#so an abridged and modified version of the story instead

[ghcstao3]

because it’s still mermay i’m thinking about the alternative of siren!ghost where it’s much more similar to pirates of the caribbean

as in ghost is captured, locked in a box that doesn’t suit his size, carried onto land for the sole purpose of using him. the whole journey he curses himself for having gotten distracted by a sailor, one who looked regretful about hurting him before a net had wrapped itself tightly around ghost. no amount of shrieking, hissing, or thrashing gets him free.

soap, feeling guilty throughout, does all that he can to treat ghost with kindness. to give him something to cover himself with when the glass cage breaks and leaves him in open air. to help him walk when his scales melt away without water. to maybe aid him in escaping as soon as the opportunity arises.

soap learns the siren’s name—simon—and in turn simon offers forgiveness. speaks his name, johnny, and sends a shiver through him. they could run away together, soap begins to think.

but the crew is set on torturing simon. set on coaxing tears from him for their own gain. but simon wouldn’t cry. ghost would never cry for this.

he almost does, however, when soap is killed before his eyes—or so he thinks.

so he thinks, until soap, still severely injured but breathing, comes staggering back to untie simon from the post he’d been tied to, abandoned to burn to death in the sun, a last resort to bring him to tears.

they do run away, though not without their difficulties. they get back to the ocean eventually, though, finding a dinghy half-buried under sand but without holes, and sailing away. simon guides johnny through the waters, gets him food and scouts out land. it would be a long journey, but they would make it. they would both be free, together.

(of course, when they finally find suitable land, there’s a brief moment when soap believes that ghost would abandon him now, would return home—but he doesn’t. instead, ghost stays. they settle anonymously in a seaside town, in a small, isolated cabin on the water. this way, simon would never be away from the ocean, but he could still join soap on land, and explore a small part of a world far less cruel when no one knows what he is. they have their happily ever after.)

[ojamayellow]

Big infodump on one of my Transformers OC's.

This is about my skystar fankid, Scatterwing. EXCEPT, this is an AU version of him for my original Transformers fanstory/universe.

More under the cut. Very word heavy. Apologies for no pictures, yet.

Unfortunately, I don't have my Starscream and Skyfire designs. However, while Starscream is kinda coloured like in Galaxy Force, Skyfire is purple, black and green, like Shattered Glass. I am also unsure if I wanna use Skyfire or Jetfire as her name, but for reasons, she is Skyfire here. She and Starscream are both ladies.

Basically, Starscream stole these abandoned protoforms and wanted to make an army out of them. Skyfire was like "WTF" and their relationship was getting rocky already but experimenting on protoforms is way too far! She fought her wife and essentially divorce happens.

Skyfire takes the protoforms and travels to Planet Athenia for a safe haven for them, (btw the story is already on Earth so Skyfire traveled quite far on her own), hoping they can grow to be who they want to be, instead of forced soldiers. Starscream however, managed to keep one protoform. The Nemesis had Shockwave in 'stasis lock', so STSC snuck in and stole what Shockwave had been collecting, the robot equivalent of DNA of many Transformers.

Very sus, but Starscream just needed 'hers' and Skyfires. She was NOT over that divorce. She also does all this behind Megatron's back. So, she modified the protoform with the 'DNA' (data?) and essentially activated it early.

This became Scatterwing! He turns into a jet like STSC, but his colours are like magenta/maron-ish. Scatterwing though, is like... a teenager, maturity wise. He wants to play with tuoys. But no, Starscream is going to mold him into a warrior, and if anything was to happen to STSC, Scatterwing was to take her place. He is Starscream's heir.

I stole honoured Armada!STSC here by giving Scatterwing wing swords, so his wings can be de-tached and used as swords. He basically goes through training daily with Starscream, in a cave somewhere on Earth. Scatterwing is to never leave without permission, etc etc. Scatterwing must only call STSC "Commander". Eventually though, STSC gets a bit too attached to Wingy, but wants to deny it in her spark. That's right, Starscream mother.

Wingy though, once escaped out of curiousity and met Airazor and learned a bit about the outside world. Should note that Scatterwing doesn't have a Decepticon logo yet. Also during one point, makes a passing by with Skyfire, and both of their sparks feel, weird? As if they're connected. I'm abridging these scenes greatly but they're important for Scatters.

