talenlee - Tumblr blog

[talenlee]

I need tumblr to stop showing me that fucking video ad of Taylor Swift at a typewriter in black and white. I know full well you wrote those lyrics on your phone while being driven to the airport god damn you

[talenlee]

How To Be: The Animorphs (in 4e D&D)

In How To Be we’re going to look at a variety of characters from Not D&D and conceptualise how you might go about making a version of that character in the form of D&D that matters on this blog, D&D 4th Edition. Our guidelines are as follows:

This is going to be a brief rundown of ways to make a character that ‘feels’ like the source character

This isn’t meant to be comprehensive or authoritative but as a creative exercise

While not every character can work immediately out of the box, the aim is to make sure they have a character ‘feel’ as soon as possible

The character has to have the ‘feeling’ of the character by at least midway through Heroic

When building characters in 4th Edition it’s worth remembering that there are a lot of different ways to do the same basic thing. This isn’t going to be comprehensive, or even particularly fleshed out, and instead give you some places to start when you want to make something.

Another thing to remember is that 4e characters tend to be more about collected interactions of groups of things – it’s not that you get a build with specific rules about what you have to take, and when, and why, like you’re lockpicking your way through a design in the hopes of getting an overlap eventually. Character building is about packages, not programs, and we’ll talk about some packages and reference them going forwards.

One way or another, I’m going to find a way to make a build for How to Be that involves the druid, and if this is how we do it, this is how we do it. See, I can’t tell you who these characters are, or where they’re from. All I can tell you is that we’re going to do our best to make builds for them, and one of them is definitely going to be a druid.

Alright, first up, you’re going to be looking at translation. Every character in Animorphs is a teenaged human in a 90s alt-history. They don’t, largely, punch or fight things face to face. They use animal forms for combat, and they don’t have any known special powers. If you want to play with the low-combat versions of this, you want subtle builds that hide their specialness – so rogues, unarmed combat, characters whose equipment is non-obvious. But you may want to use those characters as your origin point and that’s okay. I’m going to operate from a sort of close model here: I want to make sure that you have a place to start, and then get to make your own choices of what to bolt on top of it.

Everyone in the group needs a way to shapeshift into an animal form. For me, a small number of useful forms are going to cover everything, but you may want an exhaustive approach.

Initiate of the Old Faith. This gives you Wild Shape, and a druid power to use with it. It’s not impossible to get some mileage out of this, but it’s not really a top power choice unless you’re also doing something that can benefit from the Beast Form power choices and feat support for a druid. This is a real rabbit hole, but it’s also simple.

The Tuathan is a theme you can take if you’re playing a half-elf or human. It can then use a level 2 Utility power to pick up a shapeshift at will. Very close to level 1, and very simple in what it executes.

The Werewolf, Wererat and Werebear forms give you free access to a shapeshift that has some combat application. The Pack Outcast also gives you one that you can use in melee combat freely.

Because of these all being possible options to satisfy the more basic characters (don’t look at me like that, you know what I mean), it creates spaces these builds want to leave alone. It’s one thing to say ‘pick which of these you like’ but if a build doesn’t have space for that, it’s not a meaningful choice.

For that reason, none of these builds are going to make sure that the multiclassing or theme option are available, and none use the classes with an overstuffed level 2 utility power slot… which means no Paladins.

Glossary Note: Conventionally, the term used in D&D for this mechanical package is race. This is the typical term, and in most conversations about this game system, the term you’re going to wind up using is race. For backwards compatibility and searchability, I am including this passage here. The term I use for this player option is heritage.

The Jake

Alright, how do we get the mix of abilities for a leader.

(“I don’t think of Jake as a good match with the leader role in 4e,” didn’t ask, don’t care, shut up.)

We want a shapeshift-able character who doesn’t rely heavily on his strength. The sentinel druid is an option but I don’t like that class at all. A lazy warlord or a melee cleric could do the job too. There’s not a strong shapeshift option there, but really, the main thing you need to ask is do I want him to fight in melee? If he’s a melee guy, then you play a strength-based warlord, granting attacks and being in the thick of it. If not, play a lazy bard, and spend your time granting attacks and positioning enemies.

The Cassie

Cassie catches a lot of flak for not being a proactive combatant. What I’d point out in Cassie’s context is that she’s also very good at controlling and delaying people. One of Cassie’s most powerful moments was when she basically sat on a single Yeerk for a prolonged period and was willing to put herself in the path of personal harm to get there.

