastic locations, facing off against maniacal foes, and looking really cool while doing so.

Another Lasers & Feelings hack, Chaos & Control adds the use of character types to further differentiate your characters, as well as tokens that can be used to trigger powerful moves unique to your character. For the GM, there's a number of roll-tables to help generate locations, problems, badniks, and so much more.

Rings and Running Shoes, by RingsandRunningShoes.

Welcome to Sonic's World - A universe unique and beyond what you know from the SEGA games! Where, inspired by Sonic and other heroes of the franchise, you and your friends will create a team of heroes that will save the world from the forces of evil!

The system is based on PbtA with heavy modification to fit the care-free power fantasy of Sonic's Adventures, but anyone familiar with the core game, should know the basics. On a very surface level the gameplay loop consists of alternating between "Peace and Quiet" and "Stages" sections. During P&Q your group will rest, prepare for the Stage, roleplay and develop your characters.

One of the benefits for PbtA games is playbooks. Playbooks keep most of the information that a player will need to know in one place, allowing you to choose a character type based on vibes, and then make selections within just the options provided to you. It's excellent for minimizing choice paralysis, and it can make teaching the game simpler, as each player has a number of references to the rules that are specific to their character in front of them at all times.

Mobius, by Ioan Davies-John.

Mobius is a fan-made tabletop wargame based on Archie Comics’ 24-year run of Sonic the Hedgehog, allowing you to fight Large Skirmishes in the gone-but-not-forgotten take on Sonic's World!

It features stats for all your favorite heroes and villains, and rules to suit every play-style from hordes of Eggman Robots to squads of elite Freedom Fighters. There’s an ever-evolving plethora of army books and supplements to represent the many factions within the pages of the world’s most way past cool comic!

Mobius is a tactical wargame, focused on moving little guys around on a map and taking down your opponents. There's plenty of minutiae here for folks who love figuring out what strategies work for them, including various extra rules, as well as 14 different factions to choose from. If you're not sure who you can play this with, the designer has a link to their community discord on their Itch page!

If you want something a little different in theme but similar in spirit, you might interested in Davies-John's other sonic game, a naval wargame set in the same universe: Egg Fleet!

Radical Spin, by Will Uhl (@raffitheowl)

Will you beat your evil twins, stop the robot army, and survive the perils of high school?

Radical Spin is a micro-RPG about melodramatic action animals. Hedgehog heroes, will you beat your evil twins, stop the robot army, and survive the perils of high school? Live out your bad fanfic fantasies today!

I don't know much about this game, but based on what I can find out about it, it seems to be designed to shine when you're exploring Sunday Morning Cartoon-style plots. I'm expecting characters with abilities that are larger than life, as well as a fairly simple rule set that's easy to pick up and learn without much trouble.

You might also be interested in...

My Silly Games recommendation post, which has a link to a Sonic game called Spindash!

I've also got a Ko-Fi account where you can leave me a tip if you like what I do!

[prokopetz]

Code Green

A game for 3–7 players, about being where you're not supposed to be.

Last night, you were suspended in a tube of brightly coloured goo in an underground research facility, operated by an organisation whose three-letter initialism's meaning is strictly need-to-know. This morning, someone noticed your tube was empty. Nobody has determined how that happened yet, and you're not inclined to stick around until they figure it out!

Or, in other words, it's been nearly a whole week since I got that massive revision to Space Gerbils out the door, and apparently my brain has decided that's enough of a break. This thing was written start to finish in under 12 hours, so let the circumstances of its authorship guide your expectations. Special thanks go once again to Caro Asercion, whose micro-RPG Dwindle introduced me to the design space I'm fucking around with here. Go buy their stuff.

Anyway:

What You'll Need

Code Green is a tabletop RPG for one game moderator (GM) and up to six players. Each player will need a copy of the Profile Grid, below, as well as three tokens of some sort: dice, coins, beads, etc. You'll also need at least five six-sided dice (for the whole group, not per player, though it's fine if each player has their own set). If you're using dice for tokens, it's recommended that the dice you plan to roll be visually distinguishable in case they land on someone's Profile Grid.

Rolling Dice

There are two ways you'll be asked to roll dice in this game: rolling d66, and rolling a dice pool.

To roll d66, roll a six-side die twice, reading the first roll as the "tens" place and the second roll as the "ones" place, yielding a number in the range from 11 to 66. For example, if you rolled a 3 and then a 5, your result is 35. You may also be asked to flip a d66 roll; to do this, take your result and swap the digits without re-rolling. In the preceding example, if you flipped your roll of 35, your new result would be 53.

To roll a dice pool, pick up the indicated number of six-side dice, roll them, and take the highest individual result. Duplicates have no special significance. For example, if you rolled a pool of three dice and got a 2, a 4, and a 4, your result would be 4. If you would ever roll a pool of zero or fewer dice, roll two dice and take the lowest instead.

Character Creation

Each player should create their own character. There are three things about your character which are always true:

You are newly born into the world. You may know things about the world (e.g., from your programming, having read them on a computer terminal, etc.), but you haven't experienced them.

You are implausibly good at remaining inconspicuous; unless you're deliberately drawing attention or doing something which requires a dice roll, humans will almost always fail to spot you.

You are not human. You can decide what that means.

To find out what else is true about your character, roll or choose three times from the Form table, and three times from the Function table, placing your results into the correspondingly labelled slots on the Profile Grid, below, in any order you please. Your three results from each table should be different; if you elected to roll and get the same entry multiple times, flip your result, and re-roll if it's still a duplicate.

Think about what your three Form traits and three Function traits imply about your character's physical makeup, but don't set anything in stone just yet – you'll see why not in a moment.

Finally, roll a six-sided die five times, and record the results in the order in which they're received. The resulting five-digit number is the only name your character has when play begins.

