Another Beastars Blog

Sideblog to talk about Beastars and other furry stuff cause I'm full of theories and fic ideas and gay.  My main is Splodey-Goat, Header image by Doopcity.

[cavegirlpoems]

early magic card: Dawn Hawk late-stage magic card: Hubert Farnsworth, Brilliant Inventor (tm)

early yugioh card: Cabbage Warrior late-stage yugioh card: Twilight Memnosinner Exhuvia

early pokemon card: Diglet late-stage pokemon card: Diglet ZZZ+

[lesbiansforboromir]

You actually cannot skip to being good at a creative endeavour that you haven't put much practice into. You cannot trick your way out of the 'knows that your work is not what you want it to be but don't know how to improve it' stage by planning or reading or talking about it really really hard. At some point you just have to craft through it until your brain finds it's own unique way back to the 'everything I make slaps' stage and be prepared to start the cycle all over again. You just have to make that project you're excited about slightly less good than you want it to be. (Says this standing in a pool of blood and covered in blood and also coughing up a little blood)

[lesbiansforboromir]

everyone stop reblogging this I hate to be reminded of my own good advice

[sabertoothwalrus]

old man yaoi's #1 hater

[txttletale]

one of the many useful rosewaterisms i've applied to my own work is 'magic is a hungry monster'. of course, "there'll be a place for this idea eventually" is obviously more true of a 30-year old game that prints thousands of new cards every year than it is of any one random person's creative output. but unless you are in your like, 70s, or you're working in some huge-budget/time investment medium like directing feature films where your output is necessarily extremely limited, there will almost always be a home down the road for that really cool scene, or character, or mechanic, or melody, or whatever else that you just can't make work in your current project. put it away for a rainy day, if it's really that good you'll find yourself digging it back out down the line

[greatwaytokillhim]

pokemon professors will do 10 years of research and be like i have a theory.. that Bulbasaur lives in the Grass

[txttletale]

i think 'ludoscriptive dissonance' should catch on to describe the concept people (wrongly) describe as 'ludonarrative dissonance'. the Dissonance isnt between the Game and the Narrative, as if those are two separate organs that must work in harmony... the dissonance is between the narrative being communicated by the ludic elements and the narrative being communicated by the script

[legionoftuna]

[fostersffff]

Making a bad read in a fighting game: Ah fuck me, but no time to regret it right now, there's still a match going on

Making a bad read in a Pokemon battle:

[mira-marbles]

"only shooting stars break the mold"

Wrong

Haxorus

[hellspawnmotel]

i love you, too

background source: https://flic.kr/p/v9Lfss

on april 20th, 2006, 20 years ago today, mother 3 was released in japan. on april 25th, 2012, almost exactly six years after that, I saw the ending of mother 3 for the first time

[prokopetz]

I've had a couple of people ask for a digestible version of the whole "the real problem with Dungeons & Dragons is false advertising, not anything that's present in its text" thing I keep alluding to, so here's the bullet point version of that argument:

Dungeons & Dragons is owned by Hasbro. Yes, the same Hasbro that owns Monopoly and My Little Pony.

Hasbro wants D&D to be the only tabletop RPG that anyone plays.

In order to accomplish this, Hasbro needs D&D to be a universal entry-level game.

D&D is not a universal entry-level game.

All game rules are opinionated about how the game ought to be played, and as tabletop RPGs go, D&D's rules are more opinionated than most. This is not a flaw, but it's not what Hasbro needs.

D&D is also on the high end of complexity as far as tabletop RPGs go, and it's complex in a way that strongly rewards system mastery, so it's pretty far from "entry level".

Hasbro could produce a version of D&D that's at the very least less opinionated and more entry-level than it presently is, but they don't want to, because they've determined that certain rules features which run counter to both of those goals are critical to D&D's brand identity.

They also don't want to produce multiple versions of D&D tailored for different audiences, because they want every single D&D group to be a potential purchaser of every single D&D product; they'd be effectively competing with themselves for their own customer base if the published game was actually modular in any meaningful way.

So how does Hasbro square that circle?

Simple: they lie. They insist that D&D is in fact a universal entry-level game in spite of all evidence to the contrary, and back their advertising up with sponsored thinkpieces and podcasts and such to "prove" it.