To this end, I put Cassie as the free square. Druid. Druid gets you wild shape, it gets you rituals, it gets you controlling powers that don’t do direct damage and it gets you a beast form that can both move fast and harass a single opponent.

Thing is, if you want to make ‘a Cassie’ in this case, I think it’s going to be about something you see in Cassie that is not obvious to me. It’s about something about the character that really sings to you. Is it the wolf nature? Is it the importance of non-combat skills? Is it the ability to make good faith negotiations?

I can’t give you insight there. Cassie is a character who is most important for reasons that D&D doesn’t pull directly. I would recommend something that cares about wisdom, and not so much about strength.

The Marco

Marco is someone who wants to be pointed in a direction and commit to an action. I think this is where you want a striker, and you want one that cares about wisdom or charisma. Sorcerer doesn’t feel right to me, like, he’s too physical with the donkey kong comparison. I’d also like the Monk, which gives you the mix of mobility and melee. But you can play a monk, aesthetically be a gorilla, and use one of the above options to manage your non-combat shapeshifting.

Alright, that’s the basics. Now here are the more specific weirdo characters with powers that require a bit more detail.

The Tobias

Tobias is the insider othered. Tobias has, in the official structure of the world of Animorphs so many layers of privilege that are supposed to protect and honour him. The fact that he is failed by those systems so totally that he winds up a depressed teenager with no friends is a show of how those privilege systems are fundamentally only functional in convenience. Anyway, thing is, all that is totally not useful for the most pertinent character design trait that ‘playing Tobias’ highlights.

Tobias is a bird.

Not ‘like a bird,’ Tobias is a bird. Tobias can stop being a bird any time he wants (oh, spoilers? get off my dick), but the defining thing about Tobias, the thing everyone is going to think about when you start with ‘Tobias’ is that he’s a bird. How do you get there, then, in a game where people start out as non-birds?

Now, if you’re going to play a Tobias in a group, there are three approaches I recommend.

The Pixie. Use a Pixie, take a melee class, and just live in what is a ‘bird form.’ Flavour all your gear as development, or painting magical runes on the feathers.

Pure flavour with a dash of Speak with Nature. Negotiate with the DM a way to handle this so you don’t feel like you’re getting an unfair advantage, and have the character just be a hawk when they’re not in combat scenarios. The Speak with Nature ritual lets you communicate with any birds in the area, so, if you have that ritual, you can just use that ritual to do a bird fly over and gather the appropriate information. That should get you most of what being a bird lets you do. That means you’ll need a class that gives you Ritual Caster (Bard, Artificer, Cleric, Druid, Invoker, Psion, Warlock or Wizard) or take it on your own. I’d favour the Bard as a Tobias.

Sigh. Sigh. SIGH. Ask if you can play a Hengeyoukai. The Hengeyouka is a heritage option which offers essentially no mechanical advantage to a character, or, to put it more clearly, it is giving up on having a good heritage option. But it can turn into a bird at will, and change back, and that means if you need the shapeshift, there it is.

As far as ‘what should Tobias do,’ my impulse is that he’s either a melee striker with a focus on mobility, like a Ranger or Hunter, or a lazy warlord build who chooses some place to be in the battlefield that doesn’t involve ever actually engaging in melee combat.

The Ax

At this point there’s an awkward wall, because to represent Ax as Ax is, is basically an impossible ask for a system like 4e. Not ‘you can’t do it,’ but doing it will require answering some questions to your satisfaction that might lead to non-overlapping choices. For example, is what matters to you about Ax his extremely nonhuman body plan? Do you want to play (basically) a centaur? Do you want to play a nonhuman outsider who has to have every sensory element of life explained to you?

Some options:

Take a heritage that is a normal, typical character and explain that your soul or mind are from some kind of alien space. Be a trapped demon, a feywild interloper, a far realms creature, just taking the form of a person and that’s why you’re so fascinated by the tongue and such.

Take a heritage that is identifiably alien, like the Wilden or Warforged. Don’t take the Wilden, they’re bad.

Take a heritage that nobody else in the setting has, like the Shardmind, and ask your DM if it’s okay to leave that space undefined. I talked about that with the Gardevoir article.

Taking the standard shapeshifting package from earlier, though, Ax is pretty simple. Just be whatever the Leader needs you to be.

The Rachel

First one through the wall gets bloody.