Table 1: Form (d66)

11–12. Blood 13–14. Bones 15–16. Brain 21–22. Claws 23–24. Ears 25–26. Eyes 31–32. Guts 33–34. Hands 35–36. Heart 41–42. Hair 43–44. Legs 45–46. Lungs 51–52. Nose 53–54. Skin 55–56. Tail 61–62. Teeth 63–64. Tongue 65–66. Wings

Table 2: Function (d66)

11–12. Accelerated 13–14. Autonomous 15–16. Auxiliary 21–22. Cryogenic 23–24. Cryptic 25–26. Elastic 31–32. Electric 33–34. Entropic 35–36. Invasive 41–42. Invulnerable 43–44. Kinetic 45–46. Magnetic 51–52. Phasing 53–54. Polymorphic 55–56. Projectile 61–62. Pyrogenic 63–64. Telescopic 65–66. Toxic

Playing the Game

Play proceeds in a series of scenes. In each scene, the GM will set the stage: a challenge to overcome, a peril to escape, a mystery to investigate, etc. Given the nature of your characters, most things will be mysteries to you!

Initial Token Placement

Once the stage has been set, place each of your three tokens on a different square on your Profile Grid. If you have no preference, you can roll d66 for each token and place it in the square whose marked numeric range contains the number you rolled, flipping or re-rolling your result if you get a square which already contains a token. The placement of these tokens represents your initial state when the scene opens. Depending on the nature of your character, this may be reflected by a shifting of internal focus, or by a physical transformation.

Participation

To participate in the scene, simply tell the GM what your character does; the GM will describe how the world responds, and ask what you do next. Whenever you wish – or are forced – to do something more than lurk and observe, you are obliged to make a test.

Making Tests

To make a test, first choose a pair of traits – one Form trait, and one Function trait – with which to face the challenge. For example, if your Form traits are Legs, Tail and Teeth, and your Function traits are Cryptic, Invulnerable and Phasing, you might test your Invulnerable Legs against the trouble at hand.

Next, count the number of tokens present in the rows extending from each of the chosen traits. The illustration below shows which squares would be consulted in the preceding example:

Next, roll a dice pool containing a number of dice equal to the number of tokens present on squares extending from the chosen traits. Do not count a token twice if it's on the square where the two traits intersect (e.g., the green square in the illustration above). In the event that no tokens fall on squares extending from appropriate traits, remember that you are allowed to roll a pool of zero dice by rolling two dice and taking the lowest rather than the highest.

Finally, compare your result to the following table:

1–3. Less than human. Whatever you'd intended to try still happens, but it cannot overcome human opposition (or adversity which would challenge a typical human), and any lasting effects are transitory and easily explained away. 4–5. Mostly human. Your effort can contend with human opposition (or circumstances which would challenge a competent human), and its lasting effects make it obvious that someone (or something) has been interfering with matters. 6. More than human. Your effort easily brushes aside any human opposition, and its lasting effects are impossible to rationalise as anything other than the intervention of inhuman forces.

Without Applicable Traits

In the event that you're forced to make a test and no possible pairing of your traits is applicable, you don't get to roll anything, not even with a pool of zero dice; simply resolve the outcome as though you'd rolled a result of 1–3. Other characters may attempt to preserve you from this fate by assisting you, in which case you roll one die per assisting friend; see below for more details.

Assistance

If you wish to assist another character in making a test, consult your own Profile Grid, considering only those squares which contain tokens. Only the specific pairs of traits represented by the squares on which your tokens fall are eligible for assistance; for example, if one of your tokens falls on the intersection of Cryptic and Teeth, you may assist with Cryptic Teeth, but not any other pair of traits involving Cryptic or Teeth unless those squares also have tokens on them.

If you're able to identify an eligible pair of traits that seems applicable to the test at hand, explain how you're using it to help, and hand the player making the test one extra die. Any number of characters may assist on a given test.

Providing assistance neither requires nor permits your character to adapt (see below) – it needs to be your own test for that!

Adapting

After resolving a test, your character adapts, shifting focus or form to reflect what they've learned. Take one token of your choice from your character sheet, and move it to a different square which doesn't already contain one. You can move any token you wish, but it must end up on a different square than the one it started on unless no valid destinations are available. Adapting is not optional, and must be carried out after every test.

Suffering Strain

If whatever you're making a test against is particularly strenuous or dangerous, you might suffer strain as a consequence. Strain will often be incurred on a result of 1–3, and rarely on a result of 4–5; only the most foolhardy efforts will incur strain even on a result of 6!

To incur strain, roll d66, and place a small X on the square on your Profile Grid whose indicated numeric range contains the number you rolled. If there's a token on that square, immediately move it to an empty square of your choice, unless fewer than three unmarked squares now remain; in that case, simply remove the token entirely.

For the remainder of the scene, tokens may not be moved to any marked square. In addition, if you suffer further strain, and the square indicated by your d66 roll is already marked, your character is incapacitated, and may not participate in tests at all until they recover.

All strain is cleared – and any discarded tokens restored – at the end of each scene. Incapacitated characters also recover at this time.

[1moreff-creator]

Okay listen, listen. Eden's Garden CH1 was great and I loved it and I'll make a more detailed analysis post about it at some point. And Eva in particular is fantastic and my favorite character. There's just- There's just a little, little issue I have with her FTEs, and if I don't talk about it I'm gonna explode. 

Spoilers for P:EG CH1 and Eva's FTEs.

CW: I am about to be a Massive Fucking Nerd on main.

This post was originally going to be about how Eva's papers, the way she describes them, sound like they kinda suck. But then I realized that the way she describes the Riemann zeta function… is just wrong???? Like, it doesn't converge to- EVA WHAT THE FUCK ARE YOU SAYING?!?!?!?!

Like, look, I don't think "Eva sucks at writing papers actually” is the conclusion I'm meant to reach after doing her FTEs. I'm also pretty sure the mistakes she makes when describing the Riemann zeta function (henceforth "zeta function” for brevity) are just mistakes on the writers’ part, which is fine because that thing is very confusing. 

And to be clear, Eva being bad at writing papers doesn't mean she's actually bad at science. I mean, she apparently solved the goddamn Riemann Hypothesis, and doesn't even think it's that big a deal!

