#you provide the tools for them to succeed

[fruitless-vain]

The way I try to create an inclusive environment for new bird people to not be afraid to ask questions and join the community and a good chunk of the community just replies with “don’t get a bird”

Way to be inclusive and helpful guys 👏

[cavegirlpoems]

So many TTRPG people, like yourself, seem to exist in a world where players don't actually enjoy the campaigns they're in, and don't actually like playing with the people they play with, and your whole approach to game mechanics seems like it's about trying to bribe these people to continue playing at a given table.

i have no idea where you get this idea from, I play a bunch of different games - including freeform text rp, fest larps, parlour larps, regular tabletop campaigns, longform play-by-post games and narrative wargames - and I have a lot of fun doing it. I wouldn't be a game designer if I didn't actually enjoy games. The thing is, if you study game design and ttrpg theory seriously, you think about the intent behind design decisions. Game design doesn't just happen by accident, the designer put a given rule in for a reason. So, you ask yourself why the designer made the game the way it did, and what they were trying to achieve.

A significant tool for game design is considering the feedback the game provides; what behaviours that ruleset rewards and what it discourages. (You can apply this analysis to other games, too, like video games). When I'm talking about a bribe, it's in that context; how does the game reward you for doing things, and what things does it reward. (For example, 'scrabble' rewards you for playing words with weird letters in them by making those letters worth more points.)

The thing is, ultimately, every game relies on a simple proposition; that if you volunterily use its rules, you will have fun. You don't need to follow the rules, and you can have fun without them, but the idea is that using the rules will let you have more fun, or a different type of fun, than if you didn't. (For example, throwing a ball around is a bit fun, but if everybody agrees to follow the rules of basketball, you get a different experience that a lot of people prefer). So, the only bribe you're making on the interpersonal, out-out-of-game level (unless something weird is going on) is "if we play this game it will be fun". When I talk about bribes and incentives, it's *inside* the game, after we've all agreed to the game's proposition of "if you use the rules, you will have fun".

Now, what counts as an incentive varies by game. Some, like Warhammer 40k, are challenge-based, and have ways to keep score of success and victory; here, things that signify overcoming the challenge are your incentives; how you get a high score, how you win, etc. Others, like most ttrpgs, are creative-based. What constitutes an incentive within the game's structure is less precisely defined. By and large, though, these incentives tend to be things like increased agency within the game fiction, space for creative expression, and experiencing and learning about more of the game fiction. (In this structure, 'being more mechanically powerful' can be thought of as a way of granting a player more agency, because their actions are more likely to succeed and result in the outcomes that they want. If the mechanical growth is lateral as well as vertical, then how to get more powerful is - itself - a venue for creative expression in what to prioritise, which is also a reward).

In the same way that you have the adage that 'restrictions breed creativity', the same goes for Fun. Limiting your scope from anything-goes freeform by voluntarily agreeing to use a set of game rules can produce similar results. Voluntarily limiting your agency in the fiction according to a set of game rules produces a friction that players of roleplaying games find enjoyable to push against. In this context, a reward structure within a game serves the useful purpose of signposting which direction you should push to get the fun kind of friction. A game which limits your options, and then gives you more options when you engage with certain behaviours, is telling you that those are the intended behaviours. Likewise, a game that limits your options even further when you do something is encouraging you not to do that. This is because game designs are not neutral and universal, they exist to create specific experiences. A game that rewards you by giving you more space for creative expression when you get in a fight - and gives you less space for creative expression when you avoid violence - is one that wants you to engage in violence, because it's designed to be a game where you have fun by fighting. This isn't bribing the players to sit down at the table and play the game; that has already happened outside the context of the game. They have already agreed to the game's offer of 'if you use these rules, you will have fun'. Rather, this bribing is within the game-space, the games mechanics encouraging the players to engage with it as intended, in the way that will be most fun. IE: these incentive structures are a tool the game uses to achieve the promise it makes; they guide the players towards the fun that they volunteered to have. Hope that makes sense. * * * Now, your initial ask is a weird take that's entirely unrelated to anything I've posted, and - particularly from an anon account- oddly antagonistic. I don't know if you're genuinely confused about game design, or arguing in bad faith. Either way, this probably doesn't merit the small essay I've produced, but have one anyway, it's always fun to clarify my ideas in written form.

[thewertsearch]

TT: Are you saying that I will succeed in the mission to destroy the sun? […] You seem rather keen on acquiring a fortune from me considering you are the one with the crystal ball. […] I myself do not care to be an oracle. But I can graciously supply you with one. […] An eager consort has brought you one of my seeds. It appears you have amassed followers who wish to please you. How fortuitous.

If each cueball is a 'seed', then each cueball can probably be developed into an instance of Scratch.

I have a horrible feeling that our Scratched session is going to feature a cueball-headed doggy - which, admittedly, is still a step up from the cueball-headed Cal.

It will accurately answer any question a curious girl can pose. Provided she can see through the surface to read its reply. […] TT: Is that possible? […] Given your title and all the tools of prognostication at your disposal, it seems to me I should be the one asking you the questions. TT: How can I see through it? It seems you weren't listening, so I will state this again in the form of a question. Don't you think I should be asking the questions from now on? […] Don't you think a clever person should be able to acquire information from someone who only asks questions? […] TT: Ok, so what you mean is I should continue humoring your leading questions until you happen to ask certain rhetorical questions that contain information I need.

Really, there's not much else you can do. He's going to steamroll the conversation either way, so you may as well just fuck around.

How does a Seer see? […] TT: With a crystal ball? TT: I already considered that. I don't think I can get the focus of the ball to "zoom in" tight enough on the cue ball's enclosure to read the answers.

Damn, and it was a good idea, too.

Jade has an affinity for Space, and could probably do better, but you're choosing not to involve your friends in any of your machinations. After all, they might try and stop you.

Vriska, famously, can see into these cueballs - or, at least, she could when she had her eyepatch. Convincing her to help would be a challenge, but Rose has been talking up her powers of persuasion lately. Time to put your money where your mouth is, Lalonde!

TT: Should I use magic? Do you believe in magic? TT: Magic is real. TT: I've been using it. Are you sure? TT: Use whatever word you want to describe it. I have magic wands, they are very powerful, and they allow me to be magic. Your questions are silly.

Silly, and a little strange, too. Rose's wands clearly have supernatural abilities, but they're not any more supernatural than the rest of her alchemy gear. They certainly appear more magical, because their supernatural effects have a magical aesthetic - but everything else is magic, too!

Like, come on. Everyone’s been flying around the Medium with rocket-powered devices that never malfunction, burn their passengers, or run out of fuel. What’s that, if not magic? Dave literally made a Frostblade, and it doesn’t stop being magical just because there’s a jpeg of Snoop Dogg on it. You could argue that some of these objects are channeling the kids' own Aspect abilities, but most of them have powers completely unrelated to the element their Player wields.

Hell, we don't even need to point to Sburb to prove magic exists. Aradia was a freakin' necromancer!

[outofgloom]

THE TOOLS WE HAVE

He was back. The room spun, and he heard, rather than saw, the worm-like creature slough away and plop into the water of the nearby pool. Then he was very, very sick...

When it was over, he raised himself shakily and checked the interface suspended above him. The six brains glowed faintly, and the six Matoran bodies attached to them remained motionless, as still and unmoving as they had been since the Signal crossed the universe and worked its terrible transformations, however long ago that’d been. There were no more days or years since the sky had been taken apart, so it was hard to keep track.

The various linkages of the interface seemed unphased, which was more than he had expected. He steadied himself against another wave of dizziness. His mind felt…bloated…expanded, worse than normal telepathy. Helryx had mentioned side-effects…the toll of “transtemporal projection”. She was one to know, of course.

Aside from that, everything had gone according to plan. He’d conveyed the information that Helryx had provided, as best he could. The Matoran that he had addressed…the Matoran had been strange—confused at first, but seeming to understand by the end. Afterward, he’d successfully pulled himself back, though the effort had been greater than expected.

Was it enough? How would he know? Even Helryx hadn’t been sure. The fact that he was still here, in this chamber, still in continuity with past thoughts…Did that mean he had failed? Would he even recognize success? The changes might be subtle...

He looked around. The chamber looked no different than before. He placed a hand against the cool stone of the floor and sent out a sonar pulse into the substructure. Mostly intact, no new incursions, although the ominous microtremors were still there, as always.

Unsatisfied, he stood and crossed to the long row of masks embedded in the wall nearby. He removed an Akaku and an Iden and placed them on the faces of two of the inactive Matoran. He tried not to look at them for too long. It still disturbed him to see them this way, even after all this time. His sensitive hearing registered the ever-so-slight shift and rasp of their autonomic breathing.

“Get used to it,” Helryx had told him time and again. “We work with the tools we have. If you succeed, you can have all the stimulating conversations with them that I’m sure you would’ve had otherwise. I never found Ce-Matoran to be particularly good talkers myself…”

Krakua wasn’t sure that he would ever get used to it.

The interface hummed ready. He stooped and positioned himself in the center again, and the six brains glowed in a circle above him like a living Suva. Eyes closed, he exhaled and activated his own Suletu.

Suletu into Iden. Up through the stones of the fortress his consciousness projected, broadened, then coalesced. He was in open air, hovering just above the central column. Into Akaku, he swept the interior rooms briefly from above. All as expected. The many defenses continued to be manned by his forces. No change.

Now he moved his mind-spirit out to the ramparts and brought the telescopic components of the Akaku online. The dense protosteel walls went transparent, and he looked beyond:

Dry oceanbed greeted him, but that was nothing new. He had hoped...but no. In all directions the waste spread from what had once been the shores of the fortress island. His fortress, now. The ocean floor was eaten into numerous holes and channels, all the way to the smoke-filled horizon. The Swarm appeared to be focusing its efforts elsewhere for the time being. He glanced up at the sky, or what once had been sky—now a mixture of jagged gaps and fitful flickering lights. It was a strange, broken thing, and beyond his sky there was another sky. More alien, with a single great light burning down.

He remembered when the Swarm had started to eat the sky, and the stars had gone out one by one. That was when he’d known for sure that the world was over.

He had not felt that way when the first Cataclysm had struck the universe, and they all learned that the Great Spirit had been deposed by a treacherous Makuta named Teridax, nor even when the second Cataclysm followed, and the seers said that the Makuta was contending with the Great Beings themselves.

Even when the Swarms had appeared from every hollow and deep crevasse, and the strange Signal washed across the universe, converting every Matoran it reached into a servant of the Swarm, into a destroyer...he had not yet given up hope. Everyone he had sworn to protect, gone. All but the Ce-Matoran, whose minds were different, and who instead were simply hollowed out by the Signal and left empty. The seers cried that the Great Beings had cursed the universe for the crimes of the Makuta, and had sent their robotic servants to accomplish one last terrible Duty: to eat the world into Nothing.

Even then he had not fully despaired. But the sound of the world being unlidded: a deep, unnatural groaning noise that shook the atmosphere and went down into his innermost ears, into his bones…That had been the moment. There was no going back.

But Helryx had another plan. A backup plan. She always did.

The interface powered down as he reinstalled himself into his own body. He sat motionless, letting the seconds beat by. Nothing outside had changed, as far as he could tell. After all the battle and desperate strategy, all the effort, the sacrifices and pain, all the millennia of preparation…he had hoped that it would be enough, that he would not have to—

The ground shook slightly, enough to ripple the water of the dark pool. Suddenly there was a squat figure in the doorway at the other end of the chamber. Two icy-blue eyes stared at him from beneath a domed faceplate. It was one of his. It chkt'd at him in its ugly way, and he understood it—he had by now become adept at communicating with the creatures via their sound-frequencies.

