#much less the mechanism by which i solved it

[beyondthisdarkhouse]

After months of research and development and market testing and perfecting the first item I feel confident selling online, I have realized... that it is an incredibly niche item that only a specific subset of absolute nerds would want to buy, and I will have to do a ton of explaining the basic idea over and over again before people generally get what it is I'm even selling. RIP me

[msmk11]

Don’t Care Less

therapist!Remus Lupin x gn!reader

Word count: 1k

CW: really not much; angst ig since reader is crying and upset but mainly just hurt/comfort

Summary: Your therapist, Remus, cares about you more than he should.

A/n: Hey all! Here’s a cutie little Remus fic for you. Idk what inspired me to write this but I can always use a little Remus comfort in my life :) I hope you can too!

No decent person liked to see others in distress, Remus Lupin included. But he could handle it. That’s why he was a therapist. Because he had thick enough skin to handle seeing people in pain, he decided to use it to actually help others. This had been true all of his life- until now. And you were the cause.

You- one of his newest clients and maybe also his prettiest. Scratch that, you were not only his prettiest client, but also the prettiest person he’d ever seen. With your big, soft eyes, enticing lips, and crooked smile, you had consumed all of Remus’ thoughts. His little crush on you, however, had made it very hard for him to do his job. Especially when you were crying.

Remus didn’t just dislike seeing you in distress, he hated it. It took everything in his power to not just swoop you up into his arms, brush your tears away, and kiss you silly until you’d forgotten all your problems. Alas, you were his client and he valued both his job and your trust. So as you sat across from him, tears streaming down your face and head in your hands, he was using all his restraint.

You’d been sobbing for about five minutes straight now, and it hadn’t lessened up.

Remus shifted forward in his seat and handed you the tissue box as a sort of peace offering. You weakly took one and blew your nose, trying to quiet your sobs.

“I’m, s-sorry,” you hiccuped, “once I started crying I just couldn’t stop.”

The brunette smiled warmly at you, “what have I said about apologizing? This is a sorry free zone.”

You gave him a faint, teary smile, and he was pretty sure his heart broke on the spot.

“Sor-“ You caught yourself before apologizing and had the decency to look sheepish.

Remus stood and went to get you a cup of water from the water jug in the corner. You accepted it with shaking hands and greedily gulped it down.

When you finished, you crumpled the cup and looked at him across the table, “I guess I didn’t realize how much I had pent up inside me. When something shitty happens, I guess I just push it down and move on. Because if I let every problem get to me, I’d fall apart. I’d never be able to put myself back together.”

“It’s your coping mechanism,” he said, understanding in his eyes, “which I’m glad you have, but it also can’t be your go to all the time. Holding it in isn’t healthy.”

Your bottom lip quivered a little, “I know. God, I know. It’s just a hard habit to break. When I’ve been doing it all my life, I don’t know any other way.”

Remus let out the smallest of laughs, “trust me, I know what you mean. Even to this day, I’m a chronic represser. It certainly feels easier to just ignore the problem. But it never really solves anything. And then it comes back ten times worse the next time.”

“Well, how do I stop it? How did you stop?”

Remus took a small sip of his tea and then looked at you honestly, “I haven’t fully stopped doing it, but I’ve gotten better. I’ve found people in my life who can hold me accountable. Who call me out when they see me trying to bottle up my feelings. I’ve found someone I can trust to talk to. Can you think of someone?”

You seem deep in thought over his question and the little furrow that formed in your brows made him swoon.

“Well, I, uh,” you paused nervously and Remus nodded at you to continue, “you. I guess. You’re the only person in my life that I feel like I can truly trust.”

“Though I guess I pay for your trust so I’m not sure that counts all that much,” you added with a slightly bitter scoff.

Remus’ heart both warmed at your confession that you trusted him the most, and also ached. You were right, of course. You did just pay him to be here. But how could he tell you that he actually cared so much more? That he cared about you after hours, out of the office, at all times of the day.

“Of course it counts,” he choked out, “sure, you pay me to be here, but I also want to. I’m a therapist because I care about people and about helping them. I care about helping you.”

And then, ever so quietly, he said, “maybe even a little more than I should.”

Your eyes shot up to meet his gaze and you were shocked by its sincerity. You think you might’ve shuddered a little and so you gripped your arms, pretending it was just cold, though you’d never felt warmer.

He stood and slowly moved around the table towards you, “I know it’s unprofessional, but I care about every little thing about you. When you smile I feel happier. When you cry I want to hurt whoever hurt you. Every time you tell me a little tidbit of information about your life, I soak it up, committing it to memory like my life depends on it. And I’ve tried to care less. I really have. But I can’t help it.”

“Please don’t,” you responded quietly. So quietly, he almost missed it.

“Don’t what?” He asked with bated breath.

“Care less.”

Remus was sure his heart stopped.

“Please,” you nearly pleaded, and then Remus was at your side. He drew your hands into his.

“I don’t think I ever can.”

You looked at him with these hopeful, begging eyes and he couldn’t resist you anymore. He pulled you close to him and placed the tenderest of kisses to your forehead. You nearly melted under his touch.

“What about your job?” You murmured into his chest.

He pulled away a little and looked into your eyes seriously, “we’ll find you someone else to see. And they won’t be better than me, but that’ll be okay, cause I’ll still be there. I’ll just be more than the ‘professional help’- as someone who doesn’t just care about you, but cares for you.”

“I, I’d like that very much, Remus.”

And his name sounded so good rolling off your lips for the first time, he had to restrain himself, yet again, from kissing you silly.

[theresattrpgforthat]

SYSTEM OVERVIEW: Forged in the Dark (FitD).

I’m taking a break from my regular recommendation posts this week to talk about a few different indie ttrpg systems that have gained a lot of traction over the past few years - how they work, why I like them, and what kinds of games there are out there that use them!

I don’t think it’s a secret that I’m a big fan of Forged in the Dark games. I’ve sung the praises of games like Brinkwood, Slugblaster and The Wildsea time and time again, and I’m even designing my own FitD hack! So let’s talk about what makes this system tick.

The Action Roll

The core mechanic of Forged in the Dark games is the Action Roll. To do most things in these games, the player will have to assemble a small pool of d6s. These dice may come from skills, special abilities, inventory - it depends on the game, but you’ll usually have somewhere between 0 and 4d6 to roll.

When you roll, you look for the single highest dice (or multiple highest, if you manage to get two 6s). If your best result is a 1-3, you’re not going to get what you want. If your best result is a 4/5, you’ll probably get a success with a cost - whether that be harm, only part of what you want, or more trouble down the road. If you get a single 6, you do it - and if you get multiple 6s, you do it well!

What I like about this is that it’s easy to tell at a glance how well you do, and that the dice used for this system are the most accessible dice on the market. Not only that, the possibilities of a 4/5 are quite broad - you could have a consequence that is physical harm to the character, but you could also embarrass them, break their stuff, or just hint at bad things to come!

But Mint, how do you roll 0d6? Well, in particularly difficult scenarios, the player will roll 2d6 and take the lowest number instead. This originates from the progenitor of Forged in the Dark games, Blades in the Dark, which is meant to be particularly difficult and punishing.

Position & Effect

Another core mechanic of FitD games is Position & Effect. These are narrative tools that help the GM communicate to the players how dangerous the proposed plan of action is, as well as how likely the characters are to succeed.

Position is going to be Controlled, Risky or Desperate, indicating how much danger the characters are in, but also the stakes of failure. Failing a Controlled roll means you’re probably going to get out of there with minimal harm, or possibly a chance to try again. Failing a Desperate roll means that shit is going to hit the fan, and you’re going to be caught up in all of it. Risky rolls are somewhere in the middle, and considered the "standard" difficulty.

Effect is a metric for how successful your character is going to be. Picking a lock might not be dangerous, but if your character isn’t a thief and doesn’t have any lock-picks, they might not be very effective! Players can alter the effectiveness of their actions by changing how they go about solving a problem, using the gear they have on hand, or agreeing to approach the problem from a more desperate Position.

What I like about this is that Position & Effect encourage conversation and agency between the GM and the players. The players have final say over what they do, but the GM is able to communicate why they feel certain approaches may be more or less effective. The story is generative, and the way the rolls are adjudicated allow all of the parties to contribute to what happens next.