Eva, sad [3rd FTE]: They'll put it on my gravestone: here lies the girl who could barely solve Riemann's stupid hypothesis. 

(Thank you Ani from youtube for uploading these things it makes citation so much easier <3)

Girliepop if I solved a problem that's stumped mathematicians for over a hundred years (which carries a million dollar prize btw), you bet your fucking ass I want that on my gravestone! And look, I know that this is not necessarily due to her doing more impressive stuff in mathematics. That it's more so because she's internalized what other people think about her skills, and since a lot of people erroneously believe math is uncool she doesn't think this is as big a deal as it is. But the fact that she managed to solve this thing at all, not to mention at eighteen years old, already puts her in contention for best mathematician of the damn century. And that's incredible, because math is badass. 

In short, Eva's cool and a great mathematician. But the way she talks about her other work, the papers she wishes got more recognition, makes me really doubt her actual skill as a writer of these papers. Let me explain. 

There are three papers Eva mentions writing, or thinking about writing, across her FTEs. One about literature, another about lightspeed travel, and one about the Riemann zeta function. 

Eva [1st FTE]: Earlier this year, I wrote a whole paper on an obscure subgenre of Western speculative fiction… I spent weeks on it, expecting it to receive a lot of attention from literary critics…

Eva [1st FTE]: I could write a research paper on the theoretical possibility of lightspeed travel, but no one would care, because…

Eva [4th FTE]: …I wrote a paper about how you can use tabletop gaming to understand [the Riemann zeta function].

Now, I can't say anything about the literature paper, because she gives no details on it. I also don't know enough about literature to know how long it usually takes to write papers on it, so I'll take her word for it that working for weeks on it is notable. 

For the hypothetical paper about the "theoretical possibility of lightspeed travel", I have my doubts, but she also doesn't give enough details about what that paper would entail for me to definitively say anything about it. We'll get back to this one, though.

Meanwhile, the paper she gives the most details on is the Riemann zeta function one, and… yeah that one's trash. 

There’s two reasons I say that. One is the technical issue with the description she gives, which basically boils down to “there’s severe inaccuracies in her explanation and also she just straight up gets some things wrong,” and is extremely nerdy and math heavy to explain; and the other is a much more fundamental problem with the very thesis of the paper, which doesn’t require math to explain, but I’ll leave for later. 

I’ll start with the technical side and the things she gets wrong about the zeta function. I’ll try to make this accessible for non-math nerds, but fair warning, this is pretty difficult math so I can only do so much. That includes keeping to the tabletop analogy Eva used in the spirit of the thing. 

By the way, take everything I'm about to say with a grain of salt. I'm a third year Physics major, so while I know way more math than the average person, I am by no means an expert. I am liable to get things wrong. In fact, I actually didn't know anything about the zeta function or the Riemann hypothesis before seeing these FTEs, I just researched them because I got curious about the Riemann hypothesis after seeing it show up in not one, but two fangans I've seen (it has a cameo in DR Despair Time if you're curious). However, even though I'm not an expert, I think I know enough to definitively say Eva's very wrong about a few things.

Lots of math incoming, TL;DR after the next red title

As a refresher, this is a paraphrased version of what she explains.

Eva (Paraphrased) [4th FTE]: Take 1, ½, ⅓, ¼, and so on for infinity, and pretend they are characters in a tabletop game (TTG). An enemy casts a status effect on your denominators so that they are all raised to the power of p, where the value of p is decided by dice roll. Now your characters are 1, 1/2ˆp, 1/3ˆp, etc. For your turn, you add all of your characters together, and that’s the zeta function ζ(p) = 1 + 1/2ˆp + 1/3ˆp + ... What is the value of ζ(p)?

This is good, that sum is indeed the first way to define the zeta function (more on that later), so it's correct. However, she then makes two statements. 

Statement 1: If p is higher than 1, then you get a whole number; a number without decimals. ( ζ(p) = a whole number). Statement 2: If p is lower than 1, then you get 0, “an infinite amount of zeroes.” ( ζ(p) = 0).

(You’ll notice I put that last thing in quotes. I’ll get back to it)

Now, I’m going to ignore a few minor inaccuracies which Eva likely makes to simplify the concepts, because they’re not too important. For example; you can’t “add” infinite numbers, that’s not a thing. An infinite series can converge, which is slightly different from arithmetic addition. However, the two things are close enough that, for most people, the distinction doesn’t really matter. In other words, I’m fine with her saying she’s adding infinite numbers together, and similar claims. 

There's one inaccuracy I can’t gloss over, though; Eva never tells Damon which dice is rolled to determine the value of p. In math terms, she never tells him the domain of the function (the domain of a function, btw, is the set of values for which the function is defined). Are the values p can take real or complex? Can it be any real/complex, or are there restrictions? 

For the unaware, since this is gonna come up, I’ll define a complex number using the TTG analogy. A complex number is a special character born by adding together a real number "r" (one of the numbers you’re all familiar with), and another real number "b" equipped with (math: multiplied by) the Epic Tier item known as the imaginary unit “i”. This Epic item has the property that iˆ2 = -1. So basically a complex number "z" is one where

z = r + bi

where r,b are real and i is the imaginary unit. "r" is known as the real component, and "b" is the imaginary component.

(Note: All real numbers are complex numbers where b=0, but not all complex numbers are real)

In case you’re curious, these things are used in several fields, such as the study of electrical circuits with alternating current, and they appear in relation to the Schrödinger equation- I’m getting off track.

So, what dice does Eva want the opponent to roll to define p? Well, she never says it, but we can infer. She says that p can be “higher than 1,” and that clues us in that she’s probably rolling the dice of real numbers. After all, there’s no universally agreed upon definition of what it means for a complex number to be “higher than” another complex number. Meanwhile, she doesn’t mention any restrictions on what value p can take, so it’s safe to say she’s implying that p can be any real number higher than or lower than 1, aka any real number except maybe 1. Now, the zeta function doesn’t actually have that domain, but we’ll get to that.