Eventually, the secret is out (sorta) about Scatterwing because Starscream's Seekers, Thundercracker and Skywarp found Wingy and they keep it a secret but kinda become like, weird aunt and uncle to Wingy. (For reference, Skywarp is a prankster gossip internet troll type, she/her. Thundercracker is Soundwave's ex... bandmate and plays rock n roll. He/him).

Wingy becomes more happy and such and it makes STSC smile? But STSC is reminded that Scatterwing is to be a warrior and starts being more harsh towards him, a Decepticon cannot be soft after all. At one point, STSC gets fed up and almost hits Scatterwing, but stops herself, as she's reminded of how Megatron treats her, and does not want to end up like him.

BUT AT ONE POINT Scatterwing accidentally calls STSC 'Mother' instead of 'Commander' and STSC is in shock! But eventually she just... hugs Wingy and goes "that's my boy."

So, at one point, big Autobot vs Decepticon fight, Skyfire is there so STSC is fuckin pissed going all out etc. But Scatterwing shows up without permission and is worried about his mother. In the midst of their fight, Wingy ends up in the middle to protect STSC, but gets damaged. Skyfire is shocked, he didn't want to hurt this child that came out of nowhere. But because Wingy is KO'd, STSC kinda loses it Dark Sonic X style, or a frenzied state where she is mindlessly attacking everyone with such power once hidden before. The power of a mother.

Anyway, after med bay stuff post-battle, Scatterwing believes he's not good enough to protect mother. So, he decides to harden himself up. No more playing games, he HAS to be tougher. it's what Mother wanted, right?

But the truth is, Starscream wanted Wingy to have more freedom, now that she had character development. But Wingy is so deadset on being stronger now, and he's losing his joy and whimsy.

[zdbztumble]

Yet Another Kingdom Hearts Revisit, Part V

This playthrough has been a blow to my pretensions of having a good memory. I'd completely forgotten that King Triton isn't the only good Disney character from outside Disney Castle who knows something about Keyblades and Keyholes. It makes perfect sense for the Genie to have some insight into them, but I really like that he knows less than Triton does. It's better for pacing reasons that he doesn't, but it also fits his character - I can't imagine that a magical being who spends so much time contemplating mid-20th century American pop culture while stuck in his lamp would keep his ancient legends straight.

Of all the Disney worlds in the series that try to condense their source films into the game, KH I's Agrabah is the most successful IMO. It's really the only level in the game that did so. Olympus Coliseum, Halloweentown, Monstro, and Neverland feature original stories, and Wonderland, Deep Jungle, and Atlantica use only pieces of their films (to greater and lesser degrees) in their stories. Agrabah has almost all the major elements of Aladdin in it: Aladdin's street rat origins, Jasmine's escape from the palace (albeit under entirely different circumstances) and her love affair with Aladdin, Jafar's scheming to take over Agrabah, the quest for the lamp in the Cave of Wonders, Genie's comedy, his freedom, and the three wishes. Even "Prince Ali" gets worked in. The only thing left out from the film is the finale where Aladdin and Jasmine get together.

Why it works here compared to later worlds in the series is that, despite using so much of the film, all of those elements are re-contextualized to fit the time frame that KH I had to work with and, more importantly, were modified to fit the needs of KH I's larger story. There's no room to fit the "Prince Ali" element proper into the plot, and if the attempt had been made, it would've been an abridged version lacking the comedic texture that makes it work in the movie, and it would have distracted from Sora's story and the plot of the League of Disney Villains. It was much better to make that a brief mention and have the three wishes applied to the battle with the Heartless.

And speaking of battling Heartless - Aladdin's in my Top 3 for Disney world battle partners in the entire series. The dude rocks. And Jafar makes for one of the more challenging two-part bosses in the game. Kurt Zisa is, for my money, the most difficult secret boss in the game, Sephiroth very much included. And that's (usually) a good thing! I like having to shift between physical and magical strategies, and I like that he's a boss that let you get good value out of the Summons (sadly, I wasn't able to duplicate my last playthrough, where I beat him with multiple Summons instead of just Tinkerbell and dumb luck at dodging his vertical spin after she bought me a free life).

Part of me wonders if Monstro and Agrabah shouldn't have been reversed in order. On the one hand, Riku nabbing Jasmine makes for a good shock and a sense of foreboding; the player knows how far gone he is at that point, but Sora doesn't. But why does Riku need the quest for the seven princesses explained at the end of Monstro when he's already captured one of them?