The Resistance Roll

Related to this conversation about agency is the Resistance Roll. If a player doesn’t like the consequence that the GM hands out, they can choose to Resist the consequences. They usually do this by rolling a certain number of resistance dice, and spending a player resource called Stress. (Other games use other names.) Depending on the consequence, the player might resist it outright or reduce the severity, but spend too much stress and you run into different kinds of consequences - whether that be Trauma (Blades), Trouble at Home (Slugblaster) or something unlucky (Antiquarian Adventures). Stress can be managed during a phase typically called Downtime, through various activities dependant on the setting.

I like this mechanic not just because it gives players agency, but also because of the Stress track tied to it. This is a player resource but it can also be a track pointing a change in the character, a chance to build in narrative themes, or a reason to role-play certain narrative effects. Many different FitD games use Stress in a number of unique ways, and I think tweaking this element can do a lot to determine the tone of the game.

Crew Sheets

This leads to the next bit of Forged in the Dark games that I really like - Crew Sheets. Similar to a number of other narrative games, FitD has character playbooks (which are kind of like character classes in D&D, but also are a carryover from PbtA games - I’ll talk about them more in the PbtA post), but Forged in the Dark games also have a uniting theme that gives your players a reason to work together.

In Neon Black, this is your local community, which both takes care of you and asks you for favours. In Moth-Light, this is your Pact, which determines not just your group’s goal, but also the tone and themes of your story. In Brinkwood, this is your Rebellion and the Faerie patron who is taking care of you - but it’s also the Mask playbooks that all of the players share, with special magical powers that help you fight Vampires.

Modular Systems

There are bits and pieces that also exist in FitD games that help define the experience. Clocks, for example, are abstract representations of looming consequences or player goals, and allow you to work towards a big pay-off over time. Factions can represent a changing social landscape, with friends and foes that you can turn to for help or strike out against in order to gain ground. Harm can alter how many dice you roll, or how effective you are when acting. These are interlocking pieces, but they’re not necessarily required.

Most of what I’ve covered in this post is not strictly necessary for a Forged in the Dark game. The Wildsea doesn’t use Stress or pre-set playbooks. Protect the Child doesn’t use Trauma. Scum & Villainy adds a Gambit mechanic that gives you extra ways to earn dice. Slugblaster changes how you Resist consequences, and External Containment Bureau moves the Clock mechanic to the front and centre, while doing away with Factions pretty much altogether. All of these games have enough pieces to be considered Forged in the Dark, but the play experience is very different, and each mod included, altered or dropped are usually choices that support the genre or tone of the game.

I’ve talked about a number of Forged in the Dark games in the past, but here’s a few more that I’ve got my eyes on.

Dusk Academy, by Skullery Maids, is a game about a private school for teaching magic to girls.

CRASH/CART, by Galen Pejeau, is a game about paramedics in a near-future California.

a|state, by Handiwork Games, is a game set in a strange and Dickensian city.

Girl By Moonlight, by Evil Hat, is a game about magical girls, mech pilots, and other larger-than-life characters.

There is a good list of Forged in the Dark games on the Blades website, and I've also got a Forged in the Dark collection on Itch.io!

If you are looking to make your own game, John Harper has released the Game SRD on the BitD website. These rules are licensed under the Creative Commons Attribution (CC-BY) license, which means that you can create your own games using this system as long as you give appropriate credit to Harper.

What Forged in the Dark game has caught your eye? Let me know in the tags / comments!

[bonzos-number-1-fan]

TMAGP 21 Thoughts: Y2K [Error]s

And we're back, again. Albeit I'm back quite late. This one was an interesting one to start act 3 with. On one hand it's a really good recap for what's lead up to this and a great foundation of what we can presume is to come. On the other hand it's an episode I think is deceptively devoid of new information. There is obviously new stuff to dig into here but in general I think it's not a lot of major stuff and mostly reinforcements of stuff we're already well aware of, or confirmation of stuff that I feel was about as good as confirmed anyway. With that said, this will be quite a read because what there is to dig into does go pretty deep.

Spoilers for episode 21 below the cut.

The conversation with Sam and Celia has a couple of interesting bits in it. Some of it's fairly obvious but there is at least one thing I've not really seen people talk about with it. So, Sam is flirting with the idea of of quitting, which is very Sam, and Celia pushes for him not to and tries to get him back "on track" in regards to the Institute, which is very Celia. Celia does care about her co-workers but obviously she's out for herself more than anyone else in the office. Her "complicated immigration status" is another is a long series of alternate-universe references. I think her comment about the OIAR's lax background checks is a more compelling detail there. Presumably there is a TMP version of Celia, who may or may not be called Celia. So you wouldn't necessarily expect there to be an issue there. "Celia" Ripley does likely exist and is likely British and would likely qualify for a position in the OIAR. Yet the way Celia frames it suggests she thought it would be an issue too. Either something that might come up after she got the job or something to be solved in order to get it. What I think is interesting about that is that it suggests to me that her identity isn't the problem but that they'd have some way to tell she's not from this universe.

That's all pretty normal stuff for this show though. The most interesting part of this is Celia's statement that she has to stay because he can't take Jack back to wherever she came from. I've seen a lot of musings on it but nothing that's gotten to what I feel is the heart of the problem there. Jack can't come with her because Jack is a baby and so can't understand and then engage with the mechanism she used. Which basically confirms that however she did it is much close to Darrien's meditation-induced-travel than, say, a portal to walk through. She doesn't rule out that she couldn't go back either so however it works it would have to be something Jack would have to participate in. Although there is the possibility that she's currently sharing her body with the actual TMP Celia and has merely brought her consciousness over and that Jack can't go because there is no body to return to. The problem with that though is the aforementioned background check. If she was physically living as TMP's Celia then there isn't really a concern there at all. Along with Lady M being about to smell that she's different it probably rules that out. Not a strong confirmation but certainly more pointing in the direction that Celia's body is hers which in turns makes the issue with Jack less likely to be that there is no Jack in Celia's home universe to body hop into.

Okay, so on to the incident proper. Honestly, not a huge amount to dig into this one IMO. Obviously a fair bit happened but it's mostly surface level. Which isn't a bad thing but for the sorts of things I tend to talk about it does limit what there is to say. I'd rather not recount things unless I have something to say about them beyond the text itself. There are still a few things to mention here all the same. Firstly, speaking of Darrien the Dr Welling that is mentioned in the episode is very likely the person who gave their name to Welling Mutare Materia where Darrien was incarcerated in episode 17.

Next up, while it's not talked about in explicit detail there is one thing that sums up the point of this ritual, the "Great Work". Anyone into alchemy will be well aware that this refers the creation of the Philosopher's Stone, the Magnum Opus. Immortality, turning lead to gold, spiritual enlightenment, all of the above. Ask 5 alchemists what it's about, get 6 answers. There are some pretty major implications to this that I've not really seen touched upon. Firstly, it's a near direct confirmation that the OIAR and the Magnus Institute are directly adversarial. If the Institute's goal is the completion of the Great Work then the OIAR's purpose is to prevent that and it's something they. mostly, openly broadcast. The symbol of the Magnum Opus is circle housed in a square, housed in a triangle, that is housed in another circle. That symbol is found in the OIAR's insignia but inverted. Which is about as blatant a statement of opposition as you can really get. In turn that also largely confirms that the OIAR are responsible, or at least wanted to, burn the Institute to the ground. The timing of this is very likely not a coincidence either. This letter is dated 04/01/1999, the dome they're referring to in it (the O2, formerly the Millennium Dome) was opened 31/12/1999, as you might expect. The Institute burned down just 7 days prior to that happening.