Rachel is a special one because what Rachel does is very well defined and extremely clear. Rachel is the warrior; she is the defender. She is the tank. She stands in the front and she does the terrible things others don’t want to do. In the context where everyone is okay with violence and nobody’s ‘traumatised’ because of being ‘fourteen’ or something, that’s less of a need, but the point is Rachel is definitely a character who has a specific, clear way of being.

If Rachel isn’t a hot girl who turns into a bear, I have messed up my suggestions.

And so! I bring forth the Knight; I bring forth the Werebear. This is a classic combo that works reliably and even graduates into a better mode later on when the bear can live in that form all the time, and use things like claw gauntlets. But at level 1, a Werebear can turn into a bear in combat, then smack people good with their claw attacks, leave marks and move on and use her aura for the rest of the marking. Fine stuff here.

It’s like Tobias. You have to be able to say ‘oh, I can tell what’s obvious about this character’ and build from there.

Yes. You were brave. You were strong. You were good. You mattered.

Conclusion

Fundamentally, the Animorphs are not a character. If you took any of these build ideas and started with it in a group, it’s not going to stand out or work as its own thing. It’s going to be something that started from here and you built it out and explored it in your own way. The Animorphs are a communal experience, they are a group and part of that is a group dynamic. Marco wants to complain, Rachel wants to fight, Ax wants cinnabunzzz, and all those things are part of what makes them distinct to each other. A normal D&D game with a character like Cassie in it would be a problem, where Cassie’s character kinda represents a burden the group has to grapple with

(and hey, if that’s your kinda game, go for it!)

but instead, you need to think of these as launching pads for these characters. Places to start, and to see what about these characters – once you get past the basic ‘I am reminded of the Animorphs’ – resonates with you.

What makes your Jake Jake? What makes your Marco Marco? What makes your Rachel a terrifying bear and also something else?

Check it out on PRESS.exe to see it with images and links!

[talenlee]

kill the shift manager in your brain

[talenlee]

Talen's Birthday, 2024

Somehow this one feels less of a big deal than last year. I dunno, maybe it’s because turning forty has been a big monument in my mind, turning forty-one feels just like turning forty again.

I had a fanciful idea that I could do something with the fact that 41 is a prime age; that I have turned 1, 3, 7, 11, 13, 17, 19, 23, 29, 31, 37 and now 41, and then I thought it’d be interesting to see if I ever turned a prime age in a prime year. Now, if you’re at all good at math you’d be able to point out that by being born in 1983, every year I turn an odd age, the year is even and vice versa, meaning that for roughly half the population at any time, they’re never a prime age on a prime year, since no even number is a prime.

It’s not a complicated math puzzle here.

Making a birthday post on my birthday doesn’t feel that special now. It’s not a milestone, it’s not important. Comically, because City of Heroes is burned into my brain, I do think of 41 as a level where you used to get access to your first Epic Power Pool choice (except now you get them at level 35, which is cool). It’s good though: This was a good way to fight the anxiety of the birthday. I remember when I turned 35 I had a real horrible moment thinking I was done, that I had wasted my entire life up to that point. I remember part of what made it okay was seeing Adam Savidan on Youtube, playing Magic: The Gathering and saying ‘I’m thirty five or thirty four years old and I don’t need this.’

A thing about Loading Ready Run that makes me feel a tiny bit bad is that it’s this big long project that a bunch of friends have been making and running for twenty years, as an ongoing hobby that became a job and then became an institution managing multiple people creating things. Sometimes I get sad thinking about how what got that big project to happen was, in part, two dudes with supportive parents and supportive school supplies in the late 90s were able to work on a project, together, for long enough to become very good at it.

How do you do something for twenty years?

Well, you start.

You start, and you keep working on it while you work on things.

The internet of today is poisoned. The internet of today demands you create for it, it wants you to produce Content. Your status updates, your pictures, your everyday drama, your existence, they are all things that are being fed into advertising machine to space out the ads in the name of being ‘content.’ It isn’t how it used to be. It used to be people had websites for their special interests, the interest being the primary thing. My first website I can remember was an Animorphs fanfiction space, and I remembered how when I stopped trying to host other people’s fanfiction, and instead just hosted my own, the one author I took down got sad at me. She was probably also like, fourteen like I was.

It used to be that people made things because they wanted to share them. It used to be that people were making websites and stories and web-novels and web-comics and diaries and blogs and vlogs and microgames and RPGs and they were making stuff. It was stuff. It was not for consuming in its own continual sense, it was not being part of a pipe of things that were fed to you, it was not content, it was a lot of different stuff and that difference gave everyone a reason to do things.