For now, let’s analyze her statements assuming p is any real number other than 1. Let’s take a look at the first one. 

Statement 1: If p is higher than 1, then ζ(p) is a whole number; a number without decimals. 

This is wrong. Just so we’re clear, I could probably prove, with my somewhat limited math knowledge, that this statement can only work if the domain is more restrictive than “all real numbers other than 1” as described previously. It'd have to be defined only in whole numbers, for example.

However, I don’t need to. One of the first lines in the Wikipedia page of the zeta function says that ζ(3) (which is the value you get after “adding all your characters” when p = 3) is an irrational number. That is, among other properties, a number with infinite decimals. Eva could not be more wrong if she tried. 

(Btw, yes I'm using Wikipedia as my only source. Not particularly rigorous research on my part, but this is a silly Tumblr post about funny killing game, there's a limit to my insanity)

I don’t even know how this happened, btw. It’s pretty clear this is a goof on the devs’ side (perfectly understandable btw, it took me several reads of the Wikipedia pages for both the zeta function and the Riemann hypothesis to even get them enough to write this post, and as stated I study a lot of math for my career), but I genuinely don’t know where they got the idea from. There’s nothing I could find about whole numbers in relation to the zeta function. There’s connections to prime numbers, which are all whole, but the series doesn't converge to them, the connection is a bit weirder than that. There's also some stuff Euler found about it converging to rational numbers for negative integers, but again, not whole numbers, and not even for real values above 1. So, yeah, no clue.

Anyways, what about the other statement?

Statement 2: If p is lower than 1, then you get 0, “an infinite amount of zeroes.”

This is also obviously wrong. In fact, reader! Can you think of a counterexample which is immediately obvious if you think about it for two seconds? A real number p lower than 1 such that ζ(p) isn't 0?

If you said “zero, because zero always breaks everything in very obvious ways,” you have good intuition! You could have also picked any other real number lower than 1, but those are less obvious.

For 0, the reason it’s so apparent is that any number raised to the power of zero is just 1, so 1 + 1/2ˆ0 + 1/3ˆ0 + … just turns into 1 + 1 + 1 + … and so on for infinity. Very obviously, the series diverges, it “goes to infinity.” This is very different from converging to 0.

And just so we’re clear, the series also diverges for any real value of p lower than 1, though I’ll leave proving that one as an exercise to the reader, with the help that I’ll tell you the infinite series 1 + ½ + ⅓ + ¼ + … also goes to infinity. Again, Eva could not be more wrong if she tried. 

So, what went wrong here? Turns out, the way Eva defined the zeta function as an infinite series (a "sum of infinite numbers”) only works when p is a complex number with a real component higher than 1. That’s why it was important for her to say what dice we were rolling to determine p, what the domain of the function defined by the series is. For other numbers, you need to define zeta in different ways.

And what happened to the whole “infinite zeroes” thing? Well, you see, I have a theory. I think the devs must have read that the zeta function had “an infinite amount of zeroes for values of p with a real component lower than 1” (which is true, but doesn’t mean what they think it means), and misinterpreted from there. Fair mistake. I kinda wanna correct it using the TTG analogy, but I’ll leave that for the end of the post because it’s gonna derail the entire thing.

(I got carried away and explained everything I understood about the Riemann zeta function oops)

What you need to know for now; you can do some math tricks to define the zeta function outside of the infinite series Eva described, though a lot of those tricks are way above my pay grade. That way, you can evaluate the function for any complex value of p other than 1. In other words, you can roll different die for p, but it requires redefining what you're doing with that p.

Turns out, in doing that, some funky shit happens, and any time p equals -2n for any n which is a natural number (that is, p = -2 or -4 or -6 or -8, etc.), the zeta function will go to zero. Those values of p are known as the “trivial zeroes” of the function, and are obviously infinite in number. However, note that these trivial zeroes are exclusively negative even integers; there are plenty of real values of p lower than 1 for which the zeta function is not zero, so Eva still isn’t correct at all.

Though, to be clear, there are also zeroes of the function other than the trivial ones. This is actually where the Riemann hypothesis comes in. The hypothesis is that any non-trivial zero of the zeta function has a real component of exactly ½, with the only difference between them being the imaginary component (if you didn't follow, again, more detailed explanation at the bottom of the post). This (in our world) has not been definitively proven to work for every non-trivial zero, though it does work for the first several trillion. 

Absurdly nerdy math rant over

So TL;DR, Eva made some pretty big mistakes when talking about the convergence of the zeta function, mainly stemming from not properly defining its domain, but also just straight up getting the convergence wrong. It doesn’t converge exclusively to whole numbers for real numbers above 1, and has to be defined in a different way for real values below 1, not to mention that she never brings up the full function is actually defined for complex numbers other than 1. 

Obviously, this all likely stems from the creators not actually understanding the zeta function themselves, which is pretty funny.

But you wanna know what the bigger issue is? That even if Eva had properly explained the zeta function, her paper would still suck ass. Because there’s a much bigger, more fundamental issue with the very thesis it upholds.

I want you to take a step back. Really look past the complex math and weird terms and the contrast between the very serious sounding Riemann zeta function and the somewhat silly concept of a TTG… 

And realize that the thesis of the paper Eva describes is “analogies exist.”

She can frame it however she likes, but ultimately, that’s what the point of the paper was. Eva, where the hell did you even get this published? In fact, I think it’s silly for you to say that it’d have been better received if your talent was different, because without it, I don’t see a world where this shit could even be submitted to any journal with even a modicum of self respect!

And look, she’s not wrong. I get her point, that mathematicians often don’t put in enough effort to communicate their work to the layman, and would benefit from explaining things in more creative ways. That’s cool. But that’s the kind of thing you would write for, like, an article or something.

But a paper is specifically meant for research. Calling this thing a paper almost feels insulting to mathematicians. Like the concept of using analogies to explain math is an unprecedented discovery that required actual research to figure out. Unless this paper was also the one where Eva solved the Riemann hypothesis (which God I hope that was a different paper), there's no new information being presented here. It's at best a personal opinion piece, which is not what scientific papers are for. 