Secondly, knowing that the Great Work is pretty obviously the goal at this point recontextualises things like catalysts and agents. As well as the general purpose of the Institute as a whole here. The Great Work isn't generally seen as a bad thing in alchemy, like, it's the whole point of the art. It also doesn't seem like the Institute itself is necessarily perverting that idea either. The PoV character is certainly not happy with the idea that this ritual will harness fear and despair is too great of a quantity. So it doesn't seem out and out capital E Evil as a plan. At least as presented. However, there is

Next up, the Millennium Dome itself has a few interesting elements to talk about in this context. The most obvious one is the Millennium Experience which was a kind of its whole thing for its first year. This was an exhibition of all sorts of bits but of relevance is that the exhibition has split into three major themes; Who We Are, What We Do, and Where We Live. 3 is a fairly major number in alchemy thanks to the tria prima. They're divided further still and Who We Are splits into Body, Faith, Mind, and Self-Portrait. These have some loose alignment with the tria prima, the body, the soul, and the spirit. This is something other people have brought up though and it's not actually the thing I think is exciting about the Millennium Dome. Especially not in context to the episode. The dome is important as an architectural work first and foremost. Everyone should go have a look at it because its major feature is incredibly relevant to the Great Work, this episode's details, and the show's explicit references. The feature of the Millennium Dome are its twelve 100 meter support towers. IRL the 12 towers were chosen mostly because of the strong associations with time, both hours and months, but in this episode a lot of weight is given to the astrological and there are 12 signs in the zodiac. But 12 is also incredibly important for the Great Work too. Typically there are 4 stages that you must take to complete the magnum opus but these stages were expanded upon by various scholars. 12 is a number multiple sources land on. 12 is especially relevant for TMP because it's what's laid out in The Compound of Alchemy; or, the Twelve Gates leading to the Discovery of the Philosopher's Stone, written by George Ripley in 1471. Ripley is a very noted alchemist and importantly Celia is his namesake. It really just ticks a whole lots of boxes for "big important thing" in a show like this.

As a final note on the Great Work its presentation as a universal transmutation is quite a shift from more traditional interpretations. As mentioned it's a bit all over the place as for what it means but this incident seems to portray it as something akin to The Change in scale. Universal and far-reaching. It's hard to say too much more than that based on this episode alone but it's worth keeping an ear out for in the future. Even if this version of it is benevolent I can see why something of that scale got them firebombed.

Also, is it just me or does Chester sound much more roboty to start here than in other incidents?

After the incident it's Alice and Lena having a bit of a chat. Alice in this scene is a little peculiar to me, she's very quick to accept that Sam is correct about being lead to a conclusion by Freddy. Although I'm not sure how that reflects on her stance in the last episode. She was obviously trying to protect Sam but it didn't seem like she was lying about not believing his whole conspiracy there either. In this scene though she's pretty sold on the idea. Lena having a heart is nice to see too. I like that she's opening up a little more and is subverting some of the expectations of her assumed archetype.

Gwen and Ink5oul's section is pretty self-explanatory IMO. At least as far as those two characters go. Ink5oul's powers are progressing and she's now able to control mundane tattoos she had no part in producing but beyond that it's pretty expected stuff. Obviously the real standout here is [Error]. Firstly it's a confirmation that they're the one compelling people to spit out statements. Not that I think that confirmation is much of a reveal. There are a few bigger details to pick at here though. They've seemingly marked the whole gang for some reason. If the above is correct, and the OIAR is directly opposed to the Institute, it could just be revenge. Albeit that labours under the assumption [Error] has some sort of allegiance to the Institute. Which I think isn't entirely certain at this stage. The way the transcript describes them is also very perculiar.

A Figure emerges, shrouded in a cloak of whispers. … The Figure continues to emerge, a nightmarish specter of an older world, slowly enveloping Ink5oul’s brash bravado … The Figure breathes deeply, a strange and disconcerting sound, enveloped in pained whispers.

They're three details worth mentioning there. The first is their almost ephemeral description, they emerge and then continue to emerge. Which is a strange phrasing if they were just walking into the scene. The whispers I think are fairly obviously the statements they force on people, not much to say there. "Ink5oul’s brash bravado" speaks to what I was discussing in last episode's post. Ink5oul seems to be fairly inauthentic in a lot of their interactions and are putting on a persona to seem like they're more of a badass than they really are. Outside of that there is just this to mention.

The tape recorder bites Ink5oul before clicking off.

I've seen it brought up a lot and I get why, it is quite funny, but I think it's also speaking to a larger thing. [Error] appears to have much greater control of these than we might be familiar with. I'm not going to get into TMA spoilers but [Error] seems to be conjuring, and commanding, these things themselves which is a very different vibe. I think they might serve a similar purpose overall, the gathering of statements, but more purposeful and I could also see them being [Error]'s physical tether to the world. If they are as ephemeral as the transcript hints at the tape records might serve as their anchor. It's something they can move about but it might be their vulnerability.

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

Incident/CAT#R#DPHW Master Sheet and Terminology Sheet

DPHW Theory: 4254 seems about right but it's also such a weird one that it's hard to really quantify. It doesn't strike me as wrong in any way but the focus of the incident was not on the, well, incident. So it's hard to say.

CAT# Theory: CAT2 is a 2 and I don't have a huge amount to say on these as of yet.

R# Theory: BC seems right. It's what the last letter about spooky shit was rated and this seems to hit all the same notes I mentioned in the ep 19 post.

Header talk: Architecture (Landmark) -/- Corruption (Entropy) is another of those strange ones. Our third in a row. Which likely means they're here to stay, and while that's generally fine by me it does make me wonder what the diegetic reasoning is here. It's a pretty sudden shift to just do this now and it never come up before this. It's also not something mentioned as new either. Corruption (Entropy) is fairly interesting though. It makes sense for the incident but it feels like you could've just done "time" here for the same effect.

[foolishlovers]

hiii!!! do u have any recs for long AUs??? thank you! :]

of course, i love long good omens AUs, here are some of my favourites:

[you can request more fic recs here.]

Golden Handcuffs by seekwill (E, 70k) Far from any city, near the Scottish coast, Tadfield College has a celebrated history, an unrivaled academic reputation, and two departments at war. When the Biology and English departments are forced to share a building, Senior Lecturer and botanist Anthony Crowley finds himself drawn into the orbit of the polite but strange English professor, Dr. Aziraphale Fell. As the new term begins, two academics navigate the politics of both their offices and academia, and try to solve the puzzle of one another.

Fifty-Two Blue by bendycello (M, 84k) It would be a gross understatement to say that Crowley simply didn't like Aziraphale. He was posh and stuffy and arrogant, and Crowley couldn't figure out why everyone else in the program liked him so much. It hardly mattered; they were competitors, and Crowley didn't need to make friends to become a surgeon. It takes several unleasant encounters, the excessive use of house plants as a coping mechanism, and getting stuck in an elevator for Crowley to start reconsidering his priorities. Or… Crowley and Aziraphale are surgical interns with competitive streaks a mile wide each, and they really do not like each other at all. Until they do.

Waking Up Slow by the_moonmoth (E, 87k) “Then you’ll just have to come back with me," Aziraphale said. “You what?” “You’ll have to come and isolate with me, at my cottage.” The thing about messing with people, Crowley thought, was that sometimes, they genuinely surprised you. After both being exposed to coronavirus, total strangers Crowley and Aziraphale are forced to wait out their isolation together. A tale of soft winter romance by the sea.

Slow Show by mia_ugly (E, 95k) In which temptations are accomplished, grand romantic gestures are made, and two ineffable co-stars only take four seasons of an award-winning television program to realize they’re on their own side (at last, at last.)

Car Trouble by summerofspock (E, 102k) Aziraphale's car breaks down so he takes it to the first mechanic he can find. From there, his mundane life changes drastically as he finds himself befriending the man fixing his car.

on the same page by Chekhov (E, 117k) Aziraphale Z. Fell is a rising star of the spiritual literary genre - the next Eat Pray Love guy - and his version of Chicken Soup For the Christian Soul is flying off the shelves. It's not that he's not grateful, but it's one thing to enjoy a career in writing and another completely to be pigeonholed into a specific genre, so much so that you are almost forbidden from writing anything else. So yes, maybe he has a bit of a secret. An outlet for his less… appropriate urges. And yes, if his typical readership got word of the sort of paragraphs he could put out on a particularly inspired night, they might suffer some form of heart attack typical for their age. But all of that is well hidden, and there is absolutely no way anyone would ever find out about his Arrangement with A.J. Crowley - the most debaucherous romantic fiction author of the decade. That is… until they have to pretend to be married to each other.

Married at First Sight by Aracloptia (T, 146k) “Well, that was a thing,” Crowley said once they were out of earshot. Without talking about it, they were both heading down the field, towards the lake where the photographer (and likely a few more people from the TV crew) was waiting. “That was a wedding,” Aziraphale replied, surprised at his own annoyance that somebody called a wedding a ‘thing’. “Yeah, obviously, didn’t miss that part,” Crowley said with a shrug, and waved abruptly in Aziraphale’s general direction. “Neither did you, from the looks of it, since you’re dressed like a wedding bride and everything.” “Excuse me, I am a—“ Aziraphale stopped himself, and started over. In which Aziraphale ends up marrying a rude stranger who wears sunglasses.