But now, it’s Content.

Now, your effort, your creative material, is being pushed into a single tube for four companies who suck and you know they suck and you don’t like them and yet you make things for them anyway. Because that’s where it is. That’s where the habit forms.

Arbor Day - The Lads // Arbor Day

Watch this video on YouTube

I’m fond of this song, Arbor Day by a band that can be politely described as ‘pretty good, for a Church choir.’ The song, very simply, is that hey, do you need a reason to make a change in your life? Well, today is Arbor day, that’s a good enough reason.’ It’s been an idea bubbling around in my head that yeah, Arbor Day is a nearly arbitary reason to make a big change in your life, but that may be all you need. Sometimes you just need something, anything to mark the psychological change between ‘before I tried this’ to ‘after I tried this.’

Here’s my request for you, on my birthday.

There is something you want to make. There is something you care about. There is something you are interested in trying. Today is a day to do that. Today is a day to even just describe a plan, or a hope. Do you want to write a book? Write a description of what that book is about. A series of books? Describe all of them! Do you want to make games? Start, download one of the programs you need to use today.

Don’t waste money on things for this post’s sake, but you know there are steps you can take to make things, and I want you to make them. I believe in a world where people make things because we like making things, I believe in a world of creative people playing with creativity, and I believe that the important thing of online spaces ie being able to share them.

So please, make something, and show it to me.

No matter how small it is, no matter how little progress on it you get to make. Just spend a little time today starting something, continuing something or finishing something.

I’ll be proud of you, no matter what.

I promise.

Check it out on PRESS.exe to see it with images and links!

[talenlee]

this stupid baka life isn't going according to keikaku

[talenlee]

Game Pile: Sheriff of Nottingham

Sheriff of Nottingham is one of my favourite games that I will probably never get to properly play.

The core mechanism of Sheriff of Nottingham is a simple game of bluffing. It’s hide-and-seek with a deck of cards. The group are all playing merchants, and in each round, one player takes turns being the Sheriff of Nottingham. The Sheriff gets to inspect each of the players’ offerings, with a penalty if they inspect someone innocent and a reward if they find someone guilty.

That is the core of what goes into the game. Things like tallying scores, the distribution in the deck, burn cards and comparative weight of contraband, that’s all stuff that’s there to lend it texture, but in its absolute heart of hearts, this is a game where one player watches as two to five other players all line up to not tell them lies, honest, officer. Complicating it from just a straightforward ‘do you believe me?’ vs ‘do you not?’ is that players can wheedle and negotiate during the phase where the Sheriff is deciding whether or not to bust your chops, but also complicating that further is the way that the game is set up to have a clear and distinct boundary between whether you’re being investigated or not.

See, you could just have this game built around a deck of cards; you set say, four cards in front of the Sheriff and say ‘hey, this is all apples, please don’t look,’ but they pick it up to look at it – when in that process is it too late for the Sheriff to turn back? How quickly can you blurt a bribe that’ll stop the whole affair out? It’s a really interesting thing where when you deal with physical, material objects, truly binary boundaries between two game states can be very challenging to maintain cleanly.

What Sheriff of Nottingham does to facilitate this is a little purse in which you slip your cards. Once you do, you’re committed; there’s no almost-in, or not-quite in cards. You choose, you put them in, and then you close the purse with a clasp. That clasp is a push-clasp, which also means that pulling it open is a little bit of effort. The player commits when they submit their bag and the Sheriff commits to searching the bag once they pop that clasp.

It does not escape me that this effort creates an access problem for players with weaker hands. This is along with the way that this game of pretty much pure bluffing discourages players who don’t like to lie or can’t lie, and the way that the whole game presents real challenges for players who struggle with on-the-fly mathematics. See, one of the complaints of Sheriff of Nottingham is that the actual resolution of the game is a bit fiddly; once you get to the end of the game you work out how your score works based on the number of cards you got, and to facilitate that, you get a little paper pad. Trust me, a game that ends with everyone doing complex math has to be satisfying at every step of the way, or, you know what, no, it has to be Wingspan. Wingspan can end the game with fiddly math and note taking, that’s how good a game has to be in order to make this not a pain.