Am I silly for getting hung up on the wording of this being described as a paper instead of an article or opinion piece or whatever? Well, this entire post is silly, but I don't think it's because of that, because words mean things. And a scientific paper carries certain connotations that do not align with what Eva describes.

And this little issue casts doubt in her general skill as a paper writer. That's why I'm a bit skeptical about the paper she mentions about the "theoretical possibility of lightspeed travel.” Because, quite frankly, that paper topic sounds… meaningless? Like a bunch of technobabble?

Like, what exactly are you discussing about lightspeed travel? In fact, what are you actually referring to when you say "lightspeed travel"? Matter approaching lightspeed, or reaching or even exceeding lightspeed? The latter two are impossible according to current scientific consensus, btw. Or is she discussing a particular trick to get something from point A to point B in less time than it would take for light to cover that distance? There are papers discussing stuff like that, even if all the mechanisms are also thought to be impossible by consensus. And regardless of what she means by "lightspeed travel", what does she mean "theoretical possibility” of it? Like, genuinely, I have no clue. Is she speculating on whether or not it's possible? Is she speculating on the properties such travel would have? Is she proposing a theoretical method to do it? Is she doing something else entirely? The premise of the paper is too vague, is my point. 

This worries me because… well, to put it bluntly, experts in related fields (such as mathematics) attempting to make cool sounding physics theories (such as a paper on the "theoretical possibility of lightspeed travel", whatever that means) which are completely wrong and nonsensical is a real, observable phenomenon in our world. Check out Angela Collier's "physics crackpots: a 'theory’” to find out more. And also check out the rest of her youtube channel it's great.

What Eva is doing with that paper honestly sounds remarkably close to what Angela describes there. In fact, let's check out whether or not Eva's hypothetical paper fits any of the four points Angela brings up to spot a crackpot theory.

1. “Addresses THE BIGGEST PROBLEMS in physics.”

By this, Angela means that the theory addresses a problem or topic that anyone with a passing interest in physics knows is a big deal. Things like dark matter, gravity, black holes, and yes, "lightspeed travel.” You're not going to see anyone with a crackpot theory on the equation of state of real gases or Eddy currents, because by the point you know what those things are in enough depth to be interested in them, you probably also know enough to determine what a good physics theory is and what isn't. Eva's paper fits this point, but that doesn't necessarily mean Eva is a crackpot physicist, right? 

2 and 4. “Lacking mathematical rigor, experimental data, etc.” and “They are not physics theories”

I grouped these two because it's impossible for me to know whether Eva's paper would actually fit these points or not. She doesn't give enough details for me to say. I can tell you for sure it's not gonna have experimental data, but since it's theoretical physics, that's fine. So, we can maybe give her the benefit of the doubt? As long as she doesn't fit the last point too well maybe-

3. “Respond with anger, claim physics establishment has blacklisted them, cite Galileo/Einstein/etc."

Oh no. 

Eva [1st FTE]: I could write a research paper on the theoretical possibility of lightspeed travel, but no one would care…

Oh no chat. She might actually be a crackpot physicist. 

It doesn't help that her mentality in general is actually very in line with the mentality described in the Angela video mentioned above. That because she's a smart person (which she is; again, solved the damn Riemann hypothesis), she should be able to easily become recognized and respectable in any field she takes interest in. But that isn't how the world works. There's a reason people spend years of their life studying literature, physics, or mathematics, just to truly get a grasp of each discipline individually. 

Ok, but, like, what's my point? Am I going to include her misunderstanding of the zeta function and the possibility of her being a "crackpot physicist” in any character analysis? No, of course not. You're very clearly meant to think Eva is genuinely skilled in every field she approaches, because this is a fangan and Ultimates can bend the limits of humanity to fit a narrative. I'm perfectly willing to accept that Eva solved the Riemann hypothesis, as you've seen throughout this post, even though I'd be highly skeptical of anyone making that same claim in the real world, "Ultimate” or not. The same way I'd accept that a fictional character of any kind could manage to accelerate a particle to exactly lightspeed, even though I'd immediately call bullshit if someone claimed to do it in real life. The standard for believability is different for fictional characters than real people, basically.

Really, when you boil it down, I only take issue with the things Eva says because I'm genuinely passionate about the topics she mentions, and because she gives enough details about her work for me to see the cracks in the writers’ knowledge of them. I'm assuming this is a common issue with any fangan that tries to really explain what being an "Ultimate” in a particular field entails, because no one is actually well versed enough in sixteen different talents to actually say that for sure. That's why Eva off-handedly mentioning that she solved the Riemann hypothesis is much more effective as a way to establish her skill than trying and failing to get her to actually explain the zeta function. 

All in all, this is just a purely self-indulgent post for me to vent about issues I have with the way the writers tried to convey Eva's expertise. Feel free to completely ignore this for character analysis, because I sure will. I just needed to talk about it because I would explode if I didn't. Anyways, hope you enjoyed! If you made it this far, you deserve a function named specifically after you! See y-!

Oh right I almost forgot.

My Own Explanation of the Riemann Zeta Function Using the TTG Analogy

(Explained by someone with little more than Wikipedia access, take all this with a grain of salt)

Think of finding the zeroes of a function as a boss fight. You go up to them, and you cast a spell, generally in the form of a number, such that the function becomes zero when you cast it. For example, the Easy Function

f(x) = 2x - 6

can be defeated by casting “3”, since 2x3 - 6 = 0. 

Every function also has a “domain”, which is a set of spells you can actually cast against it. For example, since 1/0 is undefined, the Medium Function g(x) = 1/x has a domain of all complex numbers except 0. Casting 0 against g has no effect. You need a special spell, “limit when x tends to infinity” (or negative infinity) to defeat it.