“INCOMING INCURSION. NORTHERNMOST HEXTANT, BELOW,” it chkt’d.

He’d been the only Toa of Sonics in existence when the second Cataclysm arrived, and that made him uniquely suited to combat the Swarm. He was able to confuse their command-structure, deactivating individual units entirely or even turning them to his own will.

“RETURN TO COMPLEMENT,” he chkt’d in reply. “INTERCEPT AND DIVERT.”

The swarm-unit acknowledged his command and swiveled to go. Another tremor went through the floor as it did so, and for a moment it teetered, off-balance.

“Careful, Mazek—” he began to say involuntarily, but stopped. Helryx’s words drilled into him. They are gone. Their names are gone. He fought back a tide of memories, memories of a Ko-Matoran, a friend…the accursed Signal ringing in their ears—unexpected, too fast for him to neutralize it with his own counter-vibration—of the painful sound of limbs buckling and stretching, of armor fusing here and splitting there, of a voice pleading for help, pleading as the vocal tract deformed and the words distorted, and the eyes elongated into slits, still icy-blue.

Disconnecting it from the rest of the Swarm had been the only mercy he could give. They are gone. Shut it out.

No, he would never get used to it, not even after ten thousand years.

The swarm-unit had left. He sighed, resigned at last to what he must do. He removed the Iden and Akaku from the interface and re-cycled the system, checking the attachments on the Masks of Truth, Translation, and Helryx’s own Mask of Psychometry once again.

Next, he retrieved a stack of tablets from a nearby table. They were covered with writing and calculations: Helryx's logs. He waved to the far wall, and the door of the vault opened with a hiss. The chamber beyond was cold and damp, green-tinged, and filled from top to bottom with hundreds of small tubes.

And in each one there was a worm.

He surveyed the result of their centuries-long hunt through the wreckage of the world. The Order had known for some time that the transtemporal memory encoded in the nascent minds of the creatures could be used to reconnect to moments in the past, but never to change those moments. Not until Helryx’s research, and the creation of the interface.

He consulted the tablets again, tracing along the carefully organized shelves. He would have to select another specimen, target the right moment, and communicate the right message, but which to choose? Helryx had been unsure if a sequence was required, even with all her years of traversing alternate dimensions and spying on different timelines using the last remaining Olmak.

For his first attempt, just minutes ago, he had used the one that Helryx deemed to have the broadest potential: a specimen that had attached itself to a single Matoran prior to either of the cataclysms. The messages he had transmitted were obscure, something about the importance of “lightning” and “six heroes”. That was as much as he could transmit through the link.

It was odd, though. The Matoran had not responded to the name Helryx had listed. It insisted its name was something else, something starting with a “V”. He couldn't recall. Hopefully it wasn't vital. The target had been located in an important place, after all—very close to the Core. Surely it had been the right Po-Matoran...

What next? The logs offered many options. A number of specimens had apparently interacted with the Makuta Teridax himself at one point, but such direct interference seemed unlikely to succeed. Another of the worms had apparently linked itself to an ancient entity called Tren Krom at least forty millennia before the cataclysms. There might be an opportunity there, yes…

He pulled down the canister containing that specific worm and tucked it under his arm, returning to the main chamber. There was another shudder in the ground, and the stasis tubes clinked and jostled as he moved to the interface, preparing to unseal the tube.

Something stirred in the doorway on the far side of the chamber—another of his swarm-units, or one of the lesser couriers he’d peeled off. He chkt'd to dismiss it without looking, too absorbed in his task.

“The Manutri chirps its greeting,” a voice said, “but the icehawk is earless and cannot hear. It dives for the kill. Who is the greater fool?”

Krakua’s eyes snapped upward. It was a Matoran—bent and ill-shaped—standing across the room from him, examining the interface with sharp eyes.

“Who—?”

Another tremor shook the fortress. Harder this time. His forces must have engaged with the latest incursion below ground. The Matoran moved into the room. A Po-Matoran. A familiar mask. Krakua stared. For a split second, he thought he might be hallucinating. His mind still had that bloated feeling. It was possible...

“I take it that, from your perspective, we have only just spoken,” the Matoran said, stepping into the room. “For me, it’s been a little longer, but here I am.”

Krakua finally found his words: “How are you not…not…”

“Not part of the Swarm, like the rest? When the fields of Flameleaf dissolve each season and must be replanted, the hardier Firevine is exposed, for it does not melt. But that’s not really important, is it?”

It was relief that he was feeling. Relief like pain, washing over him. He felt his legs go weak. He hadn’t had a real conversation for such a long time. It was difficult to formulate his thoughts aloud.

“I thought…I thought nothing had changed,” he stammered. “Thought the message didn’t work. I can’t believe it.”

“Well...” The face of the Matoran now grew flat and serious. “You’d better get over that quick. I’ve had time to consider this plan of yours, messy though it is. You’ve at least done most of the legwork, I see.” The Matoran motioned to the open vault.

Krakua nodded slowly, still feeling a little dazed.

“First,” the Matoran continued, “you can put back that worm you’re holding. It’s the wrong one—the markings are off. We’re looking for a specimen from Metru Nui, around the time of the first Cataclysm. You have this, yes?”

“Metru Nui…” Krakua set the tube down and focused his attention, sorting through the tablets he still held. “Yes, here. I dredged the specimen from the ruins of the city outskirts, but Helryx classified it as ‘minimal impact’.”

“Did she? How disappointing. No matter. There is, or was, a certain Toa of Fire in the city who will need some special...encouragement, I think. And then…then we’ll see what happens.”

“Encouragement? There’s nothing about that in the notes…I wouldn’t even know where to start...”

“Encouragement was never her strong suit, I suppose. Well, I'm sure your mentor did her best, but this may have been a little beyond her expertise. Where is she, by the way? I thought she would be here.”

Krakua blinked: “She…The last time…she never came back.”

“Encouraging.”

“She was probably just delayed. Time runs differently on other planes. Or maybe—”

“Or maybe not.” The Matoran shrugged dismissively. “It doesn’t matter. We’ll work with the tools we have...”

The tools we have. Krakua’s gaze wandered to the interface as the Matoran spoke. The masks stared back at him. The eyes were open, glowing but empty.

“...And we’ll have to get a bit more creative with our messages,” the Matoran was saying. “We can do better than...whatever it was you relayed to me back then.”

The floor trembled again, just a little. By the feel of it, he could tell that his forces had been successful in deflecting the incursion. His tools...They’d report in soon.

They are gone. Their names are gone. But if you succeed...

Krakua shook himself. The Matoran was looking at him expectantly. “Well, uh...the messages have to be simple,” he said. “Otherwise the disturbance is too great, and the timeline splits.”

“Of course. Basic causality.”

“And they have to be cryptic as well—not too easy for the target to comprehend immediately, but still decipherable at the right moment.”

“You don’t say.”

“That’s the hardest part, really. Helryx hated it, and I was never any good at riddles...”

Velika smiled.

[betweengenesisfrogs]

A HOMESTUCK MANIFESTO

I want to think about what comes next after Homestuck.

That’s a challenge to the world as much as a personal mission statement.

I want to see writers and artists and creators making the next Homestuck, taking its themes and binding them into new fabrics, giving life to new creatures even more beautiful and uncanny than the original species.

I hunger to see new forms of story and image evolving with Homestuck in their DNA.

This process is already underway. Homestuck is a massive boulder dropped into the waters of culture, and the full wake of its ripples is still to be felt. But let’s call attention to this process and ask: what would happen if we engaged in it more consciously? If we sifted through our feelings about Homestuck to create something new, deliberately, with great and wonderful purpose?

The tools we need are within our grasp. Homestuck presents itself as magic, but it’s a work constructed in time out of specific storytelling choices. So let’s understand those choices. Let’s understand how Homestuck did what it did, and use Homestuck’s tools to build art that grips the soul of future generations as strongly as Homestuck did ours.

What follows is not a traditional literary analysis. It does not cite its sources; it does not seek to give us a comprehensive understanding of Homestuck. If it does, it does so only to the extent it suits its larger purpose.

Our goal here, our quest, if you will, is not to understand the Homestuck that exists, but the Homestuck that comes next.

Let's begin.

0. THE WILD GARDEN

Let’s lay the absolute groundwork here.

Homestuck is constructed as a re-appropriation of itself. Or to put it another way, it’s a big improvisational move, a process of “yes and”-ing so hard it develops a sprawling continuity.

Tiny details are constantly re-contextualized to become part of something else. A joke might turn tragic. A silly aside might turn into something profound.

But it didn’t have to be that way.

It’s crucial to understand that what we experience as continuities were in fact choices made at specific times. Homestuck is a garden where seeds were scattered in every direction, grown en masse, then weeded down to create patterns and forms.

The shape of the garden is designed to conceal the gardener’s hand. But the gardener’s choices are there, every step of the way.

If we are to follow in its footsteps, what choices should we make?

Let’s talk about themes.

1. THE MEANING CRISIS

Nobody in Homestuck knows what they’re doing.

And neither do we.

All the old idols have broken down. The values we were taught in our childhood fail to measure up to the problems of the world we live in. We grasp after careers and lives we were told would make us happy and wonder why we’re left empty. The selves that we were told were us now fit us about as well as clothing we’ve outgrown. Crises loom, political, economic and environmental, and everywhere it feels like the people who are supposed to guide and lead us aren’t doing enough.

It's widening gyres and slouching beasts all the way from here to Bethlehem, is what I’m saying.

The reason people go absolutely insane for Homestuck is that it depicts this crisis of meaning. It shows the questions we might want to ask, and attempts to provide some kind of answer.

The protagonists of Homestuck struggle with what I’ve called “received narrative.” That is, they’ve inherited stories from their families, from the world, that they try to use to define their lives, and it doesn’t work. But these stories are so familiar that it’s hard to think outside them. They have to develop new stories by which to live. Sometimes they succeed, but other times they can’t escape the gravity of the ones they were given.

With me so far?

Great. Now understand that all this was improvised and discovered largely accidentally over the course of ten years.

Here’s a seed that became quite an impressive tree:

The streets are empty. Wind skims the voids keeping neighbors apart, as if grazing the hollow of a cut reed, or say, a plundered mailbox. A familiar note is produced. It's the one Desolation plays to keep its instrument in tune.

It’s a joke. But it was never just a joke. There’s an idea here of dissatisfaction with the stereotypical idea of American suburban life. Egbert here is looking for something more, dissatisfied for reasons they can’t fully articulate. This is typical fantasy protagonist stuff, but there’s something more here, too.

Eventually it’s redirected towards the idea that there really is an unseen riddler. But let’s put that aside for now.

This page, in its moment, says: your life is not the full picture. There’s something else out there, waiting, that’s going to change everything.

That's a potential set-up for a very powerful payoff. It gives us the sense that Egbert and all their friends are going to have to rethink what they know. That this suburban life is not going to be enough for them, that somehow or other they’re going to encounter something they aren’t prepared for, and they’ll have to find a new way of acting and being. That, try as they might to avoid it, they’re going to change over the course of this journey.

But to understand how they change, we need to talk about SBURB.

2. THE PORTAL FANTASY OF IT ALL

A lot of people like to joke that Homestuck is an isekai. I think it might clarify things to use the term portal fantasy instead.