Further, they've spent decades fostering a culture of play which conceals the gap between the game they're advertising and the game they're selling by ascribing any appearance that D&D isn't a universal entry-level game to the incompetence or malice of individual GMs.

The game the rules want to produce disagrees with the game the group wants to play? Nonsense – even the rankest beginner should be able to produce any experience of play using any set of rules, and if your GM can't, they're a Bad GM.

The game is hard to learn? No, it isn't – your GM is merely gatekeeping you. This wouldn't be a problem with a Good GM.

The upshot is that the published rules are more or less irrelevant with respect to achieving the desired experience of play, because they're operating within a culture of play which dumps 100% of the work of making that desired experience of play happen on the GM.

Indeed, much of what modern D&D presents as GMing best practices are really methods of working around the fact that the rules you're using disagree with you about what kind of game you're playing.

(It's not a coincidence that D&D's entrenched culture of play also insists that it's normal for GMs to be miserably overworked and treats GM burnout as a big funny joke, then turns around and loudly wonders why there's a constant GM shortage.)

The trick is, because you're still at least notionally using the rules of D&D, the fruits of all that GM labour are perceived as the product of "playing D&D", not of the GM's hard work.

In essence, Hasbro's business model for Dungeons & Dragons is selling you your own GM's labour with a D&D sticker on it.

It's a very neat trick, if you can pull it off.

Now, at this point some readers may be asking: well, sure, but not all GMs are doormats. What about "killer" GMs who do gatekeep and railroad their players and otherwise act like complete tyrants? I hear horror stories about them all the time.

That's the second trick: these are not opposites. The GM as human Xbox and the GM as tyrant of the table both represent the GM doing all the actual work of making the game happen. The latter isn't the outcome that Hasbro wants, but it's a logical conclusion of the position the want the GM to be in.

[sabertoothwalrus]

the funniest thing about AA4 taking place during 2026 is that they had tried to design Phoenix looking like a sleazy bum with a drinking problem, and by absolute sheer coincidence, the beanie + hoodie + baggy sweats look is INCREDIBLY TRENDY this year. Every other man at my uni has been dressed like this lately. Phoenix is not dressed like he's at rock bottom, he's dressed fashionably. he's TRENDY. for all we know he could be wearing entirely designer

[inkatesbush]

they're saying spending 2 hours in the word doc changing words slightly to be more specific and evocative and moving endless commas around is one of the most noble and respected things that you can do

[misfitmiska]

I say Lougoharu is one of my favourite "love triangle to be solved with polyamory" things but let's be honest here canon doesn't even PRETEND like they're a real love triangle. Legoshi is jealous of Louis over Haru for .01 seconds and they exchange like... 2 punches over her and it's less about who gets the girl and more of an ideological clash. Then by the ending both Haru and Louis are head over heels for Legoshi (implied in Louis's case but cmon now we have eyes) but they don't even fight over him or anything they just meet at a festival and go "ugh that hunk :/ :/ he's so dumb <3 <3".

The actual love triangle is that Haru is a Lougoshi truther Louis is a Legoharu truther and Legoshi doesn't believe he deserves nice things.

[cheaphalloweencostume]

if you dont have a fursona at this point youre just being unprofessional

[deerlike-dyke]

"homestuck taught me lessons on how to deal with fandom" is maybe one of the most colossal euphemisms i have ever read in my entire life, it's like pointing to chernobyl and saying it gave you a very valuable lesson on the importance of workplace safety

[misfitmiska]

I think it's also endlessly fascinating how it's stated that Louis's weight is dangerously low when he's consuming meat in the Shishigumi. A lot of people interpret his time in the black market as when he's finally "free." yet he's also dangerously unhealthy, exactly the same as when he's serving as ceo of the Horns conglomerate.

YESSSS great point!!! Louis’s relationship to the Shishigumi/the market in general is really complex cuz like yes we tend to remember it as his "queer" side that he has to hide from polite society and this is ultimately where he end up feeling safe, but let’s not forget that when he first got there he was not!!! Doing good!!! He describes his childhood in the black market as "the place he learned he couldn’t cry", and when he first joined the Shishigumi, he was really just trading a mask for a mask even though part of him really wanted to see it as liberation. These two things are true at the same time and it’s legit fascinating!!!