Old Vines by sevdrag (E, 189k) A.Z. Fell, one of the most respected names in wine and food blogging, has been sent on assignment with his assistant Warlock Dowling to spend six months in California Wine Country. Under direction (by his boss, Gabriel) to use this experience to double his blog followers and write a novel, Aziraphale is both excited and anxious about the opportunity. Anthony J. Crowley is the owner and viticulturalist of Ecdyses, a winery that unexpectedly fell into his lap eleven years ago when he hit rock bottom. He may be in debt, yeah, but he’s paying off his loans — and despite pressure from his lenders and their team of inspectors, Crowley has found a kind of contentment tending his little corner of terroir and producing extraordinary wine. Crowley’s old vines are the heart of his vineyard, and he’s never let anyone in. Crowley finds Aziraphale intriguing; Aziraphale finds Crowley enthralling. Turns out a famous wine expert and an experienced viticulturalist can still learn things from each other. The summer of 2019 unfolds.

What We Make of It (Shotgun Wedding) by charlottemadison (E, 213k) The important thing, Crowley tells himself -- the most important thing -- is Adam, his brilliant, creative, empathetic nephew. Being fourteen's hard enough; the kid didn't ask to deal with the weight of the world on top of it. And if taking care of Adam means Crowley has to tough it out at a job he can’t stand, so be it. And if Crowley's job means that Adam’s charming English teacher is NOT a romantic possibility, well, that's just how things go. But the occasional drink with Aziraphale proves hard to resist. They frequent the same pub, so who can object to them saying hello? Briefly sharing a table? Perhaps a little conversation? The painful knowledge that it can’t be anything more -- not without somebody getting fired or sued or both -- well, that can't be helped. Until Crowley stumbles onto a terribly reckless idea…

[roseapov]

Thanks to Havria

Zhongli x GN!Reader

Tw: mentions of obsession, fixation, manipulation, worshipping, killing, mentions of diving powers, manipulation into a marriage

Spoilers to Zhongli's Story Quest Part 1

Povtober 2023, Day 9 [Masterlist]

For the first time, you met under the moonlight. The moon was in full set, giving you much needed light. You tried solving puzzles to Havria's domain, as her follower. Follower of the Goddess of salt, that you admired more than anything.

With your lack of knowledge on the real story of Havria's death, you blamed it all onto Morax, the Geo Archon.

When the man caught you red-handed while you were messing with mechanisms blocking your way to your Goddesses hideout. His gaze made you tremble, not knowing why, reminded you of the god people of this land worshipped and you loathed, the thought of him making you shiver with dread.

You couldn't move, your body like in paralysis. The only thing you could do was to stare at this mysterious man in expensive brown attire and seconds after you blacked out.

When you woke up you found yourself laying on the bed in the Bubu Pharmacy. How did you know? You were a common guest here cause of your concern for the doctor Baizhu health.

What you saw after a few seconds was the same man from the last time, sitting at your bedside and staring at you. His gaze was so stern, so intense, you felt like he could see right through you.

What made you confused is the fact, that after you blinked he looked completely.. normal? He didn't had this heated gaze, and his aura became less suffocating.

The brunett introduced himself as Zhongli, and asked you to introduce yourself even though he knew it all already. Against your better judgement you did given him your name, only to later regret dearly this course of action, cursing your past self.

His eyes gleamed with an gold glow, but you shrugged it off as you being tired another grave mistake.

He offered to make a contract, he would take care of you, which left you puzzled. Why would he want to take care of you? He don't know you, right? You disagreed to it immediately. Poor you, completely unaware of the ace he had in his sleeve.

'Let me take care of you as my spouse, in exchange, I'm going to tell you all I know about your Goddess, Havria.'

He said the words 'your Goddess' with a bit of a spite, yet you were in such a euphoria that you haven't seen a thing, another huge mistake.

Havria? Your Goddess? He knows something about her?! But how? Her history is lost to time! How can he know something about it? And also, being his spouse? That decision should take time, but the informations you could get from it! Besides his taking care of you surely won't will last forever, right?

After you signed his contract, excited to hear the news about your deity the only thing you heard was:

'I haven't killed Havria, you're gonna understand the meaning of these words soon. You will know the rest of the story when the time comes'

That was dissapointing. He? Killed Havria? But how? Isn't he in his 30's at best? Why would he suggest such a thing? Is there more to the story than you imagined? Is it all he's gonna say to you? When the time comes? But that can take forever! And why is he leaning towards you? He.. he kissed your cheek? You completely forgot you will have to be his spouse!

Maybe having a follower of Morax as your husband wouldn't be so bad? After all he did make a contract with you, so surely he will be loyal to these conditions, right? And surely he will let you go afterwards, you just need to wait for 'when the time comes' and then you'll leave him. Sounds easy, right?

If I made some grammar or language mistakes, I apologize. I'm going to correct them all when im gonna be on the actual days in Povtober or after Povtober

~roseapov

[raisedbythetv89]

To me, I don’t think Buffy or the audience can ever truly know if she’s in love with angel or just in attachment with him. I believe she is just in attachment and especially before innocence and after his encounter with the first, just full on enmeshment with him. No boundaries whatsoever, his pain is her pain (which is extremely common in parentified children who feel they have to protect their parents from their pain like what buffy does with joyce), just like how she describes her feelings towards riley later which is NOT a good thing, empathy is good, taking on others pain as if it’s your own is extremely unhealthy. (Yes I’m pulling on my psych degree for a tumblr post, human behavior and buffy are two of my special interests)

What I mean by “in attachment” is that she has all of the same anxieties and insecurities about angel that she does with her father. Angel’s erratic and unpredictable behavior plays on her anxious avoidant attachment style SO AGGRESSIVELY. He keeps showing up, giving her little information at all and even less about himself and then vanishing leaving her hanging, and anxiously wondering about him which can mimic thinking you’re romantically interested when really it’s just an unresolved problem you desperately want to solve. She has a lot of valid criticisms about him before they’re officially together about his inconsistencies, him treating her like a child, him being too old for her and then all of a sudden she’s saying she wants to die when they kiss and that she loves him (after he forces her to say she loves him before he’ll tell the truth about drusilla). That is exactly how falling into attachment goes. Once you’re hooked all your feelings that are caused by a bad relationship with a parent are projected onto the partner who you are unknowingly recreating that dynamic with which is why such intense and strong feelings can happen so quickly and suddenly you’re ignoring all concerns you had before forming this attachment with someone.

He’s not her soulmate, he’s just the first guy to treat her like her father did and if you don’t address that cycle the relationship is recreating it can be impossible to move on because they will ALWAYS feel like something is unresolved and if you don’t know why you feel that way you can misinterpret it as true love or destiny because why all would you suffer so much and still love them if it wasn’t? It’s a mistake SO MANY of us make in our romantic relationships and these portrayals of unhealthy attachments being sold to us a soul mates doesn’t help us at all.

She does it with Riley also but she walls herself off so she doesn’t get AS attached to him as she did angel but their relationship is still her trying to fix the relationship with her father by changing herself so maybe this time he’ll stay. It’s why his opinion still matters so much to her when he comes back in season 6 despite him being a truly awful person to her who has done nothing but make mistakes and whose opinion should not matter to her at all after everything he put her through. He is another pseudo father figure she craves approval from.

It’s why I love her relationship with Spike so much despite all the bad they go through before season 7. We know her feelings are real because Spike doesn’t play on her anxious-avoidant attachment at all because he is ALWAYS there even when she’s mean and claims she doesn’t want him there. And to me everything they do to each other makes perfect sense, their relationship is exactly what two people with severe trauma and one with anxious-avoidant and one with just anxious-attachment going into a relationship together looks like. You hurt each other A LOT because you’re working out all your issues with each other and they don’t have ANY help from a therapist or someone who can help minimize the hurt so they both just use their worst coping mechanisms and the fact that they go through all that and still get to be together and happy and healthy on the other side is just everything to me because that so rarely happens in the real world, where you get to be with the person who was also a catalyst for healing and having to go through all that suffering together only to have to start over -hopefully from a much better place - but still with someone else BLOWS. So Spike and Buffy to me are about hope and healing (including the unpleasant and very ugly, dark parts of healing people rarely talk about) and getting to do each phase of that with someone AND enjoy being happy and whole together is just UGHHHH I love it so much.

[sweeetrandall]

Im gonna talk about personalities (and autism) in professor layton for a second, especially in miracle mask.

it is very tragic that layton isn’t even really his own person. Like he was struck with death during a time he was still struggling to form his own identity. He really was sort of just following Randall around and letting him take him by the hand and thrust him into anything. This is a relationship I found myself in again and again growing up, getting “adopted” by an extroverted kid and then getting all my social connections through them.