Portal fantasy is simply the fantasy subgenre of characters, usually kids, going to a magical other world. Maybe they make friends, maybe they learn lessons and stuff. You know the drill. I don’t have to to tell you more because the story structure is already so familiar. That’s what gives it power.

Portal fantasy differs from the related Japanese genre of isekai in that isekai in its current form is much more heavily based on video games such as MMORPGs. In the most pervasive isekai narratives, protagonists are rewarded not so much for achieving personal growth as being able to exploit the game mechanics of a game-like system. That’s pretty different from your typical Narnia scenario.

The influence of portal fantasy is everywhere in Homestuck, especially in the beginning. We have nods to the fantasy films of the 1980s that gave us our contemporary idea of this story structure, such as The Neverending Story (itself, in its original book incarnation, a phenomenal commentary on the genre). Our protagonists are genre savvy; they recognize what’s happening here.

But it doesn’t fit quite right. The odd note is first sounded when Egbert asks Nanasprite if what they’re doing is going to save the world. They’re bit unsettled to learn the answer’s no, that something else is going on here. Next we have the fantasy worlds: the planetary lands each present a veneer of exciting adventure. But their inhabitants, the consorts, aren’t fully-realized people, they’re largely cute animals going through the motions, not really understanding the story they’re telling. The carapacians are a little better, but they’re still trapped in a fatalism that feels uncomfortable.

As things rev up in Act 4, we learn about doomed timelines from alt-timeline Dave and Rose, how your entire existence in this setting may be fodder for something other than you. When we learn the true purpose of SBURB and its froggy details in Act 5, we see that SBURB is more like a biological creature, mainly interested in its own reproductive desires. It was never really about the portal fantasy at all. The kids are just along for the ride.

So when we see that Rose wants to tear through SBURB, find out a way to escape fate, and snatch meaning from the jaws of futility, it makes sense. We’ve been given hints already that this is the conflict at hand: the characters vs the story that’s telling them. 

(Note: it’s certainly possible to have a reading that SBURB is not evil so much as empty, that it reflects what you bring into it, that its will for you is your will for you. But that’s also a difficult thing, right? If you lack self-understanding, it’s a struggle to bring about your ideal reality.)

What we haven’t mentioned yet is that this is all mediated through the lens of video games. Which makes perfect sense. Because where do we seek meaning, especially as kids? In imaginary worlds that make more sense to us than real life, that give us achievements to take pride in and clear objectives to pursue.

SBURB evokes mechanics from games like Final Fantasy. We see its players complete objectives, cast magic spells, gain power-ups with colorful costume changes. But unlike the narratives implied by traditional video game progressions, leveling up doesn’t mean you grow as a person or process your trauma. Later, in Act 6, when we meet a player who has made his life about winning the game (Caliborn), it’s horrific to behold. 

Homestuck is a portal fantasy, but it’s fundamentally a portal fantasy about games. It’s a portal fantasy that shows us how characters seek meaning in being the best at arbitrary game mechanics, but ultimately fail to find it.

So I guess…it actually is an isekai? Huh. Wild.

(But seriously, Homestuck is actually fairly prescient in predicting the ideas that come out of isekai and LitRPG. It’s engaging consciously and deconstructively with the weird ideas of self-fulfillment these genres are drowning in.)

So what might a Homestuckian work look like? It will almost certainly critique a false narrative we live by. It may comment on portal fantasy, or our personal satisfaction that comes as easily as playing a video game. But it doesn’t have to be limited to these things. It might talk about our popular TV shows and movies. It may take apart what’s flawed in Marvel, the latest triple-A game, or the modern dark fantasy novel. 

Among its tools will be discomfort. Showing a disconnect early on between our character’s expectations and their happiness can serve as foundation to build on, so that when the flaws of the genre narrative are revealed, it feels like the truth. We may see characters who accept their narratives passively, or rebels like Rose Lalonde, who chose to rip everything apart in search of something better.

These are only some of the possibilities.

When I tell you the stories we live by mislead us, what is your relationship to that? If you were to tear these received narratives apart, what would you focus on, what would you try to say? The art that comes out of this question will be deeply personal to the soul who makes it.

But here’s another question:

Just who is giving us all these narratives, anyway?

3. THE PARENT FLIP

The world we live in was not made by us. It was shaped by forces that predate us, over which we have no control and are born into the grasp of without the knowledge of how to escape.

For instance, our parents.

The guardians who raise us provide our template for how to interpret life. We spend a large part of our lives immersed in the world they built, believing as they believe, living by the values that they instruct us in, so that we might carry their goals forward to the future.

This is an effort that is certain to fail.

Because the problems of today aren’t the problems of twenty or thirty years ago.  At best, their messages can only to help in a limited way with the crises we go through as we live our lives. At worst, they actively hinder us from dealing with them productively.

If we are to escape the broken patterns of our world, then we need break out of the stories an earlier generation gave us.

How are parents discussed in Homestuck?

Initially? As jokes.

If we take our “future knowledge” goggles off for a moment, we can see that the early depictions of the kids’ parents are a goofy parody of standard parental tropes. Mom and Dad are nameless, faceless, exaggerated cartoon stereotypes, and conflict between them and their children is initially expressed through a silly video game fight.

There’s a seed of something real here, though. What we’re parodying is a familiar trope of tension between parents and children in kids’ fiction and YA fiction. But that trope exists for a reason. This conflict is rich with potential for any story about growing up. And Homestuck has smuggled the idea of it in as a silly RPG parody.

So we can extrapolate, for instance, that there’s tension between Egbert and their father in part because Egbert doesn’t know yet who they want to be, and that Rose and Mom’s relationship is awkward and contentious, with alcohol involved. We see that there’s something profoundly uncomfortable going on between Dave and his Bro, and Jade’s life in the shadow of a dead Grandpa suggests a psychology that’s not entirely a healthy one.

Understand that I’m not saying that all this was there from the start. Rather, a choice was made to develop these interesting possibilities out of the jokes, to tell a story about how parents that act like these ones might have affected their children.

A major turning point in this regard is when Egbert learns their father’s seeming clown obsession was the result of a failed attempt to connect with them. It’s quite silly, but it plays around with the idea of a gap in perception between parent and child. It’s also a sign the story’s starting to take more of an interest in character psychology, suggesting that what Egbert processes consciously is not the same as their deeper unconscious feelings. This in turn can become a setup for a portrait of Egbert as someone who represses things they don’t want to think about. From this moment, in the long term, comes June Egbert.

When the psychology machine revs up for all the characters in Act 4 and Act 5, it’s able to do so because this foundation was laid.

We also, as early as Act 3, get hints that the parents have intentions and personalities outside of how the kids perceive them. The original purpose is to hint at a larger conspiracy around SBURB, with Mom building a secret lab, Dad trying to investigate the mystery, and Grandpa jumping in and out of time. But what this suggests is that the psychology of the parents might at some point come into play.

But the most exciting development in the relationship between parents and children is Act 6.

The great role reversal. The parent and child flip.

How do you make your faceless parent figures into characters?

By making them kids.

We’re so used to this concept now t that it’s hard to remember how wild it is that Roxy is a teen version of a main character's mom. But the concept is genius. Meeting these characters on the same level forces our protagonists to understand them as people and reflect on their fallibility.

For us as readers, it adds detail and nuance to the cartoonish portraits we got in the beginning. Conversely, we also see what our protagonists might have been like as parents themselves—and turns it from a story of “parents just don’t understand” to a story of how people, despite their best intentions, can wound each other.

(The Homestuck Epilogues are a difficult text to evaluate, but one of the best things within them is Egbert’s arc in Candy, where we see how Egbert might have done as a parent, how their struggles with finding purpose in the world might lead them to embrace a narrative of parenthood yet struggle to have a good relationship their kid. It’s brilliant, and the culmination of everything we’ve talked about here.)

Thus the Homestuckian work of art will be concerned with themes of parents and children. It will play with the boundary between what children understand about their parents and what they don’t. It will show parents as people—fallible people, who make mistakes with severe costs, whose stories fail their children and themselves. It may build from a simple base of what children understand, or it may weave parent and child perspectives together. It may even show us how children fail when they become parents themselves.  It will show us the cycles we are trapped in, how we wound and are wounded by our context.

And it will force us to look for a way out.

4. CLASSPECTS AS SIGNPOSTS

Hey. You want to know a secret?

Come closer, and I’ll whisper it to you.

Classpects aren’t actually all that complicated. Ultimately, they boil down to one thing:

Symbols we can use to construct a self.

If Homestuck is about a crisis of meaning, then classpects are part of its answer.

What do we do, when the world gives us no story we can live by?

We make one. We make one out of whatever symbols and messages we can find and put together from the stories we’ve read, from the people who teach and inspire us. Such collages are powerful things. They give us a way out of the dark, they give us a sense of something we are and can be, where there was nothing before.

They give us, in short, a personal mythology.

Classes and Aspects have often been read as codes to be unpacked and solved. It might be more productive to see them as creative tools, signposts designed not to narrow down meaning, but to allow us to explore it.

For instance, the portrayal of Light in Homestuck is unique. As a symbol, it combines notions of brightness, knowledge, future, luck, wealth, and narrative focus. These things aren’t inherently linked out in the world, but they are here, and that’s a choice, and an interesting one. It encourages us to imagine connections between these concepts, and to see if they have any relevance to ourselves. Identifying with the concept of Light, in other words choosing to value clarity, luck, and importance, might be a powerful tool for finding one’s way in the world.

Classes play with signposts at an even more basic level. Sure, we can talk about what a Knight does in the context of the story.

But a knight is already a powerful symbol. We bring so much cultural context to it. The word conjures up images and narratives of devotion, duty, violence, the slaying of dragons, armoring oneself against the world, and the rescuing of princesses. If we put that together with a concept like Time, we get a distinct character. If we put that together with our own experience of the world, we can create powerful concepts for who we want to be.

Interestingly, this complicates what we said about SBURB. As much as our protagonists struggle to find meaning within it, there’s still something there that they can latch onto. Classes, aspects, denizens, even consorts and lands—these things don’t have to be devoid of meaning. We can choose to affirm them; we can build something out of them, and say, yes, this is me, this is myself.

But it’s a double-edged sword.

We are responsible for the narratives we choose to live by. And we may find ourselves falling into a narrative that hinders us more than helps us, that creates a self-destructive self.

What does it mean to believe deeply that you are a thief, that taking from others to benefit yourself is the best way or comes to you the most naturally? What does it mean to tell yourself over and over that you’re a prince, with all the attendant baggage of power and grim responsibility that comes with that concept? Or, to follow the path further, what does it mean to tell yourself over and over that you are a destroyer or must be destroyed?

If we are to escape the story we’re trapped in, we must take care, lest we trap ourselves in a story of our own making.

Homestuck never quite resolves the ambiguity around these symbols of self, around whether SBURB hurts or helps, whether classpects are things you create or things that create you. But this ambiguity is a productive one. It gives us symbolic tools we can use in the creation of meaning, and it shows us the side of them that should make us wary.

The work that is to come after Homestuck will be about symbols. It may show us how we seek them in popular culture, or the people around us. It may use some of the clusters of meaning that that we see in Homestuck, but it will not be limited to them. It will write its own language of symbols, joining Light and Time to notions like Memory, Need, Rupture, and War, and be filled not just with knights and princes but brigadiers, lancers, healers, druids, taxidermists, sentries and waifs.  It will build with tarot cards, enneagram types, and Babylonian gods. It will place all the signposts we’ve created in millennia of existence into new contexts and meanings.  