And I might as well cover Monstro in this post, as I don't have too much to say about him. This is one world where I agree with the complaints about KH I's platforming. I appreciate that the bowels of a space-whale should be a claustrophobic place, but the chambers are too small and too packed with crap to make the concept work in an enjoyably challenging way. Instead, it's just tedious.

Storywise, however, Monstro is a great turning point for Sora and Riku. Taking a cute Disney character hostage might be an easy way to sell moral decline, but it's so much more effective than three minutes of lore gibber-gabber by one-note pricks in black coats. And whichever executives at Square and Disney are responsible for giving the final OK to these games' plots should have made the staff re-watch this scene ahead of every scripting session since KH I. The first game as a whole works against later characterizations of Responsible Riku being the one to clean up after lazy, do-as-he-pleases Sora, but that scene and this world demonstrate most clearly how big a retcon that change was.

[winxwiki]

@riven-has-bomb-ass-eyelashes replied to your post “@riven-has-bomb-ass-eyelashes It's just not...”:

I think I get it. The Cinélume is like an anime adaptation that follows the same overall beats of the og manga. But it cuts/modifies many details that you see as important. When you're very detail-oriented and can see how these little changes recontextualize the whole story, it can start to drive you up the wall. You can't vibe with our rewrites because you want a proper rewrite of the source material and, put frankly, we've never even watched it. That's totally fair!

​Close! Cinelume is like a faithful dub of an anime done on a low budget, maybe for a home release something that was common in the 90s everywhere, in the anglosphere and in Europe, Italy included. Just doing an average dub to add up to the anime dvd catalogue for some publisher, except Rainbow wanted the Cinelume dub to properly own an english dub and rebroadcast it in case 4kids went down, and well the Cinelume dub is still legally available and was even in Italian and French DVDs as an extra language.

It's not a censored dub, it's not an abridged dub making stuff up, it's just doing the bare minimum in following the original. You also have to consider timing in dialogue, matching the lip synch, untranslateable jokes and idioms (NO dub, absolutely not a single one worldwide, has translated Stella's joke in s2e2 about the whale's ass, because it's a vulgar italian idiom that makes no sense left in literally!), translation errors, the author's intention, getting the tone of the original dialogue right when acting... It's just a heavily watered down version of Winx Club. Remember Tecna's "death"? No english dub got it right, while dubs that followed the original Italian mostly did. Spanish dub here for comparison (I am mister worldwide), same dialogue as italian.

However, when Bloom screams, it's Musa's "NO!" being overimposed instead! A dubbing error! So even other dubs have issues and can't be trusted either. As I said above, there's always something lost in translation, timing to fit and so on and in this case there can be mistakes adding up.

And that is a single scene. Imagine whole episodes. I'm going to rewatch all of s1 first and translate it in my little doc before getting to subbing and I will compare my translation to cinelume, depending on what's more natural and what they got right or wrong.

Anime gets misinterpretation and misconceptions thrown around all the time, BUT it has tons of translators around, some more qualified than others. Winx Club didn't get such a privilege

[arisefairsun]

Is the 2013 adaption of Romeo & Juliet even worth a watch?

I must admit it is not my favorite version. Personally I think it distances itself from the text a little too much, and overall it is quite disloyal to Shakespeare’s story.

A lot of new scenes were added and they contradict the dynamics of the play. There are many additions that I find ineffective, but to name a few: the movie doesn’t even start with a street fight, but with a tournament between the two households. Which is a pity, because I think it’s quite relevant to begin the story violently so that we know what kind of society Verona is. And then Romeo and Juliet’s first conversation does not begin with the well-known sonnet, which sort of blurs the lyricism of their sudden love. Another scene I found unnecessary was a conversation that Rosaline and Benvolio have at the party. I think it is quite significant that Rosaline is never seen on stage—all we know about her comes from Romeo’s stereotyped idealizations. Her function is to symbolize an empty ideal, and as such she remains non-existent. (And Benvolio seems to be romantically interested in Rosaline as well. But. Why don’t we make Benvolio date Mercutio instead.)

