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Aqua Utopia|海の底で記憶を紡ぐ

if i look back, i am lost

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❣ Chile in a Photography ❣
Stranger Things
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Peter Solarz
TVSTRANGERTHINGS
Xuebing Du
YOU ARE THE REASON
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"I'm Dorothy Gale from Kansas"
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NASA
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@cuius
If you like a Long Island Iced Tea, wait until you try the provocatively named Adios, Motherfucker. It’s fun, boozy and blue.
Found a recipe for it that's worded like electrochemistry wrote it
Update: this tastes like if a baha blast could kill you and annihilates any ongoing anxiety attacks
Update update: comparing this to a long island is like comparing a pickup truck to a tank
this is how some people on here talk about punk
[getting defensive] you shouldnt say that word
Using datamoshing to make the hardest "you died" screen possible
everyone post more Radahn slander
you know apparently you're not supposed to give kittens and cats saucers of milk? yeah what you're actually supposed to give them is 1-2 Modelo tall boys. easy mistake to make, happens to the best of us.
humiliation play: making you explain an esoteric 4chan greentext to a beautiful woman who is Not interested
Austin Walker's new TTRPG is fascinating to me. Realis is built on a strange core mechanic where characters advance by becoming more specialized, and unlike in the average game where specialist skills are added on top of generic skills, here there's a serious trade-off. A weak ability to win fights grows into a medium ability to win swordfights grows into a powerful ability to win swordfights against royal guards. A weak ability to track prey grows into a medium ability to track prey at night grows into a powerful ability to track prey at night on the tundra. Austen talks about how this is partially inspired by Berserk's changes over decades, and how this will encourage players to start with simplistic, archetypal characters, and mold them over time and through play, into something more unique and specific both in gameplay and storytelling terms.
But also this game's core mechanic is literally just about aging, about the beauties and tragedies of aging and hopefully getting good at one thing but losing the chance of getting good at a hundred other things, mastering your life but letting go of other possibilities. Heavy.
A new tabletop roleplaying game by Austin Walker
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.
Made like a fucked up version of Tank! haha. Just a glimpse into my dark reality
“I love the way the player’s body moves in Bloodborne: You can fly in any direction like that, like a nervous little bird. If you want to be close, you are instantly close, and if you want to be away, you are instantly away. What a gift. Of course everything is violent and wants to touch you, but if you are perfect, you will not be touched. There is a little secret here which perhaps you can notice: When the ugly monster’s limbs reach out to touch the small human’s body, there is about a tenth of a second—maybe less— where her body is invincible. It doesn’t even matter if she’s geometrically in harm’s way or not. She is safe because she timed it right, was perfect. See, even in this very hard game, there is something wonderful and fair: The game doesn’t care about the way bodies actually intersect. If your timing was correct, it agrees: “You were not touched.” Many games hide that tiny moment of invincibility within quick movement, and it feels so kind just knowing, no mater how bad you are, that if you could fit every moment of pain in that one tenth of a second you could be invincible for the rest of your life. Sometimes I wish I had this power in real life. If I had it would mean never having to say ‘no’ in so many words, nor the confrontation that sometimes comes with saying no. But that perfect, flawless dodge is not sustainable—you have to be devastated so many times to get the timing so flawless. And here’s my bad secret: when I killed this one monster, I didn’t do it by dodging flawlessly, but by mashing some awful weapon in her side while her limbs were flailing and she could not hit me back. Unfair and problematic of me, I know. So often, games’ expressive qualities are limited to the violent motion of virtual bodies, yet they can be extremely articulate within that vocabulary. As much as I want to be an untouchable angel of forgiveness and grace with a bottomless well of compassion for all living things, I keep messing up that dodge and I think it’s making me a bitch.”
— Aevee Bee, “I love my untouchable virtual body” (via goodbyemisery)
They aren't called fortune cookies for nothing.