By such means will it show us a way forward.

There’s one kind of symbol we haven’t talked about yet, however.

The kind that holds a mirror up to the world.

5. THE POWER OF ALTERNIA

There’s a reason dystopias have been so popular in young adult fiction. Sure, they’re cliché now, but they speak to something raw and visceral.

When you’re growing up into a world that doesn’t make sense, it’s natural to find refuge in emotional extremes. Stories of blood and violence, fates worse than death, and governments that demand horrific things of their citizens speak to the anxieties of the adolescent mind. They validate the feeling that something is wrong—that the world we’ve inherited is broken and unfair and has no place for us. And they’re right.

Alternia taps into these dystopian feelings perfectly. What makes it so fun is that it’s an inversion of a teenage fantasy. It’s a world where there are no parents, where kids can have access to power and violence, where you can sit around and play video games and design your own house. It almost feels like a response to the “parents don’t understand” themes of the early acts.

But the dystopia’s there, and it’s sneaky. A land of lost boys and girls isn’t actually all that great to live in. It’s lawless, survival of the fittest, with children killing each other left and right. And the future adult roles most of the troll kids aspire to are a glamorous veneer over competition for slots in a fascist military hierarchy. Which is to say nothing of the blood caste system as a way in which the kids are taught by their world to abuse and exploit each other. Crushes, personal slights, competition for status, group dynamics, attempts to define identity – all these familiar teenage dynamics play out on a backdrop of maiming and murder.

Which is perfect. Because when you’re young, all those social interactions genuinely do feel like life or death, and adulthood a regime of exploitation and horror bearing down on you. Alternia is a heightened, exaggerated version of reality. It expresses an emotional truth, not a literal one, validating our most intense feelings and giving us a road map to understanding them.

No wonder so many people wanted to skip to Act 5 and get to the trolls.

(See also Hiveswap Friendsim and Pesterquest, which explore these themes really really well.)

And Alternia, for a world where parents aren’t really a thing, tells us a surprising amount about the parental generation. In mid Act 5-2, Ancestors are added to Alternia’s wordbuilding, and we learn that as much as the trolls skipped having traditional parental figures, they were never devoid of role models. The deeds and exploits of notable figures throughout ancient Alternia gave them models to think about each other and themselves—even when those models were toxic ones. In a way, this isn’t so far from the human kids at all.

Furthermore, as time goes on, we acquire an origin for Alternia’s fascist worldview. Doc Scratch, manipulator of society, stands in for all those aspects of the world that work to create the false narratives we are born into, a true evil father figure – or uncle, if you prefer. And he's an extension of the ultimate evil father figure, Lord English, who controls not just Alternia but the timelines of the human children as well, whose belligerence and apathy give us aeons of toxic narratives and abuse. We see that story played out in Alternia in every interaction, in every moment, the beliefs its architects live by.

This is the power of dystopia—it can hold a broken mirror up to the world we live in.

Therefore the Homestuck that will come after Homestuck will worldbuild gardens of horror. It will not pull its punches but show us insidious societal systems and the effect they have on the people who live under them. It may depict fascism, authoritarianism, feudalistic tyranny, or all three. It will be unafraid to evoke blood and guts but use them to paint a picture of what we want, what we fear, and how we break under our false horizons.

As it depicts the path out, so, too, will it have its reverse side—it will show us all the hells and purgatories we’re trapped in.

6. SAILS TO THE WIND

Much has been written (including by this very author) about Homestuck’s metafictional aspects – the way it comes to foreground a more direct clash between character and narrative.

But the point I want to make here is that the metafictional angle wouldn’t work without these earlier choices. They allow the comic to talk about these concerns long before any notion of canon rears its head.

There are many ways of approaching these themes, and we don’t have to be limited to notions of Ultimate Selves and Beyond Canon to explore them. Such things are valuable, but they are only one retelling of the myth. If we are to make the next Homestuck, we must make our own.

I want to illustrate the space of possibility by offering some examples of works that explore similar themes. Note that I’m not saying these works were influenced by Homestuck in any way, but rather that they use some of the same tools to speak to the same questions, anxieties and concerns.

In trying to make what comes after Homestuck, we might consider:

Revolutionary Girl Utena, which foregrounds the archetype of the Prince as duelist, tyrant, and hero and dares its characters to break free from the false reality that shapes even these aspirations and dreams.

The Familiar by Mark Z. Danielewski, author of Houseof Leaves, whose core narrative concerns an twelve-year-old girl in thrall to an entity whose intentions are unclear but may be shaping the fabric of reality itself; which depicts the inner lives and uncertainties of her parents with just as much detail as they struggle, and sometimes fail, to make the right choices to help her; a story which, even in its incomplete form, explores a notion of a greater S.E.L.F that is not just you but also those who share something with you, where characters from other realities blur into transcendent archetypes in this one.

Digimon, perhaps the quintessential work of portal fantasy, not only Digimon Tamers, which steers the genre into a place of trauma, cosmic horror, and adults horrified by children saving the world, but also Digimon Adventure, which creates strong character arcs for eight very different children as they try to navigate a strange alien world, and shows us their struggle to reconcile with their parents as part of the process of understanding themselves.

The Neverending Story by Michael Ende,foundational text for Homestuck, which tells us not only about the rich possibilities inherent in reading oneself into fantasy worlds, but also the terrible potential for harm in making oneself an emperor over them.

Pale, by Wildbow, author of Worm, an urban fantasy story about three teenagers thrust into a world of magic and murder, a world where symbols literally create reality, where concepts like Carmine and Aurum have a powerful pull, where the Self is something that can be nourished or taken apart and put back together, a story where the parents are not just supporting cast but fully realized people forced to reckon with the ways in which they have deeply failed their children, and which contains perhaps the most thorough investigation of the question of “is it good for children to go on magical adventures?” ever committed to the page.

Heaven Will Be Mine, by Aevee Bee,in which the giant robots we pilot through space become the symbolic manifestation of our inner selves and our way of bringing about our ideal reality, and, relatedly, We Know the Devil, in which the repression of those selves causes them to burst out from us in terrifying and glorious new forms.

Crow Cillers, by Cate Wurtz, an often trauma-filled horror comic in which a group of kids and, eventually, adults, tries to fight back against an ever-present death cult that has its grips on every corner, all the while encountering Psyforms, beings made of pure mind, while characters from television and cartoons dance in the margins and all the while the line blurs between audience and art until it becomes difficult to tell who created who—a story that asks what it means to find meaning in stories when the corporate entities that own them are trying to devour us.

It's a tragically short list, I know. But perhaps it conveys some of the angles we might take.

We can also look at works that are known to have inspired by Homestuck. There aren’t many yet, but there are a few.

Undertale is famous for its Homestuck influences, with parallel timelines, an idea of agency that persists across them, and a contentious relationship between player and character, but for my part, I’m just as interested if not more so in Deltarune, which seems to be slowly building a grand thesis about portal fantasy, where the kids' adventures in the Dark Worlds seems to be offering them an escape and helping them become their best selves—but hints at a coming challenge to that simple worldview in the question of who’s really experiencing that escape.

The Locked Tomb, by Tamsin Muir – This is the big one, that really shows what building on Homestuckian themes can achieve. It turns out there really is an audience for weird aggro formalism in scifi publishing if you make it sufficiently gay. But smartly, like Homestuck, the Locked Tomb builds its weird mysteries gradually, adding on layer after layer on the solid foundation of characters we can follow and get invested in. There’s so much to notice – there’s the highly categorized teenagers involved in a murder feud, there’s the constant whiplash of humor and tragedy, there’s the endlessly open spaces in the story to interpret and project on to.

But to me, what stands out the most is the portrait of God and his court as every bit as emotionally chaotic as the sniping teenagers. You go to heaven, and God’s making out in the corner with his friend group, and you look for the adult in the room but the adults in the room don’t know what they’re doing and they never really did. It’s a portrait of the parents, it’s a portrait of the Ancestors, it’s a portrait of the gods of the new world, and it’s exquisite.

The Locked Tomb gives us a world at war with its own mythological narrative, rich with angst and irony. It’s a worthy successor to everything Homestuck was doing. It shows us how much these themes can say to us, and it gives us a hint at how powerful Homestuck's legacy might be.

7. THE APOTHEOSIS OF HOMESTUCK

There’s a lot of discussion about how to continue Homestuck. How to do it justice. What post-canon might look like, and what it might not. What fan comics, what fan fics, what semi-official works truly live up to the spirit of its characters and its multiverse.

To be clear, those discussions are awesome. I’m so glad those things exist, and it’s wonderful to see them unfolding.

But I don’t want the process to stop there. I'd be disappointed if it was only about adding to and re-articulating Homestuck itself.

I want this—

—This multifaceted, complicated, emotionally laden thing that is the experience of engaging with and creating with and interpreting Homestuck—

To go out into the world and to be infused into the world, to become waves spreading further and further. I want to experience the Homestuck artistic movement, the Homestuck school of thought. I want it to be an influence on the fiction of the coming generation of authors, and the next, and the next.

I want Homestuck to be one of those albums that's too obscure to be known by the general public, but everyone who listened to it went on to start an enormously successful band.

Homestuck can appear like a thing that was conjured out of the ether, but it isn’t. It’s a product of a particular time.

But that in itself is profound. When you create art, you reach back to all the things that have shaped you, and you listen to what the world around you needs, and you try to say what needs to be said. Which means you're a part of a history and culture that needs to say those things, which will be different from the things that needed to be told yesterday, and different from the stories that will be needed tomorrow.

There’s no otherworldliness to it, no platonic other reality. But for all I've talked about art being made of choices, there's still something transcendent here.

To make Homestuck—and to make art inspired by Homestuck—means being a node in a web formed of millions of people, where a light passes down the chain to you, and for the briefest of moments, you get to be filled with its presence, before it moves on to the next person in the chain.

That light isn't yours. Not really.

But at the same time, you do get to choose how that light manifests.

And to engage with that process consciously—to think deliberately about what we want to create—that gives us power and agency over that process, our sense of the world, and ourselves.

So let’s do this. Let’s make the thing that Homestuck is telling us can exist, the thing it’s paving the way for, the thing we know in our soul can come to be.

Let’s make the next Homestuck happen.

—Ari

POSTSCRIPT

“To put out a manifesto you must want: ABC

to fulminate against 1, 2, 3

to fly into a rage and sharpen your wings to conquer and disseminate little abcs and big abcs, to sign, shout, swear, to organize prose into a form of absolute and irrefutable evidence, to prove your non plus ultra and maintain that novelty resembles life… I write a manifesto and I want nothing, yet I say certain things, and in principle I am against manifestoes, as I am also against principles… I write this manifesto to show that people can perform contrary actions together while taking one fresh gulp of air…”

— Tristan Tzara, “Dada Manifesto 1918”

"The cyborg is resolutely committed to partiality, irony, intimacy, and perversity. It is oppositional, utopian, and completely without innocence....the cyborg would not recognize the Garden of Eden; it is not made of mud and cannot dream of re-turning to dust...This is a dream not of a common language, but of a powerful infidel heteroglossia. It means both building and destroying machines, identities, categories, relationships, space stories...I would rather be a cyborg than a goddess."