There is also a new scene that takes place after the wedding ceremony, in which Romeo and Juliet simply make out against a tree until the Nurse interrupts them. Juliet complains that their wedding night “seems a year away”, to which Romeo answers: “Only a year? You do not love me then.” That I find contrary to the dynamics of Romeo and Juliet in the play. Romeo rejoices in the reciprocity of their love. God knows he falls into a lot of love stereotypes, but he would never question the equality of their feelings, which is something he emphasizes over and over again: “Then plainly know my heart’s dear love is set / On the fair daughter of rich Capulet: / As mine on hers, so hers is set on mine; / And all combined”, “Her I love now / Doth grace for grace and love for love allow”, “Ah, Juliet, if the measure of thy joy / Be heap’d like mine […] let rich music’s tongue / Unfold the imagined happiness that both / Receive in either by this dear encounter.”

They also imitated Baz Luhrmann’s 1996 version in two aspects: they included a new scene in which we see Romeo arrive in Juliet’s bedroom on their wedding night (as I said here, I’m not particularly keen on it), and they changed the ending by making Romeo die after Juliet’s awakening. (I also talked about this interpretation of the last scene here.)

Another thing that I found disturbing was the number of misquotations. Romeo steals Juliet’s lines in the balcony scene and says, “This bud of love, by summer’s ripening breath, / May prove a beauteous flower when next we meet.” Now, Romeo is too impatient to wait for summer’s ripening breath. He just would never say that in the balcony scene.

Indeed, my biggest problem with this movie is the characterization of the leading roles. Romeo is perhaps a little too static—he barely shows any enthusiasm. To me, Douglas didn’t get to represent the restlessness, the impetuosity, and the extremity of Romeo’s passions. Neither did Hailee. Look at the ‘wherefore art thou’ speech. She delivers the words a bit too hastily and lightly. I don’t think it is correct to recite Romeo and Juliet’s lines in such a monotonous tone. The actors playing the lovers should succeed in conveying the electrifying ecstasy of youth.

Benvolio and Balthazar become a single character, so it is Benvolio who delivers the news of Juliet’s death to Romeo. Mercutio, on the other hand, is literally a Montague in this movie. This destroys one of the major themes of the play—how everyone is viciously dragged down by the iniquity of the feud, even those who are not directly involved in it. Mercutio is neither a Montague nor a Capulet, and yet he engages in a duel because he is trapped by the glamorization of violence that has spread through the entire city. By turning Mercutio into a Montague, the complexity of the feud is savagely reduced. (And looking at the abridged language, I have a feeling they tried to simplify the play in order to attract a very specific kind of audience. During the promotion of the movie, they addressed it as the new adaptation of Romeo and Juliet for “the Twilight Generation”.)

However, the scenery of the movie is exquisite—so are the music and the costumes. And while it is disloyal to the text most of the time, it did respect other details that are usually overlooked in productions, like Paris’ death.

Anyway, this is my opinion! I encourage you to watch it and judge by yourself—just do not expect it to be loyal to Shakespeare, since a huge part of the script was invented and rewritten. If you do enjoy it, though, I suggest that you watch this miniseries. It also modifies Shakespeare’s poetry and changes quite a lot of aspects of the play. (I haven’t watched it for years, but I remember it was set in winter and the story took place over a longer period of time.)

[benillustration]

Open Game Licence

Wizards of the Coast have an Open game licence on their rules for how to play some of their role-playing games. These are the legal rights that wizards of the coast have made, which give a royalty free copyright, so new makers of role-playing games don’t have to pay Wizards of the Coast for every time they use role-playing mechanics made by Wizards of the Coast.  

The terms of the Open Gaming License Version 1.0a are as follows:

OPEN GAME LICENSE Version 1.0a

The following text is the property of Wizards of the Coast, Inc. and is Copyright 2000 Wizards of the Coast, Inc ("Wizards"). All Rights Reserved.

1. Definitions:

(a)"Contributors" means the copyright and/or trademark owners who have contributed Open Game Content;

(b)"Derivative Material" means copyrighted material including derivative works and translations (including into other computer languages), potation, modification, correction, addition, extension, upgrade, improvement, compilation, abridgment or other form in which an existing work may be recast, transformed or adapted;

(c) "Distribute" means to reproduce, license, rent, lease, sell, broadcast, publicly display, transmit or otherwise distribute;

(d)"Open Game Content" means the game mechanic and includes the methods, procedures, processes and routines to the extent such content does not embody the Product Identity and is an enhancement over the prior art and any additional content clearly identified as Open Game Content by the Contributor, and means any work covered by this License, including translations and derivative works under copyright law, but specifically excludes Product Identity.