The zeta function is a Legendary Boss, defined by the infinite series ζ(s) = 1 + 1/2^s +1/3^s + … 

(I changed p to s for a reason trust the process)

Many mathematicians had tried to defeat it before, but it seemed futile*. Its domain was thought to be all real numbers higher than 1 (they originally didn't think to use complex numbers against it), but no matter what number was picked, that first term was too powerful. Even casting “limit when s tends to infinity” only got zeta down to 1. Nothing in its domain seemed to work.

Until Riemann arrived. 

The zeta function chuckled, thinking this one to be like all the many others before him. But the legendary mage Riemann had many a trick the zeta function hadn't seen before. Tricks to make make the domain of the function larger, so that new Number Spells could be cast against it. Where everyone else had only ever attempted to cast real numbers against this boss, he wouldn't be satisfied with that. Without warning, he cast the first of many powerful spells needed to do what needed to be done.

"Domain Expansion; Proof of Complexity"

Since you already knew this part, I'll skip the proof, but basically, Reimann quickly showed that the infinite series which defined the zeta function for real numbers higher than one actually worked for any complex number with a real component higher than one.

The zeta function was impressed, but unconcerned. It knew damn well there was still no spell in this new domain which could possibly defeat it. "Nice try, but I'm not scared of some imaginary unit” it claimed. 

“I'm aware,” claimed Reimann. He raised his hands again, his mana swelling, and the zeta function frowned. “But you're mistaken if you think this is the end.”

Reimann looked at the Legendary Boss in front of him, and cast the following, powerful incantation, with the help of the runes described below. 

"Domain Expansion; Analytic Continuation"

To truly defeat the zeta function, one must understand the concept of an analytic continuation. This is where I falter, for I myself don’t understand what the fuck that is. However, what I've been able to gather is that the function 

𝜂(s) / (1 - 2/2ˆs) where 𝜂(s) = 1/1ˆs - 1/2ˆs + 1/3ˆs - …

is equal to the zeta function in the zeta function's domain, but is also defined outside of it. In particular, it's defined for any complex number with a positive real component, except for the points where

1 - 2/2ˆs = 0

(can't be dividing by zero after all!). That last thing excludes 1, for example.

Basically, think of the spell "Domain Expansion; Analytical Continuation” as a shapeshifting spell that transforms the zeta function from the previous definition:

ζ(s) = 1 + 1/2ˆs + 1/3ˆs + … for s complex numbers with a real component higher than 1.

to now being defined as:

ζ(s) = 𝜂(s) / (1 - 2/2ˆs) for the previously described new domain.

That way, its domain is expanded to include complex numbers with a real component between 0 and 1, aside from those where 2/2ˆs = 1.

But of course, Reimann wouldn't be satisfied with that. The next spell was simpler, but worthwhile nonetheless. 

"Domain Expansion; Limiting Singularity Removal"

See, turns out, all the points "z” where the analytic continuation was undefined, other than 1, where removable singularities (I think? I don't actually know much about complex functions :v), which means the spell "limit when s tends to z” returns a finite number l. That way, you can define ζ(z) = l for all of these removable singularities, expanding the domain of the zeta function to all complex numbers with a positive real component, other than 1.

Don't worry if you don’t know what a limit is or you didn't follow this part, it's not too important for this. After all, that last spell didn't worry the zeta function. What had truly taken it aback was the analytic continuation, which suddenly exposed a few weak spots of the zeta function to the world. Now, Reimann could defeat it once and for all, as long as he found the right spell in the new domain. 

However, the zeta function was a Legendary Boss for a reason. "Fancy tricks, but it won't be easy to find something to actually defeat me, you know,” it bluffed, hoping intimidation would work. Foolish hope.

"Oh, certainly,” Reimann agreed readily, smiling. The zeta function was confused for a moment, until it realized something horrifying. 

Reimann's mana was swelling again. He wasn't done. And for the first time since it's run-in with Euler all those years back, the zeta function felt true fear.

“It won't just be easy,” Reimann smirked. “It will be trivial.”

"Domain Expansion; Functional Equation"

This is another point where the math is beyond me, but I'll try to explain. Basically, Reimann proved that that equality up there holds true as long as s is a complex number with a real component strictly higher than 0 and strictly lower than 1.

However, you'll notice that if you take s as a complex number with a real component equal to or lower than 0 (other than 0 itself), then the right side of the equation is actually well defined, because 1 - s is a complex number with a positive real component (and not equal to 1 unless s is exactly 0), meaning ζ(1 - s) is well defined. You also don't run into issues with any of the other factors of that equation, including the Gamma function (𝚪). What that means is that this equation can be used to extend the zeta function's domain to all complex numbers other than 0 and 1. 

Think of this domain expansion as a shapeshifting curse. If you cast a complex number with a real component strictly higher than 0 (other than 1), then the zeta function defends by turning into either the analytic continuation from before:

ζ(s) = 𝜂(s) / (1 - 2/2ˆs)

or the limit for any values where 1 - 2/2ˆs.

Meanwhile, if you cast a number s with a real component equal to or lower than 0 (other than 0 itself), then the zeta function shapeshifts to be:

ζ(s) = 2ˆs 𝜋ˆ(s-1) sin(s𝜋/2) 𝚪(1-s) ζ(1-s)

The final step is yet another Domain Expansion; Limiting Singularity Removal on 0, where ζ(0) = -½. Again not really important for us. 

In any case, Riemann had done it. Five consecutive domain expansions, so that the zeta function's domain now included all complex numbers except 1. The zeta function was on its last legs, all that was needed was the final touch. For the inexperienced, you might think finding a zero would still be difficult, but the truly expert mages among you might have already noticed the weak spot in the functional equation. 

The sine function. A Common Enemy which goes to 0 whenever it's attacked by a whole number equipped with the Legendary Tier item 𝜋. And when a complex number with a negative real component is cast against the zeta function, sin(s𝜋/2) becomes one of the factors.

"You know what this means, don't you, zeta?” Riemann asked. And the zeta function couldn't muster a response before the legendary mage cast his final spell. "You lose.”