Sheriff of Nottingham is an introductory game in disguise. You don’t need to buy into an elaborate fiction to understand it, even though the narrative supposes a modest connection to a Robin Hood kind of story. The fiction of the game is that the players represent traders who are moving into a market, in irregular groups, and each time they move in, they get their carts checked (or not) by the local sheriff who is of mercurial mood and disposition. In fact, buying into the fiction creates a question of why bribing the guards goes into the pockets of another player, so really, it’s for the best you don’t. The gameplay loop of trying to fool one another presents itself very obviously and by pushing all the scoring complexity to the end game, nobody needs to track exactly how well they’re doing while they learn.

I think that a scoring system that doesn’t rely on doing math but instead relies on dividing your end-game cards would be the best way to do things. Make it so it’s not that apples are worth 2 points and the player with the most apples gets a bonus, but instead, you keep every third apple card, and have scores be much lower. Numbers would need tweaking to ensure that the coinage scores weren’t that important – the fiction clearly indicates that

The problem of course is that when the game is this simple, built around a mechanism so tightly defined, is that it’s essentially, a tension engine. Not only is it a matter of a game where you have to lie to people – even if only to not seem completely honest! – it’s a game where you’re presented with a non-stop sequence of tense experiences. It might as well be Shoplifting Simulator for the way the game’s mechanics inspire people to start sweating!

And therein lies the barrier for entry.

I love this game. I love watching this game. We use it in our classes to teach students who have never played a board game before how to go from ‘nothing’ to ‘proficiently playing.’ It has a beautiful, almost predictable arc where poeple play the first rounds in quiet silence, then someone gets away with their first lie and suddenly there’s a layer of tension and people start to laugh. Then someone bribes someone else to investigate another player and suddenly there’s a new source of laughter.

I love to see it! I love to see the way players learn to tease one another, the way players learn to mess with one another.

Now remember that my play group often involves children and my mother.

This is not a game that fits my playgroup! And that’s okay to know and it’s okay to remember it! But then I get to enjoy watching people play it, either on the internet or in class.

Check it out on PRESS.exe to see it with images and links!

[talenlee]

this guy gets it

[talenlee]

Tragic! This American Did Something Cool And Then Was A Fuckin Yank About It, Meaning My Heart's Only Response Was 'Go Fuck Yourself, Arsehole'

[talenlee]

this guy gets it

[talenlee]

Tragic! This American Did Something Cool And Then Was A Fuckin Yank About It, Meaning My Heart's Only Response Was 'Go Fuck Yourself, Arsehole'

[talenlee]

Tragic! This American Did Something Cool And Then Was A Fuckin Yank About It, Meaning My Heart's Only Response Was 'Go Fuck Yourself, Arsehole'

[talenlee]

Any thoughts on the grownup versions of Mayoi in Kabukimonogatari and Zokuowarimonogatari?

hang on gotta google some things

turns out no

[talenlee]

Bluey's Diggers

The Australian character, it is said, was shaped by World War 1. The diggers, the soldiers we sent to Turkey to buy breathing room for Russia so it could push on Germany and reduce the impact on France. That is a good and comforting myth to have in which we get to do something cool and impressive and tough (partake in a war) while also thinking everyone involved is stupid (because they were) and conveniently ignore the complete lack of our own agency in it (why didn’t we say no?). It sort of crystallised the Australian character as liking and being impressed with war and death, accepting death as a potential consequence, and all that good grim military fantasism that paints us as hardworking even to the point of death, and also quite stupid in that we didn’t once consider if maybe the people we should be shooting at are the ones telling us to get shot.

But thing is, I have complicated feelings about Bluey.

If you’re not familiar with it, because you are somehow off the internet and also don’t have a four year old, Bluey is a Homestuck spin-off series about a kid named Bluey and her sister as she and her dad and mum and related family and friends get along. It is beautifully animated, charmingly expressive, deeply resonant, wholesome in ways its genre often struggles to express, and filled to the brim with thoughtful, attentive character work. In the ways that a kid’s cartoon show can be good, it is great.

This isn’t some sort of ‘waiting for the backhand’ way of things, like, not ‘it’s good for,’ or ‘it’s good but,’ or some secret interpretation thing. Bluey is just a really impressively well-made version of what it is and it underscores how many things like it do not exist and are often making media for children without the same mindset that these shows can be good.

But Bluey is also a show that deserves attention for how it is Australian. How exceptionally Australian it is. The characters all have Australian accents, as voiced by Australian accents. They reference Australian versions of things, Australian buses and trains, Australian wildlife, Australian sports, Australian school structures, Australian public works, Australian music, Australian infrastructure. It is a very Australian series.