This kind of relationship makes it easy to lose your own personhood as it takes away nearly all your agency in terms of your social life. You begin surrounding yourself with people and personalities that match whoever adopted you rather than your own tastes, and you begin conforming in order to survive more or less.

This sounds pretty tragic, and in some ways it is, but it’s a lot better (and easier) than being alone, which often happens if you don’t get “taken in”.

I think Randall was an overall good influence on Hershel and positive presence in his life. It just happens that Hershel himself seems to have been especially prone to this sort of thing, to the point such a lack of personal identity (or, at least, instability in finding it) caused him to completely adopt Randall’s passions and interests out of sheer guilt, almost as if he owed him a debt. After all, it’s easy to feel indebted to the person who goes out of their way to talk to the “autistic kid” …. Part of this could easily be because Hershel had already begun integrating Randall’s interests into himself (likely subconsciously as part of this survival mechanism) and being suddenly ripped away from this it was pushed to an extreme as a way of filling that void.

Hersh also shows signs of generally not thinking much of himself. Being a more secluded kid makes it easy to develop this kind of self image…and also why having a friend who constantly encourages you like Randall is so intoxicating.

We see Hershel time and time again say how he isn’t that interested in archaeology or puzzles, nor is he confident in his ability to do either - to the point he actively expects himself to get incorrect answers, as his puzzle solve animation shows a brace for a huge “INCORRECT” sign only to be surprised he found a solution.

Meanwhile, Randall is the face of confidence.

I don’t need to point out how next time we see Hershel, he has faith in his own puzzle solving abilities - “My intuition should serve me well”, even taking from Randall’s personal lexacon, “Critical thinking is the key to success.”

I won’t ignore the grief and guilt, as the role it plays is obvious. I only want to point out how instead of being the source itself of Hershel’s radical adoption of Randall’s personality, I read it more as an extreme driver of an already existing tendency to mimic those around him as a sort of survival mechanism. In times of crisis these mechanisms are put into overdrive.

(As others have pointed out, this also happens with Claire and the gentleman persona she encouraged him into, but that’s another subject.)

I also want to examine this in Randall himself, since we see a pretty interesting inversion of Hershel’s situation on his part.

The risk-taking, erratic behavior we see in Randall is something I’m pretty sure stems from his hatred for his father and the general life he is made to live. A stuffy mansion doesn’t suit him, if his kind of goofy outfit has anything to say about it. He stands in stark contrast to the other rich Stansbury kid, Dalston, who is altogether enthusiastic about business and wealth.

Where I think this gets especially interesting is when Randall falls into Akbadain. Having experienced a “reset”, he quickly adapts to his new life. He isn’t an entirely different person - he still has proficiency in puzzles as Firth/Tannenbaum tells us.

And if his reaction to Descole’s letter was anything to go by, he’s still as impulsive and emotionally driven as ever.

What we get to see from his time in Craggy Dale is a Randall relieved of his old life - no smothering father, no family fortune, no mansion. In fact, we get a life that is essentially a polar opposite, complete with a loving adoptive father and slow-paced life that “tames the wildest of hearts”. Being allowed to breathe and live slowly creates a Randall who, while still brainy and enthusiastic, is radically different from the Randall Hershel, Henry, and Angela knew.

This is why the ending of Miracle Mask sort of bothers me, as I fully believe Randall would not want to pick up where he left of when he was 17. He literally got himself “killed” living that life, likely pushed and simultaneously blinded by the pressure from his family, which mixed horribly with his own impulsivity and need for freedom. I would imagine growing up in a mansion causes you to develop a less than realistic view of life and your own abilities.

This is where Hersh comes back in, as it’s pretty serendipitous in my eyes that the person he “absorbed” the personality of happened to move on from that personality in a pretty dramatic way. This way there isn’t any sort of doppelganger tension. Ultimately, Randall did want Hershel to develop an interest in archaeology and puzzles, and it seems he’s satisfied with that.

(also I think it’s a little bit creepy that they had Randall adopt the same haircut and glasses he had when he was 17 with a “now you’re back to normal” attitude, going off what I just discussed, but I digress)

Essentially, it’s crystal clear to me how Hershel developed his personality considering his upbringing eerily reflecting the way I survived as an autistic kid, and the fact much of Randall’s personality/life direction was derived from the circumstances of the life he later shed makes it kind of poetic. At the end of it all I think they have a lot to learn from each other just as they did when they were teens, especially from the experience they gained since then.

[sirfrogsworth]

hi hi!!!

I'm a CFX artist (I do hair and cloth for 3D animated movies) and I wanted to clarify something!!

the encanto post? we talked about that one at length at work when it was first made, and it is incredibly evident that the guy who posted it is just bad at his job. the exact same effect can be archieved by changing the camera focal length- but animators never reach for technically competent solutions. (this is a roast.) and even if thats not possible, there is NO reason for why her shoulder area or chest are completely crushed or why her feet are inside of her hip bone.

and also, since I am in the department that comes right after animation- if I had gotten that shot, I would have either sent it straight back to the animator to fix it, OR cleaned it up myself, by which I mean it absolutely did not look like this off-camera by the time we send it for final light render.

essentially if animation looks that messed up off-camera, it is not "animation magic", it is actually someone doing a bad job.

I'm going to have to respectfully disagree.

For one thing, the behind the scenes image was not close to a final render so I don't think you can fairly judge what was probably just the animator lining up and blocking the shot. I don't think at that state they were concerned with the shoulders, chest, and feet. I'm betting the final polished version looked much better.

And I also disagree the exact effect could be achieved by changing the focal length.

As a photographer, focal length is not just about cramming everything into the field of view. I don't only use a wide angle because I want more stuff in the photo.

It is also an artistic decision.

Wide angle lenses exaggerate distance and can make foreground objects seem massive and background objects seem tiny.

Look at this super wide angle shot of Otis lusting after a tennis ball.

The ball has a huge presence in the photo. It is only two feet away, but the distance between them seems immense. The ball takes up as much space in the photo as Otis.

Compare that to the ball in this telephoto image.

The picture now becomes less about the ball and more about the act of chasing it. The ball is literally only a foot closer to Otis, but it has no commanding presence like in the super wide shot.

So what artistic intention comes from using a telephoto lens like in Encanto?

Telephoto focal lengths compress distance. Background objects appear much larger in the frame. They also flatten the face and give a more flattering perspective of said face. Human faces can look a bit alien at wider focal lengths.

So what if you want the background to look large and encompassing and you want the flattering facial proportions from a telephoto lens, but you also want a foreground object to have a commanding presence like the ball?

You cheat!

This is not a technique confined to the world of 3D animation though. It is actually an old live-action trick. They will actually use another person's hands to do effectively the same thing as above.

In Hellboy II, Guillermo had two problems. He wanted a telephoto feel and depth of field and he also wanted a very intricate practical egg prop that could open mechanically.

To get the proportions and the framing and the feel of the shot as intended, he double cheated!

He made a big freaking egg with a big freaking fake hand.

(I know there is a picture of the giant hand somewhere but my googling failed me.)

In any case, I think this is just a case of good problem solving over incompetence. I think the director or the animation lead wanted this scene to fit within a specific focal length and it was easier and more efficient to just give her crazy long arms.

I'm not trying to dispute your expertise or animation-splain. Perhaps there was a better way to achieve the same look. But if the final result looked good, I don't think we need to bash someone who was probably under tight deadlines and had a lot of other work to complete. At least not without a lot more information.

[indie-ttrpg-of-the-week]

Lancer RPG

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

Touchstones: Armored Core, General Mech Media

Genre: Mecha, Tactics game

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

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

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

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

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

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

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

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

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

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

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

[minas-linkverse]

Ngl I was going to ask about Breath of the Wild but I’d thought you’d get a million of those asks lol. I was also torn between asking about Wind Waker, so whichever one you want to answer more is chill!!

haha yea I thought I'd get a million asks too! Somehow even now this remains the only botw ask, I guess people just figured it must've been sent already 😅

Now to actually share my thoughts on botw... Man I hope people don't get mad at me.