(e) "Product Identity" means product and product line names, logos and identifying marks including trade dress; artifacts; creatures characters; stories, storylines, plots, thematic elements, dialogue, incidents, language, artwork, symbols, designs, depictions, likenesses, formats, poses, concepts, themes and graphic, photographic and other visual or audio representations; names and descriptions of characters, spells, enchantments, personalities, teams, personas, likenesses and special abilities; places, locations, environments, creatures, equipment, magical or supernatural abilities or effects, logos, symbols, or graphic designs; and any other trademark or registered trademark clearly identified as Product identity by the owner of the Product Identity, and which specifically excludes the Open Game Content;

(f) "Trademark" means the logos, names, mark, sign, motto, designs that are used by a Contributor to identify itself or its products or the associated products contributed to the Open Game License by the Contributor

(g) "Use", "Used" or "Using" means to use, Distribute, copy, edit, format, modify, translate and otherwise create Derivative Material of Open Game Content.

(h) "You" or "Your" means the licensee in terms of this agreement.

2. The License: This License applies to any Open Game Content that contains a notice indicating that the Open Game Content may only be Used under and in terms of this License. You must affix such a notice to any Open Game Content that you Use. No terms may be added to or subtracted from this License except as described by the License itself. No other terms or conditions may be applied to any Open Game Content distributed using this License.

3.Offer and Acceptance: By Using the Open Game Content You indicate Your acceptance of the terms of this License.

4. Grant and Consideration: In consideration for agreeing to use this License, the Contributors grant You a perpetual, worldwide, royalty-free, nonexclusive license with the exact terms of this License to Use, the Open Game Content.

5.Representation of Authority to Contribute: If You are contributing original material as Open Game Content, You represent that Your Contributions are Your original creation and/or You have sufficient rights to grant the rights conveyed by this License.

6.Notice of License Copyright: You must update the COPYRIGHT NOTICE portion of this License to include the exact text of the COPYRIGHT NOTICE of any Open Game Content You are copying, modifying or distributing, and You must add the title, the copyright date, and the copyright holder's name to the COPYRIGHT NOTICE of any original Open Game Content you Distribute.

7. Use of Product Identity: You agree not to Use any Product Identity, including as an indication as to compatibility, except as expressly licensed in another, independent Agreement with the owner of each element of that Product Identity. You agree not to indicate compatibility or co-adaptability with any Trademark or Registered Trademark in conjunction with a work containing Open Game Content except as expressly licensed in another, independent Agreement with the owner of such Trademark or Registered Trademark. The use of any Product Identity in Open Game Content does not constitute a challenge to the ownership of that Product Identity. The owner of any Product Identity used in Open Game Content shall retain all rights, title and interest in and to that Product Identity.

8. Identification: If you distribute Open Game Content You must clearly indicate which portions of the work that you are distributing are Open Game Content.

9. Updating the License: Wizards or its designated Agents may publish updated versions of this License. You may use any authorized version of this License to copy, modify and distribute any Open Game Content originally distributed under any version of this License.

10. Copy of this License: You MUST include a copy of this License with every copy of the Open Game Content You Distribute.

11. Use of Contributor Credits: You may not market or advertise the Open Game Content using the name of any Contributor unless You have written permission from the Contributor to do so.

12. Inability to Comply: If it is impossible for You to comply with any of the terms of this License with respect to some or all of the Open Game Content due to statute, judicial order, or governmental regulation then You may not Use any Open Game Material so affected.

13. Termination: This License will terminate automatically if You fail to comply with all terms herein and fail to cure such breach within 30 days of becoming aware of the breach. All sublicenses shall survive the termination of this License.

14. Reformation: If any provision of this License is held to be unenforceable, such provision shall be reformed only to the extent necessary to make it enforceable.

15. COPYRIGHT NOTICE Open Game License v 1.0a Copyright 2000, Wizards of the Coast, Inc. System Reference Document 5.0 Copyright 2016, Wizards of the Coast, Inc.; Authors Mike Mearls, Jeremy Crawford, Chris Perkins, Rodney Thompson, Peter Lee, James Wyatt, Robert J. Schwalb, Bruce R. Cordell, Chris Sims, and Steve Townshend, based on original material by E. Gary Gygax and Dave Arneson.

