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btw if you're on this site it is your duty to reblog any post that has been prophecied to reach 10k notes. let's all annoy op

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Have you played BLOOD FEUD ?

By Alf Peter Malmberg, Amos Johan Persson

Blood Feud is a game about toxic masculinity: certain common attitudes and behaviors among men, that cause great harm to them and to others around them. This is a game about people being nasty to each other and about figuring out why.

It’s also a game about vikings of pre-christian Scandinavia; about honor and blood feuds, courage and brutality, corruption and consequences. Above all it is a game about what it means to be a man in such a world—and what consequences that has on the communities they live in

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if you don't do anything else today,

Please have a moment of silence for the people who were killed instead of freed when news of emancipation finally reached the furthest corners of the american south.

have another moment for the ledgers, catalogs, and records that were burned and the homes that were destroyed to hide the presence of very much alive and still enslaved people on dozens of plantations and homesteads across the south for decades after emancipation.

and have a third moment for those who were hunted and killed while fleeing the south to find safety across the border, overseas, in the north and to the west.

black people. light a candle, write a note to those who have passed telling them what you have achieved in spite of the racist and intolerant conditions of this world, feel the warmth of the flame under your hand, say a prayer of rememberance if you are religious, place the note under the candle, and then blow it out.

if you have children, sit them down and tell them anything you know about the life of oldest black person you've ever met. it doesn't have to be your own family. tell them what you know about what life was like for us in the days, years, decades after emancipation. if you don't know much, look it up and learn about it together.

This is Juneteenth.

white people CAN interact with this post. share it, spread it.

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Oh my god, Defy the Gods funded. Three days in.

Getting here required running one Kickstarter, canceling it, resetting my expectations, and launching a new one with more modest goals. But I really want to make this book, you all.

You can get so wrapped up in your own creative project, you think everyone in the world will want it. Then you hit reality and find out its audience is actually really, really niche.

And I'm okay with that! The book stays true to itself. I want to make a sword & sorcery adventure that mirrors and echoes queer life. And most of all, I want to make it. It's a big project, with so many people lending their talents. I want it to be real.

And now—thanks to many of you!—I get to do it. And put it in your hands, with all my love, and hope you enjoy reading and playing it.

26 days and change left to go in the Kickstarter—lots of stretch goals I want to hit. Thanks for coming on the ride with me.

⚔️❤️‍🔥

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while megacorporations profit off of exploitation of queer people and using pride flags for their tshirts and mugs, the creator of the lesbian flag, emily gwen, cant afford basic necessities and has to rely off of donations

if you have something to spare or can share, please do so

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guys shut the fuck up this is the only thing im gonna talk about for the rest of all time 

(publicly shared video of a sweetheart’s dance from Rodney Stanger on fb)

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Fuck it, I didn't want to make a post on this but it's bugging the hell out of me so let's exorcize the thought.

Lilo and Stitch is an extremely good children's movie. I've been working at a daycare for over five years now, and out of all the children's movies I've shown to an auidence of twenty or so school-age kids (i.e. between the ages of 5 and 12), the only movie that's held their attention as well as Lilo and Stitch is The Emperor's New Groove, and the only one that's held it better is An American Tail. Of those three, Lilo and Stitch has won the vote of "what movie we will watch" the most. It not only entertains kids, but emotionally captivates them from start to finish, because it very thoroughly understands how to engage children on their level. It's a smart, tightly written children's movie.

The feat of story-telling genius it pulls of lies in its ability to reach both where children's imaginations want to go and where their lived real-world experiences lie - most children's movies focus on one or the other, but Lilo and Stitch dives deep into both. On the imagination side, there's Stitch's whole plotline of being a little alien monster being chased by other weirdo aliens onto earth because they want to stop him from running amok and causing havoc (which, of course, happens anyway in fun cartoony comedy/action spectacle). On the real-world side, you have Lilo's plotline of being a troubled little girl who has an abundance of very real problems that, like an actual child, she struggles to comprehend and deal with, as well as the many adults in her life that care about her to some degree but all struggle to fully understand her. Kids want to be Stitch and run amok and cause cartoony havoc. Kids, even the least-troubled kids, relate to Lilo, because all of them have been in a similar situation as her at least once in their lives.