I did not like it!. The first play through I had was mildly exciting simply due to there being a whole unknown world to see, but after a while that gimmick wore off. I knew that if I made my way to the cool looking mountain or interesting abandoned building I'd just find a bokoblin and/or a chest with a gem. Whats the point of a gorgeous expansive world when all I find is the same...! 😫

Oh wow! A town with a whole new atmosphere and culture I sure wonder what I'll get up to h- Ok they have the same shops with slightly different items. Ok cool. There's like a few small quests for more inventory filler I don't really need. Cool cool.

I understand that the game is really fun for some people, they'll do quests just to get to play more of the game. They want all that extra stuff to upgrade armour and really get into the nitty gritty mechanics of the game... But I did not. It was not for me.

Also ouugh the puzzles...! My favourite part of Zelda games is the puzzle solving, but these were in no way satisfying and often more fun to just break. Why would I bother even trying to get into the devs heads when A) I could just break it and B) I have too many options to consider! I can't possibly get a clean eureka moment when everything from monster guts to just climbing could be the solution...! Where's the engaging simplicity of knowing exactly what you have and following the devs' clues to reach the solution!! Waaaaaaaaaaaaa--

I also disliked the story, all the interesting bits in it happened a 100 years ago and I feel like I arrived late with a starbucks. I also will not get over the weird ending cutscene!! After countless fascinating memories of Zelda having very complex emotions at Link... What do you mean you're just going to have a vaguely romantic "Do you still remember me?" YEAH I DO, I thought u disliked me! Which is a fascinating story direction I would've loved continued but OK! I guess we're ignoring that! Women cant be angry that makes them less cute and marketable, I guess!!!!

I... Sorry this is so ranty, I've been holding it in a long time. I think there's a lot to love in botw and I wish I wasn't so sour about it. Other people's love and excitement for it is wonderful and I hope they keep making the art they love. If its your first game in the series and got you into it, that's nothing to be ashamed about. I'm just a grumpy old man waving at cloud /ref.

Honestly I think botw could've been wonderful if it was a new IP. It feels all the Zelda stuff was sort of glued onto a concept that wasn't prepared to carry that mantle. It would've been better off with a new exciting world and cast of characters. It still wouldn't be a game I much care for, but the freedom that could've granted the developers would've been a treat to see.

It's worth adding that even though I dislike botw, I want to treat the characters of that game with respect and care in my comic. I may not love them in game but I can see the passion others have and I am committed to make something worth their time. Your special guys are safe with me. I have 0 desire to dunk on them, and instead wish to honour the love you all have. In a way I'm learning to love them myself through that.

[melodicdragon97]

Let me start by saying I love the Zelda franchise. I'm a casual gamer, and I haven't beaten every single game in the series (I haven't finished Zelda 2 and I haven't started Oracle of Ages, and I haven't played most of the spinoffs).

When Breath of the Wild came out, it instantly became tied with Twilight Princess as my favorite Zelda game. BotW was a breath of fresh air (pun intended) and I loved how I could play the game at my own pace, and I loved the freedom to explore wherever I wanted from the start. I thought the story was great and the gameplay was unique. The dungeons fell a bit short (they were short and easy, and the bosses kinda sucked), but they were creative, and I loved the champions enough that beating their bosses felt satisfying, if only since it avenged my old friends. Its themes of finally getting closure from the past while helping in the present was handled beautifully, and the final memory brought me to tears.

When Tears of the Kingdom was announced, I was HYPED. I was so excited to see Ganondorf's return and the consequences that would have on the world in this new story. I was wondering how they would handle reusing the same map, especially with the new abilities (Recall was what I was most excited for since it had so much potential to use in puzzles). But the more I saw of TotK regarding its map and game mechanics, the less interested I became.

I thought we would be able to keep the shrines as warp points on the surface (and the focus of the game would be on exploring the Depths and the Sky). Instead, all traces of the BotW's story were lost. No Shiekah tech, no towers, no (Shiekah) shrines. Ok, fine, it's whatever. But that meant you were required to explore the SAME overworld the SAME WAY as you did in BotW: finding dragons tears (finding memories), finding/beating Zonai shrines (finding/beating Sheikah shrines), and finding lookout towers to gain a map of the area (climbing the Shiekah towers). Why? What's the point of all of that in the same overworld, when the focus SHOULD be on making the Depths and Skies interesting instead?

The skies were too segmented and barely had anything in them. The depths were mostly empty aside from enemies and DLC armor from BotW (which makes most of the amiibo useless, btw. Also, THEY GOT RID OF WOLF LINK. I WILL NOT FORGIVE THEM. Lol), and finding the Lightroots as the priority made it tedious to explore. The caves on the surface were so small that they hardly mattered unless you wanted to hunt all the frogs.

I thought the dungeons would be more unique from each other this time around, maybe play on different types of gimmicks or themes. Instead, it's just more of the same gimmick that BotW had: find a few terminals and then beat the boss.

Since TotK is a sequel, I thought its story would be in real time, directly driving the gameplay. Instead, the story takes place forever in the past, and ultimately has no bearing on the plot outside of Zelda's location, AND the exact same story gets replayed after every dungeon you beat. I understood it the first time, thanks.

The ancestors in the past story don't really mean anything to me because they're...nobody. I don't even think they had names. They didn't do anything to make themselves stand out from their descendants, or even have a connection with their descendants aside from being their ancestors. But I digress.

In terms of reusing the world, I thought the old ruins (like the ranch ruins in BotW) would have been rebuilt, or a few new towns would have been added, but INSTEAD it's just the same old world with added monster camps and Lookout Landing and maybe another town that was so forgettable that I don't even remember it.

Ok, so it wasn't what I expected. That doesn't make it bad, right?

Well, I gave it a chance I just really didn't care for the building mechanics. The fusion mechanic is great, but I still feel like I'm cheesing my way through the game instead of actually solving puzzles the way they were intended. I feel like I'm just brute forcing my way through the game, and that doesn't make me feel clever or smart the way older games used to when I'd figure out a unique puzzle.

Oh well. Some games just aren't meant for some people. I still had fun just exploring and messing with Koroks, and I liked that I could have more horses (but they left out the ancient bridle and saddle from the BotW DLC =( )

So now that they've dropped trailers for Echoes of Wisdom, I thought: this is it, they're going to do something different. And we're playing as Zelda!! Zelda has so many cool abilities!!

But instead, the new gimmick in the game is....a rod. That anyone can use. Using Zelda's powers in a game where you play as Zelda? NOPE. Just give her a weapon Link could use, except now we don't have Link's sword/shield or arsenal of other items. We're just a powerless girl with a duplication wand.

Ok, ok, it can't be as bare-bones as that.

The world should be unique and encourage you to explore and navigate the different terrains, right? NOPE, just summon a million beds and climb over everything.

Open world games can be fun, but when you have NO LIMITS then it becomes boring. There's no thought or challenge or maze or puzzles in order to progress; you can easily use the mechanic to build your own solution to every single problem from the start. And building your own solution means relying on knowledge you already have; it doesn't require you to learn how to problem-solve, the way puzzles are meant to. Usually, in this case, I'd WANT to progress in order to see what will happen in the story. But we all know that the Zelda team doesn't gaf about the story, at least not anymore. So what's the point?

Just echo a cucco to fly over gaps, or summon a few objects as a staircase to climb up ledges. Using these echoes in dungeons has the potential to make things fun, but in the overworld? I just don't see the appeal of cheesing your way through every obstacle. And I already had my fill of going wherever I wanted in BotW and TotK. Making the overworld an actual world worth navigating would be NEW at this point.

I feel like EoW should be a short little spinoff game or something. At least then I wouldn't feel so disappointed in a main series game. I'll check it out for the story alone, but if TotK's story is anything to go on, I'm sure EoW's story will be lacking as well.

I'm not dropping out of the fandom just yet. But I feel like they're really cashing in on BotW's success by making every game a worse knockoff of it. They're using playable Zelda as a dirty tactic to win over fans like me who have wanted to play as Zelda with her established abilities.

[ghostofskywalker]

hellooo! i'm really excited about your winter ficlets and wanted to request something!

what about “I don’t think either of us are qualified for this, but sure, go for it” with tech? i'm really wondering what he wouldn't be qualified for. 🤭 and i don't mind about the reader's pronouns, you can write what you're up to!

hello! this was such an interesting and fun prompt for him, i hope you enjoy my interpretation!

words: 840

summary: omega's in a bad mood, and neither you nor your boyfriend know what to do about it.

note: the mechanics of this fic rely on the idea that when they're on Ord Mantell, the batch rent an apartment so that they're not on the ship all the time.