END OF LICENSE

I also found out on the Wizards of the Coast website:

“Open Game Content is any material that is distributed using the Open Game License clearly identified by the publisher as Open Game Content. Furthermore, any material that is derived from Open Game Content automatically becomes Open Game Content as well”

I found all of the legal stuff about open game content and what it means for me really confusing, so I emailed Wizards of the Coast:

  “I am an illustration student at Huddersfield University. For my Final Major Project I am making an RPG adventure module using the System Reference Documents for d20 Modern and d20 Future.  I am not using any of the images from Wizards of the Coast products, instead I am illustrating the module with my own artwork. I am also writing my own story and designing my own creatures for the game. However I am using the system reference document extensively for rules and statistics for creating the monsters and character templates. I want to know whether I will be legally able to sell/ distribute the adventure module I have made upon the completion of my degree. If I went down this route, I would like to know what I would have to do to comply with Wizards of the Coasts' terms and conditions. For example, would I be able to write that the module was compatible with d20 Modern/ future/ other RPGs. Also, is d20 Apocalypse available under Open Game Licence?”

They replied:

  “Hello Ben,

 Thank you for contacting Wizards of the Coast. You have receive this email in response to your request to use certain Wizards’ intellectual property.

Currently, we offer two ways the public can publish RPG products using our properties: the Dungeon Master’s Guild program (“DM Guild”) and the Open Gaming License (“OGL”). At this time, we are not considering licenses to use our Dungeons & Dragons rules that do not fit into the DM Guild or OGL. If you want to create and sell content (adventures, monsters, backgrounds, etc.) using Wizards’ intellectual property, you may do so exclusively through the DM Guild website: www.DMsGuild.com or www.DungeonMastersGuild.com. If you want to make a game or product incorporating Dungeons & Dragons rules sets and system reference documents (“SRD”), please review the OGL available online at: http://dnd.wizards.com/articles/features/systems-reference-document-srd. If you are looking for the SRD for one of the earlier editions of Dungeons & Dragons, our primary focus is to point customers to the newer fifth edition of the game; however, older edition resources can be found here: http://www.wizards.com/default.asp?x=d20. If your request is not covered by the methods above, we are not extending the permissions on an individual basis or providing information on when the licenses may be expanded to other editions. If you have any other questions or concerns, please feel free to contact us again at your earliest convenience. Thank you.”

 I feel I need to think about what open game licence means. Wizards of the Coast didn’t help me understand what the Open Game Licence meant, just told me to review the Open Game Licence (OGL), so I was still confused. I asked my sister to help me look at the OGL.

My sister said,

“Wizards of the Coast produce several role-playing games. They have made system reference documents for some of these and they have released these documents on the internet for free. The documents contain many of the mechanical rules for the games. They don’t include things such as proper names.

The system reference documents have been marked by Wizards of the Coast as open game content. This means that other people can use the content in these system reference documents (SRDs) so long as the open game licence is included along with the game and any material taken from the SRDs, either modified or unaltered is clearly marked, e.g. by being in a different colour.

You will be able to use these rules as they are or make any changes that you want. You will then be able to distribute your game using Amazon, bookstores or game shops. You would own all of your own artwork and narrative (so long as you are careful not to mark the whole document as open game content, just the Wizards of the Coast stuff), therefore people would not be allowed to steal it and re-distribute it. You would be able to use your artwork and narrative in other products you make, such as books and extras.

You will not be able to mark it as being compatible with the role-playing games made by Wizards of the Coast or mention wizards of the coast games (other than in the open game licence). This may make it difficult to market the game as many of your potential buyers will be fans of Wizards of the Coast’s role-playing games.

I don’t know what this will mean in terms of your tumblr blog, because you have blog posts that mention the game and wizards of the coast products in conjunction with each other. I am not sure about the legalities of this after you have made the game and begun distributing it.

Another option would be to distribute your game via the Dungeon Master’s guild website. Then you would be able to use pretty much any Wizards of the Coast content that you want, but you would only be able to distribute it on that website and I don’t know what it would mean in terms of ownership of your art.”

I will need to decide which rules I am going to use from the ones that I am allowed to use. It is good that I can use some of the rules of other role playing games.

I like the first option of marketing my game for myself, rather than on the Wizards of the Coast website as I would like to have more freedoms on where my art is distributed and rights of ownership of my art.  

I have written about and mentioned the game and wizards of the coast products in blog posts on tumblr. I need make sure that whilst making my blog posts I am thinking of the legal issues that there might be. So I must be careful not to mention the names of other role playing games in connection with my own work.