Balancing these two very different stories, with very different tones and scopes to their respective conflicts, is a hard writing task, but Lilo and Stitch manages to do it in a way that seems effortless with one very powerful trick. The two plots are direct mirrors to each other, complete with the characters involved in each having foils in the respective plot. To break it down:

Stitch, the wild and destructive alien gremlin who everyone has labeled as a crime against existence, is Lilo, the troubled young girl who's viewed as a "problem child" by all the adults in her life. In both plotlines, Stitch and Lilo are facing the threat of being "taken away" from the life they know because they act out, and in both plotlines, we see that this is an unfathomably cruel thing to do to them and will not actually solve the problems they have.

Dr. Jumbaa, the mad scientist who made Stitch because making monsters is what mad scientists do, and who had no intentions of ever being nurturing or parental to anything or anyone in his life, is Nani, Lilo's older sister whose parents died when she was young and now is forced to act as a parental substitute despite not being mentally or emotionally prepared for that responsibility yet. Both Dr. Jumbaa and Nani are trying to get their respective wild children in line with what society wants them to be, and both are struggling hard with it because they in turn have a lot of growing to do before they can actually accomplish that.

Pleakley, the nebbish alien bureaucrat who ends up being assigned to help Dr. Jumbaa despite being mostly uninvolved in creating the whole Stitch situation, is David, the nice but mostly ineffectual guy who's crushing on Nani and wants to help her but doesn't really have much he can provide except emotional support. Ultimately Pleakley and David prove that said emotional support is a lot more helpful than it seems on the surface, as they give Jumbaa and Nani respectively a lot of the pushes they need to become better in their parental roles.

The Grand Councilwoman, who runs the society of aliens that is trying to banish Stitch forever for his crime of existing, is Cobra Bubbles, the Child Protective Services agent who is in charge of deciding whether or not Lilo needs to be taken away from her home forever for, ostensibly, her own good. Both are well-intentioned and stern, with a desire to follow the rules of society and do what procedure says is the most humane thing to do in this situation, but both lack the understanding of Stitch/Lilo's situation to actually help until the end of the movie.

Finally, we have Captain Gantu, the enforcer of the Galactic Council who is a mean, aggressive, sadistic brute but is viewed as a "good guy" by society because he plays by its rules (well, when he knows can't get away with breaking them, anyway), who is the counterpart of Myrtle, the mean, aggressive, sadistic schoolyard bully who is viewed as a "good kid" by other adults because she plays by the rules they established (well, when she knows she can't get away with breaking them, anyway). Both Gantu and Myrtle are, in truth, much nastier in temperament than Stitch and Lilo, but are better at hiding it in front of others and so get away with it, and often make Stitch and Lilo look worse in the eyes of others by provoking them to violence and then playing the victim about it - in fact, both even have the same line, "Does this look infected to you?", which they say after goading their respective wild-child victims into biting them.

The symmetry of these two plotlines allows them to actually feed into each other and build each other up instead of fighting each other for screentime. The fantastical nature of Stitch's plot adds whimsy to the far more realistic problems that Lilo faces so they don't get too heavy for the children in the audience, while the very real struggles of Lilo in her plotline bleed over into Stitch's plot and make both very emotionally poignant. When both plotlines hit their shared climax, they reach children on a emotional level few other movies can match - the terror of Lilo being taken away from her family, and the emotional complexity of that problem (Cobra Bubbles pointing to Lilo's ruined house and shouting at Nani, "IS THIS WHAT LILO NEEDS?" is so starkly real and heart-breaking), is matched and echoed in the visual splendor and mania of the spectacular no-way-this-is-going-to-work chase scene where Stitch, Nani, Jumbaa, and Pleakley all team up to rescue Lilo from Gantu.

The arcs of the characters all more or less line up. Nani confronts her own failures to be a guardian and parent to Lilo and resolves to do better and learn from her mistakes. Jumbaa, who through most of the movie protests to be evil and uncaring, nonetheless comes to not only care for Pleakley, but more importantly for Stitch too, and ends up assuming the role he never wanted but nonetheless forced himself into from the start: he is Stitch's family. Hell, the moment that reveals this is really clever - Stitch goes out into the wilderness to try and re-enact a scene from a storybook of The Ugly Duckling, hoping, in a very childish way, that his family will show up and love him. Jumbaa arrives and, coldly but not particularly cruelly, tells Stitch that he has no family - that Stitch wasn't born, but created in a lab by Jumbaa himself. But in that moment Jumbaa is proving himself wrong - because Stitch's creator, his parent, DID show up, and did exactly what happens in the story by telling Stitch the truth of what he is. It can't be a surprise, then, that later in the movie Jumbaa ends up deciding to side with Stitch, to help him save Lilo, and to stay on Earth with his child.