— Donna Haraway, "A Cyborg Manifesto"

“What we need is works that are strong straight precise and forever beyond understanding... let each man proclaim: there is a great negative work of destruction to be accomplished. We must sweep and clean…to divest one's church of every useless cumbersome accessory; to spit out disagreeable or amorous ideas like a luminous waterfall, or coddle them—with the extreme satisfaction that it doesn't matter in the least…freedom: Dada Dada Dada, a roaring of tense colors, and interlacing of opposites and of all contradictions, grotesques, inconsistencies: LIFE.”

— Tristan Tzara, “Dada Manifesto 1918”

“These are really the thoughts of all men in all ages and lands, they are not original with me,

If they are not yours as much as mine they are nothing, or next to nothing,

If they are not the riddle and the untying of the riddle they are nothing,

If they are not just as close as they are distant they are nothing.”

—Walt Whitman, Song of Myself

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[anim-ttrpgs]

The New Character Sheet for Eureka: Investigative Urban Fantasy!

You can tell a lot about a TTRPG by looking at its character sheet, so here is the mock-up for the latest version of the Eureka: Investigative Urban Fantasy character sheet. This version of the sheet will be coming to patreon backers alongside the biggest single content update to Eureka: Investigative Urban Fantasy since we started posting about it.

Some stuff has been rearranged, some stuff has been tweaked, and some stuff is entirely new.

At the top there you can see the Composure bar. It starts out filled in, and ticks down from right to left as the player-character becomes more stressed and fatigued, and the lower the Composure, the lower the maximum base skill modifier that can be applied to dice rolls. You can find a post going into more detail about the Composure mechanic here.

What’s new is the numbers below the check boxes, denoting exactly what is the maximum base modifier at that level of Composure. One of the goals for the newest version of the character sheet was making the character sheet not just a tool required to play the game, but one that actually makes it easier as well, providing quality-of-life features that remind players of certain mechanics at a glance. This is one instance of such additions.

Next to that is where you’d write the PC’s Truth. “Truth” is a belief, personal motivation, or element of the PC’s personality that is not exactly a "flaw" but that is likely to spur them to action, for better or for worse. When the character acts based on this Truth, they get a bonus to their skill checks. This is unchanged from the previous character sheet, but you can find more info on the Truth mechanic here.

Below that we have the HP stuff. Eureka has 2 types of HP, one for serious deadly wounds and one for more minor wounds, but both of them are important. When reduced to 1 HP of either type, the character is Injured, and must make an Athletics Skill Roll. This may leave them fine with no penalties (but still Injured), Partially Incapacitated which imposes a -1 to all their skill checks, or Fully Incapacitated which means they can’t make any skill checks unless they spend a Eureka! Point.

Below that, well, the Eureka! Point stuff. When PCs investigate things, they accumulate Investigation Points. Enough Investigation Points, and they gain a Eureka! Point. Different types of PCs, as well as other factors, may increase the number of Investigation Points needed to gain a Eureka! Point.

Eureka! Points are valuable resources that can be spent for the character to have a “eureka moment” and retroactively succeed on a failed investigation check, add an extra die to a non-investigation roll to increase the chances of success, or to take an action while Fully Incapacitated. Some traits, particularly the monster ones, give even more options for how Eureka! Points can be spent, and that’s why monster PCs need the most Investigation Points before they get a Eureka! Point. A fuller explanation of this mechanic can be found here.

Next, the skills. For the new sheet, we split the skills into the skill point modifiers and the trait modifiers, to make it easier to read the sheet. Skill point modifiers across all skills have to add up to 0 for a starting character, but Traits can also increase or decrease modifiers, so keeping these as separate numbers is very helpful for keeping track of that. If you’re wondering why one skill is blacked out, here is the explanation.

Also, some of those are blanks because there are a number of optional skills in the rulebook, plus players are also encouraged to write their own.

A new addition to the core skill list is the Wealth skill. This is not a monetary resource that goes up and down, but a skill that represents the character’s resources based on their economic class. Rolling the Wealth skill helps determine if a player-character can, say, afford to bribe the security guard. It can also be rolled to determine if the PC knows certain things about high-class culture that may be relevant to the case. Notably, the Wealth skill is also “reversible”. The modifier can be reversed, from negative to positive, or positive to negative, to determine if the PC knows more lower-class knowledge, like who frequents the local soup kitchens.

Below that is a place to write the names of traits, just as a little reminder for the player. The full text of traits is written on the next page.

At the top of the second page is inventory. Eureka does inventory a little differently, and that’s why there’s four boxes for it. On-person is obviously what they’re carrying, but “Vehicle Secured” and “Home Secured” are items that are inside their vehicle and home respectively. With the addition of the new Wealth skill, Wealth checks can actually be made to add items to the Vehicle and Home inventory. These things aren’t magically appearing obviously, in the narrative of the game they’re things that the PC has already bought before the adventure started, and a higher Wealth skill means that a PC is more likely to own more stuff, or at least more likely to be able to by useful stuff short-notice.

This also connects to a new character creation mechanic I might make a post about later that is coming in the big update: The Wealth Point system. I’ll explain it in brief here. Basically, during character creation, you roll 3D6+3+[Wealth] to determine the number of Wealth Points, then those points are spent on items the character starts with, including a house and vehicle. Houses and vehicles actually have some of their own stats and trade-offs, but generally the bigger and/or more expensive they are, the more of a bonus they give to the Wealth rolls that are used to add items to Vehicle and Home inventory mid-adventure. Houses are more likely to have a bigger bonus, but it’ll usually mean that the PC has to return to their home to actually retrieve the item, costing valuable investigation time. This is also more relevant now with Eureka’s new Ticking Clock mechanics that I'll also explain some time later but basically we added optional rules for tracking in-game time to add tension to the adventure. (The Ticking Clock mechanics were inspired by a mechanic in one of @gormengeist's projects, which in turn was actually inspired by Eureka!)

Also, “Unsecured” inventory is a place to write down useful items that are not exactly in the PC’s possession, like if they left a ladder leaning against the window of the abandoned building outside.

Next is another addition to the sheet, a place to write an equipped weapon. That’s pretty bog-standard for TTRPGs, but one unique thing about Eureka is how it expects you to keep track of every ammunition magazine individually, rather than just having a pool of bullets like a video game. And this is made easy by the magazine ammo counters here, allowing you to write the contents of up to 6 magazines and a check box noting which one is actually inside the gun. While not directly related, here is a post about Eureka’s exciting and deadly firearms combat mechanics.

Next is traits. This is where the actual bulk of the traits’ rules are written. The only change we made here is making them vertical boxes, because that seems more space efficient. Here is a post explaining more about traits in Eureka.

Lastly on this page is the PC’s Tiers of Fear. That was explained in the post about Composure, but basically it’s what they’re scared of and how scared they are of it, which acts as a modifier when they make a Composure Roll related to that particular concept. Right below that are little notes and boxes for tracking how well the PC is taking care of themselves. Eating and sleeping restores Composure over time, at least for most people. Also a “tick” is an abstract unit of time used by the new Ticking Clock mechanics. Each Night consists of 10 Ticks, so the PC must spend at least half the night sleeping in order to restore Composure.

This page is unchanged, except now it’s the third page instead of being the last page. It’s a place for you to write down those failed investigation rolls to remember them and use Eureka! Points to have your PC suddenly understand them later. This was moved up in the sheet by request of playtesters so that their eyes would be on it more often and they’d remember to use it, and it would keep those failed rolls fresher in their mind.

This page is for, well, keeping track of Grievous Wounds. Grievous Wounds in Eureka are permanent or semi-permanent wounds that debuff stats related to them. At the moment a character is about to get Fully Incapacitated, the player can instead opt for them to take a Grievous Wound, keeping them able to act, but at a great cost. For instance, instead of getting cut down into Full Incapacitation and then finished off by a maniac with a machete, a Grievous Wound may mean their hand gets cut off instead. They can continue to run or fight, but that hand is permanently gone, as are the benefits of having both hands.

Players wanting to play physically disabled characters may opt to start their characters with Grievous Wounds marked from the beginning. This provides no special stat benefit, but Eureka is not exactly about playing characters with optimal stats anyway.

Certain monsters, such as vampires, actually have their own list of Grievous Wounds they can take when taking a Grievous Wound, things that no mortal could survive, such as decapitation or bisection. These are, generally, much worse than losing a hand, but also really badass. Speaking of that, one of the aforementioned special uses of Eureka! Points that some monsters have access to is the ability to instantly regenerate lost limbs and restore all HP. That’s one of the reasons that they have to gather more Investigation Points before getting a Eureka! Point.

This last page is for special monster info. Each monster has a True Nature and a Weakness section, both of which tend to be quite detailed. They explain what the monster must do to their human prey to regain Composure, and how. Many monsters do not restore as much Composure from sleeping and eating normal food, they have to consume their prey to regain Composure.

The Weakness section obviously deals with their supernatural weaknesses, such as outlining exactly how a vampire reacts to silver, holy symbols, running water, etc. This section also contains info on various “tells” they have to be aware of, such as how people might noice that a vampire has huge freaking fangs when they open their mouths.

And that’s the latest version of the character sheet!

We hope you enjoyed reading this and we hope you will consider supporting us on patron to get the full version of this TTRPG for as little as $5. If not, consider downloading the free demo which comes with a free adventure module from the download link on our website!

For another chance to play the full thing, consider joining our TTRPG Book Club! TTRPG nominations are voted on, read, played, and discussed. Eureka is frequently up for nomination, and when a game wins, we will provide anyone who can’t afford to buy the game themselves with a copy for use in the book club so they don’t have to miss out. You can join the book club discord server from the invite link found on our website!

Oh and by the way, as of right now, we are planning to launch our Kickstarter for Eureka: Investigative Urban Fantasy in April or May 2024. Stay tuned.

[soylent-crocodile]

Legendary Monster in Pathfinder

Legendary actions are, to put it plainly, one of the very few things I appreciate about D&D 5e. It's a great way for GMs to prevent their cool boss monster from being Action Economy'd to death. Legendary resistances are... less beloved, but I think in Pathfinder (a game positively ridded with save-or-dies and save-or-sucks) it provides a more interesting tactical gameplay than boss monsters simply being immune to petrification, paralysis, etc etc.

Additionally, I deliberately didn't make any of the legendary actions here do anything NEW, in contrast to 5e monsters. I, perhaps uncritically, assumed that these Bestiary 1 monsters didn't need new tools as much as they just needed more actions. Hey, did you know that Pathfinder 1e turns 15 years old in a month?

Legendary monsters are exceptionally powerful or important members of their kind; the blue dragon at the center of a web of mysteries, the sphinx guarding a legendary artifact, the vampire who rules an entire kingdom. Fights with them are meant to feel monumentous, and legendary monsters have a repertoire of tools that ensure that battles with them are drawn out and memorable. 

Any being can be granted the legendary quality; they gain legendary resistances and legendary actions as seen below. Most legendary beings have a third option when spending legendary actions or modify their Strikes and Respositions; some monsters that tend towards the legendary have a specific recommended action, but a GM is free to modify these as they see fit. 

Legendary Resistances

3/day, a legendary creature may choose to succeed on a saving throw without rolling. It makes this choice before rolling the save. 

Additionally, these uses can be expended as a swift action on a legendary creature’s turn to remove any of the following conditions; blinded, deafened, entangled, paralyzed, or petrified.

Legendary Actions

At the start of a monster’s turn, it gains three uses of a legendary action. Additionally, a monster gains three legendary actions at the start of combat if it is not flat-footed. Legendary actions are taken at the end of any other character’s turn, be they player or non-player. Legendary actions can only be used on specific things. All legendary monsters have access to the two following legendary actions;

Strike

The monster makes a single attack against a single target. 