Not Qualified

clone troopers masterlist || request a winter ficlet

The sound of Omega’s door slamming shut echoed throughout the tiny apartment, and you could have sworn you heard some of the plates in the cabinet rattle. Not sure what to do, you looked at Tech. “Any idea what that’s about?”

Looking as confused as you felt, he shook his head. “I understand that Omega may be worried that Hunter, Wrecker, and Echo haven’t returned by now, but this behavior is far from normal for her.”

“Do you want to check on her and make sure everything is okay?”

He looked at you like you had just suggested that he wrestle a gundark with his bare hands. “What?”

“Someone should check on Omega,” you said, a confused look on your face. “She clearly needs to talk to someone right now.”

“What about you?”

Your eyes widened. “I don’t know how qualified I am for something like this. Usually bounty hunters can just kill their problems, and that’s definitely not what needs to happen here. Besides, you’re her brother.”

“Look, I don’t think either of us are qualified for this,” Tech said. “But we should still go for it.”

As you looked at his face, you could see a glimpse of something in his eyes that you didn’t quite recognize at first, until it came to you. Tech was nervous. It made sense of course, because Hunter, Wrecker, and Echo had embraced their newfound role of “big brother” a little easier than he did, because he had always been a little bit less social than the rest of the crew. Hells, it had taken you what felt like forever to finally get him to realize that you liked him, and the relationship you had with him was still just barely out of the friend zone. You knew it had to be nerve-wracking right now, to be the only one of his brothers here and having a issue that can’t necessarily be solved with cold hard facts, and you reached out to take his hand. “Come on, let’s go together.”

A gruff “come in” sounded through the door moments after you knocked, and the door opened to reveal Omega laying face down on her bed, with the plush Aiwha you had gotten for her at a market laying haphazardly on the floor (which was likely launched into the air from the momentum of her throwing herself on the bed).

You were definitely not prepared for this, but it would be much worse to just turn around and leave, so you took a few steps into the room. “I can tell that something is bothering you honey,” you said gently. “Do you want to talk about it? It may make you feel better.”

She pulled her body upwards off the bed, and you could see the way her eyes shined with tears. “When is everyone else going to come back?” she asked, and your heart broke.

Growing up where she did and being watched over exclusively by Kaminoans clearly affected her, and now that she had found something of a family it had to be hard to watch some of them leave. Even if it was simply for a mission, part of the team leaving meant that she still had to spend more time without the people she cared so deeply about. “I don’t know,” you admitted softly. “But they won’t be gone forever, I know that.”

Tech looked like he was going to open his mouth to say something, but you shot him a quick glare. Yes, you knew that every mission meant the chance of serious injury or death, and Omega probably knew that too, but technicalities were not what she needed to hear right now.

Thankfully, he seemed to get the message. “Yes, Hunter, Echo, and Wrecker will be back as soon as they can,” Tech said, and you watched as Omega ran over to him. He definitely looked a little shocked as his sister threw her arms around him, and you could see the way he looked to you for help. You mimed wrapping your arms around something to give him a little hint of what to do in this moment, and he nodded quickly.

You watched as Tech followed your hint, and you could see Omega’s tears start to stop. You knew that her heartbreak wasn’t something that could be fixed right away (or maybe at all), but with some time (and maybe a little bit of ice cream), you might be able to help make this a little less difficult for her.

It was impossible to ignore the smile that crept over your face at the sight of Omega clutching onto Tech like he was going to disappear, simply because he looked really surprised when it first happened. You had a feeling though, that he would be settling into his newfound role as big brother a little easier from now on.

And maybe, later you would get to gleefully inform him that he was wrong about neither of you being qualified to help in this particular situation.

- the end -

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[ostrichmonkey-games]

Mechanical question since you're familiar with a ton of systems, do you know any trrpgs that have explicit mechanics for allowing the GM and or players to set the length of the campaign itself?

Ive been doing tabletop for a while now and one of the skills I'm trying to work on right now is to end my campaigns on a more satisfying note and part of that for me is figuring out how to tell a satisfying story in a descrite amount of time while accounting for player agency.

I was wondering if any designers thought about this and proposed solutions

Ooh, this is an interesting question! I'd look into games with explicit end-states or win/lose conditions.

A game like Apocalypse Keys (or other "Carved from Brindlewood" games) has a specific "end-state" for each Mystery you choose to play - though, if you decide to go for a longer series of multiple Mysteries, this is less applicable - that depends on gathering Keys (clues) and then attempting to solve the mystery with a specific move. Depending on the outcome of that move, you more or less get different endings to the Mystery.

I think Fiasco playsets also have specific end-conditions? But I haven't played it, so I'm less familiar there. And similarly, I think Lady Blackbird has an ending built in, but it has been a while since I've looked at it.

There's a book that came out a little bit ago that is basically a collection of ending minigames that you can use for different campaigns, but I am blanking on the name right now (if anyone knows, please sound off in the notes). This might? be the most interesting to you, and I wish I could remember what it was called!

When it comes to telling a satisfying story, I think that's also going to depend on what kind of game you're playing, and what sort of tools that game gives you.

A lot of "forever campaign games" (games that really expect you to play forever, which tend to be of the more "trad-ish" style), tend not to give a lot of support for character focused narrative arcs (in my experience), meaning most of that "storytelling" falls on the shoulder of the GM and typically to a lesser extent, the players.

In my experience, if you're looking for games that are more focused on providing tools for satisfying narrative arcs, most Powered by the Apocalypse games try to do something with that. Not all PbtA games are made equally, so it does vary. But, a lot of playbooks tend to include advancement options that have some sort of "retire this character", which isn't really about ending a campaign, but it does offer a concrete ending to a character that is typically thematically appropriate.

I think this section is getting a little long and also not entirely answering your question in regards to campaign length. I think it will ultimately come down to what you and the players think an ending is?

I'm certain there are some smaller games that very clearly play with the number of sessions you have to play, and I think I'll try and spend some time trawling itch to find some.

Outside of mechanics, I've played games with set session numbers and lengths, so going in we all knew when it would end, which in a sense made us more focused on a tighter story.

As a designer, I think it's really interesting! I tend to like designing stuff that focuses a lot on collaborative narrative creation and also emergent narrative (typically through the use of procedural tools), which doesn't necessarily align with strict session amounts (they're very much "poke around, see what happens, play until you want to move on" kind of games), but I think limiting the amount of time you have to accomplish something is a fun constraint to try and design with!

Anyways, long and mostly unhelpful answer aside, I'm gonna keep poking around at this and see what other examples I can find and try and come back to this.

[yourqueenb]

As a continuation of this ask that I responded to, all the things I mentioned are just parts of the overall issue I have with Blades…. which is that, in the grand scheme of things, I feel like MC is simply a plot device for the other characters rather than a fully developed character who has a fully developed and satisfying arc herself. It’s clear that Nia’s is the story the writers really wanted to tell considering how intertwined her characterization/development and the overall world building are. They basically even admitted as much.

So my question is why not just make her the MC if that’s really what you wanted on the not so down low? They still could’ve incorporated the skill mechanic. Why create a whole player character just to have us running to solve everyone else’s problems/support them while acting like everything that happens to us exists inside of a vacuum in the meantime? So far, all we’ve really been doing in this book is reporting where the group needs to go, telling them what to do, having heart to hearts with them when they need help moving to the next stage of their development, and then being spoonfed information through the lore tablets, which are apparently more for the players’ benefit than MC’s since they barely affect how we respond in game anyway. I’m fine with being the leader or the glue that holds everyone together, but to me it’s unsatisfying that that’s all we are as the main character.

We somehow become more competent due to the skill mechanic but no less clueless at the same time. We have all this terrible shit happen to us, but are only offered a few lines’ description of how that’s affected us. And then the rest of the attention goes to setting up the light vs. shadow conflict and our friends, who get to have personal and compelling conflicts of their own. I mean I feel like MC is more of an emotional support animal to them than an actual person with dreams, feelings, and a (minimal) background. Imo the only character who’s getting shafted almost as much as us is Imtura.

And all of this might make it sound like I hate Blades, but it’s quite the contrary actually. It’s still one of my favorite series and has a lot of fun moments and lovable characters. But I think at this point, its flaws have become too large for me to ignore. So that’s still affecting my enjoyment a bit and probably the reason why I’m so upset with how certain things are being handled. Of course I’m aware that Blades isn’t the only book that has some of these issues though. I think it’s just a little more disappointing because I expected more

[mageknight14]

Nagi and Beat: What it Means to be Empathetic

One thing I really appreciate about Nagi and Beat's characterizations and dynamic in NEO TWEWY is how the game portrays them as the two of the most emotionally mature and empathetic party members in the game and how they express that maturity in distinct but equally important ways.