David and Pleakley go from being pushed away by Nani and Jumbaa respectively to essentially becoming their partners in the family. The Grand Councilwoman and Cobra Bubbles finally see how cruel their initial solution of isolating Stitch and Lilo from their family would be, and bend the rules they are supposed to enforce to protect and support this weird found family instead of breaking it apart. Gantu and Myrtle are recognized for the assholes they are and face comeuppance in the form of comedic slapstick pratfalls. And most importantly, Stitch and Lilo both get the emotional support and understanding they need to thrive and live happy lives as children should be allowed to do. It's like poetry, it rhymes.

It's a very precise, smartly written movie. It's a delicate balancing act of tone and emotions, with a very strong theme about the need for family and understanding that hits children in their hearts and imaginations. It's extremely well structured.

...

So it'd be kind of colossally fucking stupid to remake it and start fucking around with the core structure of it, chopping out pieces and completely altering others, with no real purpose beyond "Well, the executives thought it might be better if we did this."

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Galactic & Going Rogue | Star Wars & Andor-inspired TTRPGs | Kickstarter live NOW!

There is a beating heart at the center of the galaxy. You are the brave who hear it. As members of The Liberation, you have dedicated your lives to the war against The Mandate, on the dream that one day the stars might shine free of its fascist rule. You are rebels, soldiers, spies, and criminals, or perhaps someone who simply picked up and blaster and said "enough is enough." Whoever you are, The Liberation has a place for you—and so do we.

In Galactic & Going Rogue, two beloved TTPRGs of rebellion in space are finally coming to print in a new third edition, with both games now bound together in one fully illustrated, full-color 5.5"x8.5" hardcover with all new art and layout. Whether you're the charming heroes of Galactic, inspired by the classic Star Wars trilogies, or the tragic martyrs of the Rogue One and Andor-inspired Going Rogue, these games have everything you need to tell your story of resistance, relationship, and galaxy-spanning adventure. Best of all? No GM required. 

Just gather your party of 2-6 players, and let the Pillars in Riley Rethal's Galactic shape your story of rebellion. Is The Liberation of your campaign more interested in retaliatory violence and ideological discourse, or imagination of a better world and working together? Does The Space Between—that mystical energy which binds the galaxy together—pull you towards intense bonds and uncontainable emotions, or unity with those who came before? Will any of that be enough to save you when The Mandate opts to put someone in immediate danger, or a player has The Scum & Villainy invite a betrayal? You'll have to play to find out.

Does your party want to explore the darker, more difficult moments of revolution? Then flip to Jess Levine's Going Rogue, winner of CRIT Awards 2023 Best GMless Game of the Year. In your galaxy, do Liberation spies in The Intelligence want reduced oversight and leverage over Liberation members, or are they content to bear the heaviest burdens so others don’t have to as they hunt for the heads of Mandate officials? What do they do when The Parliament governing The Liberation desires lengthy deliberation and safety from retribution for the innocent? Decide quickly, because fate is calling. The gravity of The Sacrifice pulls every game of Going Rogue towards one inevitable end. You know from beginning that your characters will give their lives in a selfless act that moves the galaxy closer to freedom, but why would your band of cynics, loners, and misfits grow into people who would sacrifice everything in pursuit of a dream? That's a question only you can answer.

Also featuring actual plays with:

Dimension 20's Ify Nwadiwe

Friends at the Table's Austin Walker

A More Civilized Age's Natalie Watson

And more! Click the images above for trailers & where to find the episodes!

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“I’m much happier at 53 than I was at 23.” (x)

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my first ttrpg audiobook dropping tomorrow 👀

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conversations about dolphins in classic traveller resulted in me making this:

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Some very eloquent notes on violence as a necessity for resistance.

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"you don't get it, the usa is a fascist country full of government propaganda, and our rights as women and queer people are constantly attacked!! you have no idea what that's like!!" i'm hungarian 👍

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Open Hearth Podcast Ep 9: Sprigs and Kindling, Defy the Gods, Star Wars Microscope

In this episode we talk recent gaming and look at two really interesting projects. Host Lowell Francis (edige23) is joined community members Amanda Mullins and Chrys Sellers @hecticelectron. We talk Sprigs and Kindling, Defy the Gods, and a hack of Microscope for a Star Wars writers' room. NGL this is a dynamite episode-- the things Amanda and Chrys have been developing are amazing. A really, really cool talk and a reasonable editing job (by me).

Sprigs and Kindling

Defy the Gods