Reposition

The monster moves up to 30ft using any of its movement type. It cannot move farther than its movement speed. This movement triggers attacks of opportunity, but grants the monster a +2 bonus to AC against such attacks.

Example Monsters

Aboleth

As a legendary action, an aboleth may use its Persistent Image, Mirage Arcana, or Veil spell-like abilities.

Kraken

When making a Strike legendary action, a kraken may attack with two tentacles against one or two targets, instead of making a single attack against a single target.

Lich

As a legendary action, a lich may cast any necromancy spell she knows or has prepared that have a casting time of 1 standard action and are level 3 or less 

Gynosphinx

As a legendary action, a gynosphinx may use its Dispel Magic spell-like ability.

Androsphinx

As a legendary action, an androsphinx may cast any of its prepared Cleric spells that have a casting time of 1 standard action and are level 2 or less.

Unicorn

When using the Reposition legendary action, a unicorn does not trigger attacks of opportunity.

[aylen-san]

Maglor: Curufin, I understand your resolve, but attacking Doriath will only worsen our situation. Deaths and fratricide are not what we should aim for. There are other ways. Why not try a different approach?

Curufin: We’ve tried everything. Dior will not negotiate. We cannot allow them to continue tormenting us and our allies. We need to act decisively.

Maglor: I understand your anger, but this could lead to great bloodshed and discord. Maybe it’s better to think of an alternative strategy? For example, bribing their allies or finding a compromise.

Curufin: Negotiations? They do not listen to us, Maglor. Conversations waste time, and we need to prepare for the next strike.

Maglor: We cannot act without considering the consequences. If we win the battle but lose everything we’ve built, it will not be a victory. Think about a strategy that will bring us long-term benefits.

Curufin: Alright, what steps do you propose? How can we prepare for a more favorable outcome?

Maglor: Remember how the Silmarils were obtained? We could simply steal them. The girdle of Melian is no longer there. It’s better than openly attacking Doriath. I have a bad feeling about the attack.

Curufin: I understand your concern, but Dior is not an easy target. He is smart and cautious. If we attempt to steal the Silmarils, we need to plan every detail carefully, or we risk falling into a trap.

Maglor: Therefore, I propose we prepare thoroughly. Let’s study their defenses, find the weak points, and develop a plan. If we do everything right, we can avoid open conflict and losses.

Curufin: Alright, but how exactly should we act? What steps are needed for success?

Maglor: First, we’ll gather intelligence about Doriath and its defenses. We need to find out who is in charge of security and where the weak spots are. Then, we’ll prepare tools and resources for a stealthy entry. We can also use allies for diversionary tactics.

Curufin: That sounds reasonable. We must be very cautious and use all resources to avoid mistakes. If everything goes according to plan, we’ll achieve our goal without unnecessary casualties.

Karantir: Maglor, your plan looks promising. Amras, Amrod, and I believe this is indeed the best approach. Moreover, we could make it appear as though it is the work of Morgoth. This will divert attention and create additional pressure on Doriath.

Amras: We’ve already discussed possible methods. If we create the appearance of Morgoth’s attack, it will distract Dior’s forces and create chaos within Doriath. This will make it easier for us to approach our goal.

Amrod: I agree. We can use old tricks to forge the evidence. It will require careful preparation, but with our skill and attention to detail, we can succeed.

Maglor: I’m glad you support the idea. We need to create false evidence pointing to Morgoth and ensure that our actions look like part of his plan. This will require detailed planning and coordination.

Amrod: I will handle the preparation of fake evidence and diversionary tactics. Karantir, you’ll need to ensure everything is ready for the start of the operation.

Karantir: Agreed. I’ll handle the coordination of all resources and preparation of necessary means. We’ll act quickly and carefully to ensure the success of the plan.

Maglor: Alright, let’s begin preparations. We need to act cautiously and strategically. If everything goes according to plan, it will improve our position and reduce losses.

Karantir: I would also like to add that the Dwarves of Nogrod could become our allies. They have a long-standing grudge against Doriath, and they could provide significant assistance.

Amras: Great idea. If we enlist the Dwarves, they could provide the necessary resources and help organize the operation. Their hatred for Doriath will be useful for distraction and creating chaos.

Amrod: Agreed. The Dwarves know the mountain paths well and can assist in developing the plan. They can also supply us with necessary equipment and materials.

Maglor: If we enlist the Dwarves of Nogrod, we’ll need to discuss the terms of their participation and ensure they are willing to work with us. This will require additional negotiations and planning.

Curufin: We’ll consider their demands and interests. If they feel their involvement will bring them the long-awaited revenge, they will work resolutely. We should also discuss how we will coordinate our actions.

Karantir: I can take on the negotiations with the Dwarves. We need to offer them the benefits of our cooperation and convince them that it will bring them satisfaction and gain.

Amras: With this ally, we’ll significantly strengthen our position. We need to create a clear plan for joint actions and distribute tasks to ensure everything goes smoothly.

Amrod: I will handle the technical aspects—creating fake evidence and ensuring we have the necessary means. We’ll also ensure our actions are synchronized with the Dwarves.

Maglor: Alright, if the Dwarves agree to help, it will be a powerful addition to our plan. We’ll start with negotiations and then continue preparations, considering their involvement. We must be ready for unforeseen circumstances.

Curufin: Agreed. Let’s prepare everything necessary and act quickly. Time is on our side, and we must use it as effectively as possible.

[camarocarfight]

Alastor's Bloody Valentine; A Continuation

Here you go, folks - It's going to be a series. Now featuring a new pairing! Warnings remain the same. Sexual content, violence, gore. I'm trying my best to base this off of the Hazbin timeline.

And please be patient and bear with me. I'm a very busy PA student, and writing this is an escape for me

Thank you to those who commented and gave me the inspiration, and @kimkimmm2411 for being the driving force for a pt.2.

V Tower, Present Day

Vox groaned loudly with his teeth knashed, and clawed hands digging into the mattress of his spacious, king sized bed. The fabric easily gave way, leaving gouges in the foam surface. His hips began to stutter and lose rhythm as the tight, wet heat enveloping his cock squeezed him like a vice and became too mcuh. One more powerful thrusts, and he came with a roar, filling you with his seed. Your finely manicured nails clung to Vox and gouged into the bare flesh of his back. Angry red marks were left in your wake, with blood beading from the jagged scrapes. Vox never minded, and wore the marks proudly. To Vox you were a trophy, and he cherished you, and worshipped the very ground you walked on. 

The moment Vox had discovered you and Alastor had once been affiliated, and that you were seeking your own revenge, he pursued your alliance. You and Vox shared the same immense hate for the Radio Demon and vowed to bring an end to him together. Alastor was a powerful Overlord, but you proved to be a rare threat to Alastor. You did afterall, harness the same power as Alastor, making you a very dangerous enemy and one that could very well kill him. Not to mention that you knew all of Alastor’s strength and weaknesses from your past lives. Vox had nearly short-circuited when you shared with him that juicy detail. 

An attack on Alastor had been planned, but fate had waylaid that opportunity for you and Vox. Leaving you weakened, and with a new vulnerability of your own. Your priorities shifted, and Alastor had seemingly vanished, and had yet to return. In his absence the relationship between you and Vox and grown into more than just an alliance, and Vox found himself raising the Radio Demon’s child. That gave Vox a unique leverage over Alastor. One that he hoped to exploit if the coward ever showed his face again. 

“Don’t forget I’m going to see Rosie today.”

You and Vox had reluctantly separated to get ready for the day. He now dressed in his trademark suit, while you sat at your vanity still getting ready. 

“Right, I’ll have the car ready for you,” Vox stood behind you and placed his hands on your shoulders and have them a light squeeze. “Though, you know I’m not exactly a fan of your friendship with that cannibal.”

Even though Vox was ahead of the times, and up to date on all of the latest trends, you were not. Technology was not your strong suit, and you preferred the simpler thing. You found comfort in book as opposed to those pesky phones whose blue-light gave you a headache. It was very ironic, considering that you were dating the living embodiment of the technology you despised. That little flaw, as Vox called it, took him years to look past. He still tried to coax you towards the digital age, but you were frustratingly steadfast in your old-fashioned preferences. He was just thankful that your taste in fashion had evolved thanks to Velvette. 

“Rosie is darling, Vox, and I don’t need the car,” you brushed his hands off and fixed your hair into an updo. “Arthur and I will walk. If you didn’t have anything planned for him, that is?”

Arthur wasn’t Vox’s biological son, but it had surprised you how quickly Vox had stepped into the role as father figure for the boy. It had been a shock for both of you when the pregnancy had been found out. Vox, however, raised Arthur as if he were his own. Providing him with a happy childhood, and the finest education hell had to offer. Thanks to Vox, Arthur had the tools to succeed in all aslpects of his life, and was currently pursuing his own weapons business that would undermine Carmilla Carmine. Risky business, that left you anxious of the target on your son’s back. Vox seemed to even be concerned over Arthur’s safety in the matter. 

Vox flashed you a charming grin and leaned down to claim your lips in a brief, heated kiss. “I feel better knowing that he’ll be with you.”

You hummed and gazed up into Vox’s crimson eyes. “Don’t kill anyone while I’m gone.”

“No promises!” Vox laughed. “Enjoy your day out, Doll,” he said, and rushed out the door. 

-*-*-*-

You and Arthur walked to cannibal town in comfortable silence with your arm in his. The man trumped you in height - nearly as tall as Vox now. It seemed, however, that he looked more and more like his father each day. He and Alastor bore a striking resemblance as both were stags, but Arthur had brunette hair and green eyes. Their personalities were polar opposites though, as Arthur never smiled unless he was in the company of people he knew and were close to. Otherwise, he was composed and stoic. 

There were some moments when Arthur would glance at you or offer you a slight smile and you could swear he were Alastor. Anger would build inside you, but would quickly dissipate, leaving you feeling guilty. Your ange lied with Alastor, and Alastor alone. Never would you blame your son for something he had no control over. 

Upon arriving at Rosie’s emporium, the woman had made a comment about how similar Alastor and Arthur’s looks were, but you brushed it off. Rosie had the best intentions in mind, but she wasn’t someone to sugarcoat things. 

“And how’s the business coming along,” Rosie grinned and poured Arthur a cup of tea. She often enjoyed teasing, and sometimes flirting with Arthur. 

Arthur quirked a brow and murmured a thank you before bringing the cup up to his thin lips. “Slow, as my mother and Vox are trying to undermine my progress.”

“Arthur,” you warned. “We just want you to understand what you’re getting yourself into.”

Rosie nodded and took her seat beside Arthur. Her dainty hand covered his own and gave it a reassuring squeeze. “Parents will always worry, but I think it’s wonderful what you’re doing! Perhaps you and Carmilla could work together one day.”

“How optimistic,” Arthur scoffed. The man put his cup down on the saucer and crossed his legs. He folded his hands and rested them in his lap and turned his attention to Rosie, seeming to study her intently with his green eyes. “Mother is convinced I’ll be a target.”

“She has reason to worry! What, with Alastor being back and all.”

“I’m sorry,” you blinked and glared over at Rosie. “He’s…back,” your teeth grit, and the room suddenly darkened, and your shadow manifested with it’s jagged teeth bared. “When?”

“Oh, darling, you must have missed the whole snafu over the radio while you were on your way over! I thought for sure you would have known by now.”