In the episode that earns a lot of critical acclaim, Cricket, there is a shot of one of the dog’s dads,

This isn’t my observation. I knew about this before I ever saw Cricket, from the poem by Omar Sakr, called Bluey in the genocide. It’s a great poem, it’s a beautifully phrased piece of simple critique about the assumptions present in the work. Because this, this is where people want to put the brakes on the Australian-ness of Bluey. This is where they want to say, hey, okay, yeah, alright, we don’t know where this guy is, but if this is an Australian story about Australian characters, then where in the world that’s hot are you going to find an Australian soldier?

(The answer is the Middle East.)

It is an omnipresent normal that Australia likes our military, a service that has been called to defend Australia kinda, once, and called to other nations by the people who live there about two times and the rest of the time we’re being roped into the adventures of other empires. We are a colony that colonises, the normalised and included white-enoughs.

And this is part of the thing with Bluey, the complication of the Australian-ness of it all. Because like, this is a show for four year olds. This is a show that nonetheless, represents a kid’s interest in army, and makes the very realistic point that the kid’s interest in army is tied to that kid’s dad being in the army. That is extremely Australian, too. And then, while we’re accepting all these obvious things that are obviously about Australia and the obvious followup, that’s where we jerk to a halt.

Because we know we don’t want to.

Like, this dog being in the Middle East brings with it a lot of assumptions about the real world. This implies that there’s a Dog 9/11. It implies there’s a Dog Financial Crisis. It implies that there’s Dog Curtin Line and Dog Coolies and Dog Skeletons from Chinese Dogs underneath the Dog Sugarcane fields just an hour’s drive from Bluey’s House.

And like, that’s a bummer! That’s a bummer to think about! That’s not how we like to think of our history. We were crystallised by the Diggers, but only the good bits, only the bits that weren’t about a willingness to go and kill people who didn’t care for no good reason! It’s a better crystallising event than, say, the Eureka Stockade, where we fought against police trying to crack down on and control workers (and we burned down Chinese hotels) or the story of the Kelly Gang, where we fought against police abusing and controlling the poor. The crystallisation of Australian-ness is instead about the diggers.

About our military.

The military that reached across our country and has stories in it like the time we rioted against American soldiers with whom we were allied. Stories like the time we claimed someone was too European to avoid the draft, stories like the sinking of the Centaur, which was a hospital ship. Stories like Billy Hughes being racist at the treaty of Versailles, literally a subservient agent of racism for the community of powers above him.

We think of our military as normal, and not that bad, just like we think of ourselves as normal, and not that bad. We will always have the example of the empires we serve as being worse, so whatever we did is not so bad, because we’re not like those people we are working for and whose orders we follow. They’re the real bastards. They’re the ones who are benefitting from all of this. Right? We’re not so bad, we’re just doing what we’re told and really, we’re not even getting that much out of our obedience, right?

Happy Anzac Day.

Check it out on PRESS.exe to see it with images and links!

[talenlee]

Hey! Here’s a little five page comic I did about boot blacking and kink. I had a lot of fun with it, and talked to some really cool people.

[talenlee]

T-Shirt: Hazbin The Hotel

Hey, turns out that new cartoon for cool youths is something I really like. But I couldn’t just draw fanart of sometihng, no, that would be too sensible and good, noooo, so instead I decided that what it really needed was a reference to a 35 year old videogame logo from a time when that game was not yet a punchline.

I am so happy with how this looks? It’s simple and crisp and I really like how Vaggie looks with her happy smile at Charlie like ‘oh, that’s my idiot.’ If you want it on something, you can get it on a sticker, or coasters, or a t-shirt, or, you know, normal Redbubble stuff.

Check it out on PRESS.exe to see it with images and links!

[talenlee]

for those of you saying 'oh same!'

your ocs and my ocs should be friends

Have you ever come up with any character concepts you felt you just couldn't make in the system or venue you wanted to play them in? If so, what was one and what was the sticking point?

A few! normally they get to live in storage until I get a platform for them. Like, I don't have a current open space to make a lot of fantasy characters/D&D style characters because I'm our current DM, so any time I get a hare for that kinda thing I just put it in a box.

[talenlee]

it's like, 25 bucks

This story went and said the woman is 5'1" (155cm) and then referenced her "long legs" in the next sentence. How you gonna have long legs if you're only 5'1"? Is she just legs and a head?