Let's start this analysis off with Nagi. The game makes a point to show off multiple times that she’s in-tune when it comes to others’ emotions. Take the side quest with Buddy Rapids on Week 2 Day 4, for example.

When he flips out over not receiving a glass of water from Ken Doi and everyone is flabbergasted by how he reacted, Nagi actually takes the time to empathize with and explain why he would feel that way, that he probably felt unwelcome or deliberately provoked.  She literally absorbs emotions of others like a sponge, to her own detriment. She has this ability, knows it, knows how to work with it, but she can’t exactly turn it off. It gets to the point that an overwhelming burst of negative emotion from the people around her can cause her to emotionally break down, as we see from when she reacts to how the citizens are suffering from Shibuya Syndrome.

She analyses people and feels them whether she wants it or not, and due to being a combination of simultaneously open minded and very direct, those not true to themselves strike her as very wrong, in the wrong, or plain bizarre, as we can see from how coldly she treats Motoi and Fret at first. She’s true to herself, and to others, and someone not reciprocating on the same level is a bad thing in her book.

She suffers from hyperempathy and easily 'taps in' to what people are feeling, but she can struggle with finding the appropriate channel through which to express her feelings, such as her initial coldness towards Fret. Because of this, besides her infatuation with Sho, she’s fairly passive towards the group dynamic and synergy at first, instead to either gush about her beloved Lord Tomononami, EleStra, or both. This is especially notable when tensions start to rise between Rindo and Fret at the beginning of Week 2 and she can do nothing but weakly comment at the tense atmosphere in the air. 

However, as we get to see throughout the game, she begins to lighten up towards Fret and if you look closely at how she interacts with him, she progressively becomes less outright insulting towards him and more distant and hesitant once she puts together than he might actually have a reason to be putting up a front. By the time week 3 rolls around she's not insulting him at all, actually engaging in convos with him because she's realized that Fret is a genuinely good person who acts fake as a coping mechanism. Most of this realization starts showing up during week 2 because Fret gets stressed enough by the situation they're in to let the "mask" slip on multiple occasions— you can see that Nagi's expression changes when her portrait is present during these instances because she starts to put it together. 

While her arc isn’t as pronounced as the others, it’s still there nonetheless and revolves around her learning that she does not need to dismiss people right away and look past the surface, exploring in learning how to nuance so to speak. To cap it off, by the time week 3 comes around, she actively steps up to the plate more than once to help the others sort out their issues and integrates more into the group, truly embracing her role as the team mom, as seen as when she helps the other characters cope with their own issues on Week 3 Day 5. 

Now, let’s contrast this with Beat. While he isn’t as academically intelligent as Nagi, can be slow on the uptake, and not really keen on using his head, he still gets a few good hits in and has a cutting-the-knot way of problem solving that is as much a positive as a negative quality. 

In the first game, he calls out Konishi, who is presented as very smart, on her "unforeseen circumstances", and for someone mixing words a lot, he used those surprisingly straight and deliberately angers her so that she can focus on him while Neku snags Rhyme underneath her notice. He feels that the game is "whack" in NEO and is the first to call out Kubo against it and be suspicious of him while the others just found him sleazy and hatable ("might ask gramps some questions"), fairly quickly discerns that Fret and Rindo were at odds concerning the decision of trusting Kanon or not and that they needed to sort it out, and even recognizes Fret’s grief concerning Kanon herself and opts to let him have one last moment of hope and get some closure on the whole thing rather than just letting him bottle up these feelings in a negative manner forever.

I’d say that while Beat may not be academically smart, can often takes things at face value and can be considered dense at times, he is emotionally incredibly intelligent, even if not in the same way as Nagi: both are highly receptive to others’ moods and feelings, but while Nagi processes them with her heart and brains, Beat processes them with his heart and guts. 

Conversely, while Nagi suffers from her hyperempathy and can struggle with finding the appropriate channel through which to express her feelings, Beat intuitively 'taps in' to what people are feeling and also intuitively 'taps in' to what he can say to cheer people up or to motivate them to keep moving forward, as shown when he inspires the group to keep going forward even when things get dire at the beginning of Week 3 Day 4. 

Nagi stumbles butt-over-head into people’s psyches and while she has a good grasp on the information and psychology, being excellent at reading people, she doesn’t have the means of transforming that into a pleasant interaction if things are at odds. Beat, however meets people partway, at middle ground, or if he senses that he needs to, goes all the way to drag them out of their shell. He doesn’t embarrass himself with the unnecessary, as he doesn’t like to beat around the bush but also seems to think that people do have their own reasons of acting the way they do. To solve the problem, you address the problem, politeness and other fioritures can wait (which, again, is as much a positive quality as a negative one). Nagi has more tact with it because she can sense when things will go on the fritz, and because she’s more actively trying to get along with people than Beat. Even when giving the cold shoulder, she still has restrains (it takes a breaking point to call someone a "degenerate ape") and at worst ignores what bothers her, or makes it clear. Beat, on the other hand, would directly hop to 'I don’t like you, yo' and show scathing hostility, as he does with Sho and Coco who, in contrast to Kariya, Uzuki, and Shoka, are not at all apologetic when it comes to their actions and still antagonize him, in which he responds back in kind. You wrong him or his friends, you’re on his shit list, period.

This difference is seen most predominantly when the Wicked Twisters meet up with Sho again. Beat is immediately hostile thanks to his previous encounters with Sho in the first game and is ready to assume the worst of him, unaware of the shared history Rindo, Nagi, and Fret have with Sho at this point. And when Sho seemingly validates his concerns by attacking him and his friends, he's ready to write him off entirely. And it's not like Sho even cares about what Beat thinks of him to try and correct him afterwards.

Nagi, on the other hand, immediately notices that something is off about Sho compared to when he allied with the team in the first week and picks up that it may be Noise-related. And sure enough, she turns out to be correct. Sho had been absorbing Rindo's Dissonance Noise while he was away and when he absorbs a whole bunch at once, his mind gets overwhelmed and he goes berserk, attacking the Wicked Twisters in the process. Sure enough, when Neku quite literally beats some sense into him after he was already worn down by the team, Sho doesn't antagonize them at all whatsoever. and even gives them cryptic advice concerning the storm that's coming their way later.

To put it into perspective, Nagi is receiving all channels 100% of the time and as such had to define herself strongly against them to hear her own, affirming her personality and being very direct. It’s a radio always on that she can just tune out somewhat, but not turning it off. And if things get too overwhelming, she can take too much of that negative energy into herself and become severely affected herself if she doesn't have an immediate outlet. It's why she flips out at Rindo when she first meets as she was already unintentionally channeling the emotions of others and was being harassed by the DRS team beforehand and her missing the special EleStra pin was essentially the straw that broke the camel's back.

Beat, in contrast can hop from channel to channel and tune in on people, but only a few of his choosing at a time. Hence why he’s more receptive of a variety of different people, if they are amicable to him. He instantly hits it off with Fret, wholesomely accepts Nagi, even reaches out to Rindo who’s more unsure and shy (seen in the day after recruiting him as he’s the first to come up to him to see if things are okay), wholeheartedly accepts Shoka in the team and develops quite the protective streak for her among the rest (seen when he warns Susukichi about taking her after Ayano’s passing). He’s the big brother all the way. Compare this to how he reacted to Neku and Shiki in TWEWY, where he welcomes the latter at first after apologizing to the duo for mistaking them as Reapers but immediately takes a justified dislike to the former because Neku was kind of being a huge prick at the time. 

I think all of this is incredibly interesting in how the writers go about in portraying that nuances of what it means to be empathetic and emotionally mature and it just goes to show how much the TWEWY team cared about detailing the psychology and mindset of each character in a way that makes them all the more real.

And as a side note, I really appreciate Nagi and Beat’s dynamic. Rather than have them conflict as they could have so easily done (the athletic, skateboarding musclehead and the nerdy educated woman) the game has them genuinely enjoying one another's maturity and working to support the rest of the team, with Nagi even patiently translating anything she needed to of her dialogue for Beat's sake, as well as draw comparisons between the way Nagi treats Beat and Fret to foreshadow her issues with the latter and I think that's just neat.