[myfirstgamejam]

My First Game Jam 2024 is on!

The optional theme is: “Light”

Here’s a few tips and links to get the most out of the jam.

Make a dev log on the community!

A development blog is a blog in which a game developer or team talks about the process they’ve made over the course of the game’s creation. Maintaining a devblog keeps your audience in the know and helps facilitate productivity so you’ll have something to blog about. It also serves as a record of problems you encounter as well as the solutions you find for those problems.

Development logs are essentially the same thing, except we’ll be using the jam forums rather than a blog. However, you are free to use both the forums and your own blog as you develop your game.

Doing so is not necessary at all, but check out all the logs from last jam! In order to get the most out of your jam experience, it is vital that you interact with your fellow jammers and the community surrounding it. They’ll provide valuable feedback and support to help you along the way. So please, we encourage you to mingle, post in other logs, and of course post your own!

In addition, you are encouraged to add images and gifs. Here’s some programs to help facilitate that:

ScreenToGif

Licecap

Start your dev log today!

Respect your community!

Take a moment to review our code of conduct. We strive to create a safe, supportive, and productive environment, and we appreciate your efforts to make our community welcoming for everyone!

Post daily updates!

Post screenshots or fun mishaps to your dev log, twitter, tumblr, or your own blog to track your progress and get feedback. Tag your posts as #MyFirstGameJam so other jammers can find your work! To get the most exposure you can also tag #gamedev or #ScreenshotSaturday for Saturdays! Share your work and link back to your devlog to get feedback.

Manage your time and tasks!

We have a list of of useful time and task management tools for staying on top of your project. Set goals early and keep track of how fast it takes you to reach them!

Use our resources!

Still deciding on an engine? No problem. Check out this post to see what fits your project best or try the sortingh.at!

We have also started migrating our resource lists over to a new jam resources wiki! Here's some direct page links:

Unity resources

Godot resources

Gamemaker resources

RPGMaker resources

Ren'py resources

Twine resources

Free assets

Resources tag on blog

If you still have questions about the jam itself, take a look at our rules page!

Join the jam chat!

Want to share your work or ask for help? Or even just take a break from dev? Join discord chat here! (Please note you must be at least 14 years old to join!) Feel free to say hi and share your work! If you need help with a specific skill or engine, you can @/Unity or @/2D Art to notify mentors. If you think you would like to help other people with some part of games–join us as a mentor! You can get notifications when someone has a question about engines or skills you have expertise in!

Here’s a quick guide to how you can become a mentor.

Heed advice from previous jammers

This jam we took the time to write up a quick summary of advice from previous jammers: Know how to scope.

You can read about the number one game jam killer here!

Take care of yourself!

Game-making can be exhausting as well as rewarding! You are more important than your work, and we compiled a list of helpful tools for getting the most out of you!

Aaaand good luck!

Game dev can be exciting, frustrating, and extremely rewarding. We hope to give you the tools to help you succeed in your goals in the next two weeks!

[dreambunnynotes]

daily reflection: nov. 16th ❤︎

good morning lovely friends! here is what i accomplished and what i could have improved today, to hold myself accountable. it was really effective for me to know that i had posted my goals list on tumblr yesterday where others could see it; whenever i felt like giving in to my adhd brain that tells me that tasks are to be feared, i would simply remember that i had kind folks online who were interested in seeing me succeed hehe, it helped me so much! here is my first day ❤︎

accomplishments:

i completed all of my cleaning goals and more! it turned into a deeper clean than i thought it would be which felt really nice (and is usually how it goes once i get cleaning). it's so lovely to be able to start fresh with a clean working and sleeping space; it's so much easier to feel inspired, be productive, and take care of yourself when your environment is as ready for you as you are for it!

i wasn't going to complete all of my texting and calling tasks, BUT I DID! these types of tasks are the hardest for me to get done because i have pretty intense social anxiety and rejection sensitive dysphoria, and communicating with others both online and offline takes a lot of mental preparation and energy for me. but i did it, and i am so, so proud of myself! in fact...

self-compassion:

not only did i accomplish my original communication goals, i also ended up replying to two friends i hadn't seen in a long time, even though i was anxious! both of them were at my sister's show last night and i was so surprised to see them and a couple of other friends that i had to go have a bathroom cry from the anxiety lol. i had so many emotions coming up; the first was sadness and shame seeing that they had all come in a group together and that i wasn't with them. i joined them two seconds after i saw everyone, but the sadness was still there because i was positive they would have invited me into the group earlier if i had been less isolated this last year, which is where the guilt came in. i realized i had been isolating from my friends for so long out of fear that i wasn't wanted, didn't provide anything to them, and that maybe i didn't have people i liked being around after all, but that is so, so far from the truth; i do have friends who love me and who i love, and all of them were so loving, so kind, and actually sent me messages after the show telling me how much they loved me and how happy they were to see me! it made me cryyyy and feel so many feelings. i have plans to see them next week, and i actually feel like i'm overcoming my isolation era at long last; i'm really proud of myself for having self-compassion and using tools i've learned in therapy to better my life! :')

my next step is to learn more about and overcome this shame i have around letting my friends love me for who i am; the only way to learn more about it is to actually make plans to see friends and be vulnerable; wish me luck 😭💗

improvements to make:

as for my other tasks; i cleaned out one of my emails, but i have so many email accounts that it felt a little bit lacklustre to call that an accomplishment. today i'd like to break down how big the task of consolidating my digital life will actually be so that i can take measurable and consistent steps towards completing my goal (writing that sentence is baffling me right now - bunny from a few days ago never would have realized how much writing out her goals could help her in being less afraid of them! this feels like a huge accomplishment for my adhd brain!)

today felt like a really successful day, and i'm super proud of myself! this was only the beginning of what i actually want to accomplish in a day, but it was such a great way to try it out. i'm excited to see where this journey takes me and how these daily checklists and reflections will affect my productivity; they already have helped so much! if you've made it to the end of this, thank you for taking the time to read about my day, it means so much to me! lets try our best to have another successful day! ❤︎

[utilitycaster]

One of my least favorite types of post in fandom, particularly for actual play, is the "why isn't everyone dropping everything to focus on my blorbo's mental state," and I wanted to talk about why.

The most obvious surface reason, of course, is that unless you are watching something with a very clear single protagonist and that is the character you're talking about, and the story is explicitly about people helping them heal, this is simply not a thing that's likely to happen in most works. It doesn't mean you can't want it; but that want is best explored and expressed through transformative works rather than trying to get the "let's watch blorbo carefully work through every trauma they have" blood from of the narrative stone. (I'll admit my own interest in such works is very limited, but that shouldn't stop you.)

But even when that is the stated purpose, that's just not the sort of story I'm drawn to. It feels too artificial and dishonest to the human experience, and leaves a strange taste in my mouth. I think it derives from a set of intertwined fantasies this represents, and they are admittedly a very seductive pair of lies.

One is the idea that there will come a time, amid seemingly insurmountable external challenges, when everything can pause and during that magical lull all will be resolved. It's the "this weekend I'll get my life together" fallacy. The truth is that this stoppage almost never happens, and in the cases when it does it is rarely a gentle hold, but rather a screeching involuntary halt. The fix is often not enough to truly fix, but rather just enough to get one moving again before being thrust back into the unceasing world. It's magical thinking, of a magic that even fantasy worlds (perhaps especially heroic fantasy worlds, where all the stakes are impossibly heightened) cannot provide: that the world will stop turning long enough for a complete fix, and that a complete fix is even possible or attainable, and that it will not require any ongoing work to maintain once the world has started up again.

The second is the fantasy of being understood without effort: that this quiet period will come without you needing to speak up and say "stop". That your walls will be broken with no contribution from within; that someone else will do all the work and love you despite that. And why not? As anyone who has dealt with any sort of mental health issue knows, it is exhausting. Wouldn't it be nice if someone else just...knew exactly where to place the leverage to pop you out of that rut as you sat unmoving?

It would be! It's also not going to happen.

I am, despite what I say, not against projecting on characters. That's what characters are for. I'm just not particularly interested in seeing characters who get what I sometimes want and know pretty much no one can have. I want to watch characters experience what I might, and succeed, but I do need the struggle to be as real for them as it is for me. I want the character to be in the same hole and know how to get out because they've been here before, not turn to me and shrug and say "honestly, everything went great for me - you're on your own, pal" and levitate out.

There's much more to it too - I love character dynamics, and so the idea of everyone else fading to flat grayscale tools to help one character is uniquely unappetizing. I also find a lot of the discussions surrounding this sort of premise believe that this magical fixing also occurs without anyone ever saying anything even remotely challenging to the person being helped. It really is just essentially reduced to a flavorless hand waving a magic wand over the character in question, which makes for a very short and bad story.

There are other fantasies too, all tied up in this, and all both understandable to have and tedious to watch, most notably the ideas that suffering is purification and that the blorbo who needs help is eternally blameless and never complicit in either their own pain and their actions towards others; and that give and take (and on a meta level, focus within a story) are easily and meaningfully quantifiable and are required to be kept in some cosmic balance (usually one rather heavily tilted towards a fan's favorite character) for a story to be good.

The question ultimately needs to not be "when will everything stop and center and therapize and fix the character I most relate to" but rather "will this character's traumas and issues and past be explored in any meaningful way during the narrative, or, if they are not, will the fact that they are not explored carry its own weight." Ironically, the stop/fix/magic wand wave away fantasy does away with any possibility of meaningful exploration, and that's really why I can't fucking stand it.

[sigynsilica]

Conservatives be like "tHey'Re tRyiNg tO dEcOnStrUcT tHe fAmiLy uNiT"

Yes. Exactly. That is exactly my goal in life.

Then they be like "wElL yOu mUsT wAnT tHe wOrLd tO bE fUlL oF siNgLe pAreNtS"

No

You think it's LESS family I want? You have it backwards. It's MORE.

Let me explain.

One of the most integral parts of humanity is community. Humans are pack animals. We do better in groups, physically, mentally, and spiritually. Everything humans have accomplished, they did via teamwork.

This is a leading reason why I'm a socialist, because Capitalism is, by definition, the advancement of the individual over the collective. That's a concept that goes against human nature. Capitalism gives credit to one person for what a team of people did, and allows that one person to decide for themself what portions of the benefits of creating something goes to who. This despite the fact that the creation would not and could not be possible without the whole team of people. Even if one person creates one thing, they could not do it without materials harvested or tools invented or concepts thought of by someone else. Somewhere down the line, someone was pushing the buttons.

It's a very isolationist way of thinking, to claim that a CEO deserves more money for producing a product than the assembly line workers who actually made the thing.

This mindset has then been projected onto basically every single aspect of American life. (I can't speak for other countries because I've never been anywhere else)

People are their own human, and that means they can't ask for help. Collaboration is a myth, and the credit for anything really only goes to the head of the endeavor.

Enter the nuclear family.

One mom, one dad, and an assortment of children. The mom stays home and raises the kiddos and cleans the house and makes sure everyone has clean underwear and also finds time for sanity somewhere, while the dad works his butt off at a crappy corporate hellhole of a job. Add in some fundamental Christianity, because America Is A Christian Nation apparently, and you have pressure to homeschool. This only further enforces the isolation, the individual, the Doing Everything By Yourself as the only way to go.

This is why so many conservatives and fundamentalists like the Duggars so much. Think of it! Twenty homeschooled fundamentalist Baptist children, all raised to believe in God, while the dad does Politics and Mission Stuff at the church and the mom homeschools All of them.