"Simple Spell; Negative Even Integer"

-2, -4, -8, etc. Any even integer s causes s/2 to be a whole number, so sin(s𝜋/2) goes to zero. And since it's multiplying everything else, the entire zeta function goes to zero. These negative even integers are known as the zeta function's "trivial zeroes", and because there are infinite negative even integers, it can be said that the zeta function has an infinite amount of zeroes.

However, just because the Riemann zeta function had been defeated, doesn't mean Reimann was satisfied. See, Riemann noticed that there were other values which could defeat the zeta function, and weren't negative even integers. These are the zeta function's non-trivial zeroes. And he noticed that all of these zeroes followed a pattern, so he tried to cast a Prophecy Spell.

A Prophecy Spell (or a theorem, in real math terms) is one that makes it so that, when certain conditions are met, something happens without fail. To cast a Prophecy Spell, you must prove it, which means using other prophecy spells, runes and unbreakable laws (axioms) to certify that it's a valid prophecy. 

I'll give you an example in case you're not used to the concept of mathematical proof, and cast the Prophecy Spell “if b is a real number, then b0 = 0". To prove it, I'll use two axioms (these are the building blocks of mathematics, and don't need to be proven because they just Are).

1) 0 + c = c (0 is neutral to addition).

2) b(c + d) = bc + bd (Distributive Property)

Now, observe the following:

1) b(c + 0) = b(c + 0) [Trivially true.]

2) bc = bc + b0 [0's neutrality used on the left, distributive on the right]

3) 0 = b0 [Because bc = bc, you can nullify the terms]

I chose this because it happens to be the reason you can't divide by 0. Division is formally defined as multiplication with the reciprocal, so to divide by 0 you must first define its reciprocal 1/0. 1/0 would be defined as a number such that 0 x 1/0 = 1. But we just proved there's no real (or complex) number for which that can be true, so 1/0 isn't a number, thus is undefined.

In any case, now you know what's needed to cast a Prophecy Spell. However, Riemann couldn't finish the Prophecy spell about the non-trivial zeroes. He couldn't find proof or a counterexample to refute it. And so, his unfinished Prophecy Spell went down in history… as the Riemann Hypothesis.

“All non-trivial zeroes of the Riemann zeta function have a real component of exactly ½.”

Although it's been proven to hold true for trillions of non-trivial zeroes, it has never been properly proven or refuted, so the Riemann Hypothesis remains… unsolved. 

God that was nerdy and cringy as hell. It was also super fun to write so I don't care :D 

*Look, for the purpose of the post, I'm saying Riemann did all this shit and is the first one to find a value for which the zeta function becomes zero. This is likely not historically accurate. I'm just doing it so the explanation flows better. This should only be taken as an explanation of the function itself, and not the history behind it.

[maspers]

Hundred Line as a TTRPG AU

Crap maybe this *is* my latest obsession. Anyway here's the AU where Hundred Line is a frankly insane tabletop game campaign being played by people who definitely had no idea what they were getting into. (Spoilers, obviously)

Takumi quite possibly had the most stressful time in the group's previous campaign, and was looking forward to something relatively more straightforward. He was also expecting to have significantly less of a role in the main plot, building a relatively simple Fighter character with a rather generic personality. He just wants to take a break, have fun with his friends, and not think too hard. Obviously this didn't pan out for him, and suddenly he's stuck dealing with being the centerpiece of the most convoluted plot known to mankind. He rolls with it, thankfully, but not without complaint.

Darumi has been begging the group to play a Danganronpa-style campaign for ages, and has finally decided to completely throw away subtlety with her character in this campaign. At first everyone is genuinely annoyed with her for doing this, but as the plot progresses and things get more complicated she starts getting more interested in what's actually happening in the game, which leads to her PC becoming more nuanced as things progress, culminating in some absolutely brilliant moments down the line that the group will remember forever.

Eito is a huge fan of playing very cliched character archetypes and injecting some personality into them to make them fun for everyone else at the table, so at first his character in this campaign seemed very on-brand for him... until suddenly All The Things happen and the rest of the group screamed at him for like twenty minutes straight. He just chuckles and comments that he's relieved none of the other players caught a glimpse of his character sheet earlier in the story and spoiled the twists ahead of time. Then he proceeds to continue playing the most unhinged character in the party. He also incidentally ends up having the most scheduling conflicts later on, but that doesn't stop him from still engaging in shenanigans every time he sits down at the table.

Tsubasa had been hoping to experiment a little in this campaign. When she learned the group had decided on aiming for a sci-fi setting, she thought designing a character around fighting in a vehicle would be interesting and unorthodox (it even required a bit of homebrew). Instead she ended up being this campaign's Only Sane Person, and all those mechanical Skills she got for the car ended up making her the only PC that can reliably do useful stuff outside of combat. She's at first a bit disgruntled about not getting more of the spotlight, but soon changes her tune when she realizes how insane this campaign is.

Nozomi actually wasn't originally part of this campaign, or part of the group at all, but she was a mutual friend of the group who'd expressed interest in playing. Plus, the group really needed a healer. So they let her join. Since she created her character after the others, she decided to give her PC a connection to the backstory of Takumi's character, just to spice things up a little. Since she's new to the game, the GM decided to help her out a bit too by sneakily telling her some of the plot twists in advance, but she ends up not needing much assistance. She takes to the game like a duck to water and soon reveals some really impressive roleplaying chops.

Shion is the campaign's Game Master, who has been working on designing this campaign for over a year and he is SO HYPED to finally show it off to his friends. He slammed the massive binder down on the table, said it was the outline for the campaign, and everyone recoiled in horror. But he'd proven himself to be a genuinely good and fair GM in the past so they were willing to give it a shot, and soon he had them all hooked. Which is good, because despite his massive collection of plans and notes somehow the group STILL manages to go off the rails and he has to improvise... which ultimately leads to him stealing plotlines from other genres.