And of course you have friends, right? But woe upon thee if your house isn't spick-and-span or the children are being disruptive when they come over. They can't see your mess. They can't see your imperfections. Nobody actually goes to their neighbors to ask for a cup of sugar. You should buy your own sugar. Jeez.

In this mindset and mentality, if your children are "unruly", that reflects badly on you as a parent. Your children are seen as an extension of yourself, and if you don't have everything in your life put together, you're getting judged by randos in the grocery store, now. If both parents need to work, just send your kid to the local daycare. What's that? You can't afford daycare? Hire a babysitter. What's that? You can't afford a babysitter? Hm. More judgement. Get the kid's granny to watch them or something.

So here's the facts. The more adults a child has in their life who show them support and are a safe environment for the child, the more the child will be likely to succeed in their adult life.

And by that definition, yes. I want to destroy the family unit. I want it gone.

The notion that if the two people who were directly responsible for the child's existence can't adequately provide for their child, that's it's a moral failing on their part? That's bullshit. I want it gone. If you need help raising a child, so does everyone else, and it should be socially okay to reach out to a trusted member of your community for help. It should also be socially okay for someone who you trust to want to care for a child with no financial compensation. Children are delightful.

Taking care of a child is hard work. Someone has to be on call 100% of the time for at least the first ten years of that kid's life.

Of course, in making the decision to have children, a parent should consider their capability of caring for the kid. But it shouldn't be their capability of caring for a kid ALONE. No one should have to raise a child alone.

Every parent should have a full support system to fall back on. Every person, let alone parent, should have a community of people who would be willing to help care for other people in their community, especially vulnerable people in that community, like children.

This is what I mean when I say I do want to destroy the family unit. I don't want any child to have to grow up in an environment where the only people who feel responsible for their safety are their parents.

Of course parents are responsible for a kid's safety, more than any other people on the planet, because the parents were the ones who chose to bring the kid into the world.

But they are not the only ones. They should not be alone. There should be no more talk of "well, your parents ought to teach you how to behave," because children learn from everything and everyone around them. You can't stop that. Not even if you try.

The thing is, parents should not, and cannot be the ultimate authority on life for their kids. My parents tried, while simultaneously insisting they weren't perfect, but if you grow up thinking only two people who are Biblically one person are the only ones who are right about things, you're going to have a lot of unlearning to do, no matter who those people are.

Humans, all of us, have a responsibility to look out for each other. Community is our greatest strength, and it's founded on the principle of all of us in a community having each other's backs.

So no more Two Heterosexual People being an island and a solitary beacon of what a family is supposed to be. A family is a community, and we all look out for each other. We all make sure we're safe and we have what we need to live. And we all teach each other things about how the world is.

[blubberquark]

Things That Are Hard

Some things are harder than they look. Some things are exactly as hard as they look.

Game AI, Intelligent Opponents, Intelligent NPCs

As you already know, "Game AI" is a misnomer. It's NPC behaviour, escort missions, "director" systems that dynamically manage the level of action in a game, pathfinding, AI opponents in multiplayer games, and possibly friendly AI players to fill out your team if there aren't enough humans.

Still, you are able to implement minimax with alpha-beta pruning for board games, pathfinding algorithms like A* or simple planning/reasoning systems with relative ease. Even easier: You could just take an MIT licensed library that implements a cool AI technique and put it in your game.

So why is it so hard to add AI to games, or more AI to games? The first problem is integration of cool AI algorithms with game systems. Although games do not need any "perception" for planning algorithms to work, no computer vision, sensor fusion, or data cleanup, and no Bayesian filtering for mapping and localisation, AI in games still needs information in a machine-readable format. Suddenly you go from free-form level geometry to a uniform grid, and from "every frame, do this or that" to planning and execution phases and checking every frame if the plan is still succeeding or has succeeded or if the assumptions of the original plan no longer hold and a new plan is on order. Intelligent behaviour is orders of magnitude more code than simple behaviours, and every time you add a mechanic to the game, you need to ask yourself "how do I make this mechanic accessible to the AI?"

Some design decisions will just be ruled out because they would be difficult to get to work in a certain AI paradigm.

Even in a game that is perfectly suited for AI techniques, like a turn-based, grid-based rogue-like, with line-of-sight already implemented, can struggle to make use of learning or planning AI for NPC behaviour.

What makes advanced AI "fun" in a game is usually when the behaviour is at least a little predictable, or when the AI explains how it works or why it did what it did. What makes AI "fun" is when it sometimes or usually plays really well, but then makes little mistakes that the player must learn to exploit. What makes AI "fun" is interesting behaviour. What makes AI "fun" is game balance.

You can have all of those with simple, almost hard-coded agent behaviour.

Video Playback

If your engine does not have video playback, you might think that it's easy enough to add it by yourself. After all, there are libraries out there that help you decode and decompress video files, so you can stream them from disk, and get streams of video frames and audio.

You can just use those libraries, and play the sounds and display the pictures with the tools your engine already provides, right?

Unfortunately, no. The video is probably at a different frame rate from your game's frame rate, and the music and sound effect playback in your game engine are probably not designed with syncing audio playback to a video stream.

I'm not saying it can't be done. I'm saying that it's surprisingly tricky, and even worse, it might be something that can't be built on top of your engine, but something that requires you to modify your engine to make it work.

Stealth Games

Stealth games succeed and fail on NPC behaviour/AI, predictability, variety, and level design. Stealth games need sophisticated and legible systems for line of sight, detailed modelling of the knowledge-state of NPCs, communication between NPCs, and good movement/ controls/game feel.

Making a stealth game is probably five times as difficult as a platformer or a puzzle platformer.

In a puzzle platformer, you can develop puzzle elements and then build levels. In a stealth game, your NPC behaviour and level design must work in tandem, and be developed together. Movement must be fluid enough that it doesn't become a challenge in itself, without stealth. NPC behaviour must be interesting and legible.

Rhythm Games

These are hard for the same reason that video playback is hard. You have to sync up your audio with your gameplay. You need some kind of feedback for when which audio is played. You need to know how large the audio lag, screen lag, and input lag are, both in frames, and in milliseconds.

You could try to counteract this by using certain real-time OS functionality directly, instead of using the machinery your engine gives you for sound effects and background music. You could try building your own sequencer that plays the beats at the right time.

Now you have to build good gameplay on top of that, and you have to write music. Rhythm games are the genre that experienced programmers are most likely to get wrong in game jams. They produce a finished and playable game, because they wanted to write a rhythm game for a change, but they get the BPM of their music slightly wrong, and everything feels off, more and more so as each song progresses.

Online Multi-Player Netcode

Everybody knows this is hard, but still underestimates the effort it takes. Sure, back in the day you could use the now-discontinued ready-made solution for Unity 5.0 to synchronise the state of your GameObjects. Sure, you can use a library that lets you send messages and streams on top of UDP. Sure, you can just use TCP and server-authoritative networking.

It can all work out, or it might not. Your netcode will have to deal with pings of 300 milliseconds, lag spikes, package loss, and maybe recover from five seconds of lost WiFi connections. If your game can't, because it absolutely needs the low latency or high bandwidth or consistency between players, you will at least have to detect these conditions and handle them, for example by showing text on the screen informing the player he has lost the match.

It is deceptively easy to build certain kinds of multiplayer games, and test them on your local network with pings in the single digit milliseconds. It is deceptively easy to write your own RPC system that works over TCP and sends out method names and arguments encoded as JSON. This is not the hard part of netcode. It is easy to write a racing game where players don't interact much, but just see each other's ghosts. The hard part is to make a fighting game where both players see the punches connect with the hit boxes in the same place, and where all players see the same finish line. Or maybe it's by design if every player sees his own car go over the finish line first.

[phdguides]

7 important tips and advice every PhD student should know

PhD is considered the highest level of qualification and is not for the faint of heart. The difficulties and frustrations are real. You are constantly looking for motivation to keep up with your hectic schedule.

We understand your situation, and to assist you, we have compiled a list of seven essential tips and advice that will come in handy during your PhD journey.

These tips and advice are backed by scholars and industry experts based on their experience, and if you are in the early stages of your PhD, you will be astounded by the information.

So, without further ado, let’s get started:

Read a lot

Read, read, and read some more. This will be a very useful step in creating a research roadmap. Read as many research papers as you can on your chosen topic.

It will provide you with in-depth knowledge of your subject, what previous researchers have done, and how you can begin your own research. By reading other people’s work, you can learn what has already been done and avoid duplicating existing research.

Aside from reading old papers, remember to keep an eye out for new developments also in your field. All of this reading will help you gain a thorough understanding of your chosen subject.

Write more

When you’re reading this much, you should also be writing. Write down your progress, new discoveries, and any other important information you believe is relevant.

It is always preferable to begin writing as soon as possible. Because it will ultimately assist you in writing your thesis. Writing on a regular basis will help you hone your writing skills.

It may appear to be a daunting task, but with practice, you will notice that the quality of your research paper will improve and you will take less time to complete it.

You don’t have to write every day, but try to write at least three times a week, if not more.

Be positive

PhD research is a long and time-consuming process in which you must constantly work on finding new solutions in your field. As a result, if your research paper is not accepted or people do not support your idea, you may become demotivated.

However, keep in mind that these are all part of the process. You will not always be successful. So it’s okay if you don’t achieve your goals sometimes. Concentrate on the good things you have.

Divert your attention to topics that interest you, surround yourself with positive people, take short breaks, and engage in activities that you enjoy.

PhD may appear to be a difficult journey but believe in yourself because you will succeed and your efforts will be rewarded.

Don’t isolate yourself.

PhD candidates frequently become so engrossed in their work that they completely isolate themselves from the rest of the world. They worked hard all hours of the day and night, but the feeling of missing out never left them.

However, stressing yourself may harm your health, which is ultimately detrimental to your research. So take some time to unwind. Connect with others who share your interests and have a productive discussion about your topic.

It will provide you with new perspectives and allow you to connect with people in your field.

Do an internship

An internship can provide you with valuable insight and a deeper understanding of how research is conducted in other environments and what tools are used.

An internship can help you learn a lot. You can broaden your network with other researchers and learn a lot of details. It can be a fantastic way to gain a thorough understanding of your topic.

Reach out to people.

Building a network is critical regardless of what you do. A valuable network can provide you with endless possibilities. Don’t waste the opportunity to meet a lot of influential people and industry experts during your PhD.

Create a strong network for yourself. Reach out to people and have a good conversation with them. Make the most of your opportunity, as a worthwhile network can help you not only in your career but also in your life after your PhD.

Appreciate your small wins

Many students lose interest or productivity halfway through their PhD studies. It can happen because they have unrealistic expectations of themselves.

You don’t have to make the same mistakes in your PhD. Set attainable goals. Appreciate your small victories because they are also significant. You must accept the fact that you will not always be successful. You will have failures, but they will be temporary, and with consistency, you will be able to achieve your goals.

As a result, it is critical to keep yourself motivated and productive by focusing on your progress.

Conclusion

 Pursuing a PhD is a little challenging, but if you believe in yourself, you can achieve your doctorate dream.  The only thing that matters is that you need to stay consistent and focused. Read a lot and try every possible method to learn about new discoveries in your field. Take advice from experts in the field, and your fellow researchers and stay motivated.

https://phdguides.org/guides/

https://phdguides.org/7-important-tips-and-advice-every-phd-student-should-know/

[cable-salamder]

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