The rest of the Hundred Line characters are NPCs, because despite them all being extremely cool having over a dozen of players in one campaign is a bit much. I considered Gaku, Kurara, Takemaru, and Yugamu as potential options for a sixth player but eh it wasn't the vibe. Yugamu might be Shion's GMPC? Perhaps most if not all of the NPCs are at least vaguely based on people Shion knows IRL. Gaku seems like the type of person who wouldn't have the time or patience to play with the group but he's still their friend or something so there's an NPC made in his honor.

They do in fact keep playing through multiple Routes. Shion asked everyone to keep backups of their starting character sheets "for reasons" which means implementing the "Special Review" mechanic isn't too difficult, and after everyone got over freaking out about the Day 100 reveals, they soon got really into the whole alternate endings gimmick. None of the group had ever played a campaign with a plot like this one before, and between Shion's extensive notes and everyone else's propensity for derailing things they can just keep coming back to this campaign over and over and over again whenever they have downtime. They all agree having the chance to explore the same group of characters from multiple angles is exciting. Even when they move on to other campaigns, the group often ends up coming back to this one to try out a new route in the form of a oneshot or twoshot game.

Other random thoughts on this idea:

When they finally did the Killing Game Route, Darumi literally shrieked so loudly from excitement that she shattered glass.

It's a running gag at the table that Takumi's character keeps getting love interests in each route. He's genuinely trying to avoid this, but he also cares too much about the game to deliberately prevent it ("It would be out of character!") and eventually he just groans every time another romance arc begins.

Honestly quite a lot of the game is the rest of the group trolling the heck out of Takumi. But he's a good sport about it, and they know not to go too far because usually the games are hosted at his place and he provides snacks.

Tsubasa didn't mean for vomiting to become a recurring character trait, it just kind of kept happening and soon she had no choice but to just kind of let it continue to be a thing. It really shouldn't be funny, but for some reason it never fails to get someone to laugh.

The entire Retsnom Route was Shion making things up on the fly ("monster" backwards? really?) and letting Darumi do whatever she wanted. It was nuts.

Shion does in fact do voices for all the characters, and he invented the entire Futuran conlang from scratch. He's very proud of it, but the players didn't really put too much effort into trying to decipher it during the first route so he just dropped it, disappointed. They didn't realize it was a full conlang until later on, and all of them apologized to him for not letting him show it off more.

The Cult of Takumi Route is this group's Noodle Incident. None of them will ever speak of it ever again.

Since this campaign was her first time playing this game, Nozomi ends up with a very skewed idea of what the game system is NORMALLY like. Now in every campaign she plays since, she's always way more paranoid about crazy plot shifts, even when it's someone else taking their turn as GM and clearly aiming for something more light-hearted.

Eito has never played a character like the one he plays in this game before or since, but because his character in this campaign was so jarring every character he's made since receives tons of side-eye and suspicion from other players. "I swear, I'm literally just playing a normal cleric this time, really! Can't you trust me on this?" "NEVER AGAIN."

Takumi has passed out on the table multiple times.

Everyone agrees Tsubasa is the MVP because of her ability to fix things and otherwise contribute to the party and plot in ways that don't involve combat or assorted shenaniganry. That, or it's because she always brings the food everyone likes, and is the one person actively trying to keep track of all the routes and points of divergences despite that having very little to do with her character.

Everyone has screamed some variation of "What even IS this?!?" at Shion at least twice. And "Are you kidding me?", as well as just exasperated screams and expletives. Shion just laughs it off.

Speaking of Shion, inviting a new player (Nozomi) was actually kind of a risk because Shion's games often have those "GM inserting their fetishes into the game for their own amusement" vibes. Shion isn't actually doing this on purpose, he's genuinely oblivious to just how Weird the Weird Stuff he puts in his games is, but while the group is used to it they're aware other people might get the wrong idea. Thankfully Nozomi's known most of the group for quite some time, so she kind of knew what to expect from Shion.

Just as how Darumi's wanted to do a Danganronpa campaign for ages, Eito has wanted to play a character wielding a scythe for ages. He's had the descriptions of Judge, Jury, and Executioner written down on a WIP Google Doc for half a decade, but in previous campaigns he either couldn't figure out how to make it work or it was just too unrealistic for the campaign setting (scythes aren't good weapons, really). But in this campaign Shion is letting the group do basically whatever they want for combat and Eito is ecstatic.

The whole "Nozomi stays by Moko's bedside for ages" thing genuinely caught Shion off guard despite most of the first route generally going to play, so he needed to make up the stuff about needing to get medicine in order to bait her away. The entire thunderstorm scene was a happy accident. Shion can't believe it worked out as well as it did.

Darumi actually made cosplay for everyone, and they all went to a local Con dressed up as their characters' combat uniforms. Quite a few people noticed and asked questions, leading the group to have to explain themselves and that their costumes were based off of their own TTRPG campaign that they'd been running for over a year and a half at that point. Someone recommended they try doing an Actual Play series. Obviously they couldn't do an Actual Play of their Hundred Line characters (since the audience wouldn't have context), but they still thought it was a neat idea, so instead their Actual Play series was Persona 2 (Darumi is GMing, Nozomi plays Tatsuya, Tsubasa plays Lisa, Eito plays Eikichi, Takumi plays Maya, and Shion plays Jun. And then when they do a second season for Eternal Punishment, Nozomi and Takumi are still Tatsuya and Maya but now Tsubasa plays Katsuya, Shion's playing Ulala, and Eito's playing Baofu).

"Shion I swear if you unfold your GM screen to reveal a laptop with a custom-programmed visual novel on it I will shove my water bottle down your throat."

Nozomi is not a violent person but over the course of the campaign she ends up slapping Eito in the face not once but twice. The second time was because he insisted on wearing sunglasses every time his character wore sunglasses, and pretending it was for the same reason.

All of the players vow to protect the Shouma NPC with their lives. Shion is baffled because Shouma's explicitly supposed to be a tank that soaks up damage and protects the players, not the other way around.

Each player has their own favorite route. Takumi's is the True Route, naturally.