NON LIMBUS COMPANY FANS ONLY: Take a guess as to which of the main female characters is a canonical mother (and a good one at that)
Faust
Don Quixote
Ryoshu
Ishmael
Rodion
Outis
Remaining time: 4 days 17 hours
CHARACTER BIOS:
FAUST: The Sinner who developed the engine of Mephistopheles, the bus operated by Limbus Company. She claims that there is no one in the City who could rival her library of knowledge and wisdom, and she isn't necessarily wrong. You might find her high and mighty attitude when she allows you to converse with her displeasing, but as seen with how she treats everyone with subtle gestures of arrogance, there is no hope of her parting with it, ever. We recommend simply nodding once and getting over it. Even though she has an unparalleled genius, we can't quite figure out how to use this one. Perhaps you could be the one to find out?
DON QUIXOTE: There is no Sinner that can outmatch this one's level of passion. An avid aficionada of all things Fixer, she adorns herself with a variety of Fixer-related merchandise. They won't affect her performance in combat one way or another, so there is no need for you to restrict her from keeping her decorations. She is deeply immersed in the role of a righteous Fixer, hence the exaggerated mannerisms akin to those of an actor. (Has such a thing ever existed, really?) It's advised to play along with her for a smooth mission.
RYOSHU: As they say, every person has their own creed—and it’s only right to respect it as the Executive Manager. But with some creeds, you will have difficulty in even simply pretending to sympathize. You will have noticed that the Sinner in question is a silent chain-smoker whose eyes shine with a euphoric gleam only during battle. She believes that senselessly destroying the enemy's heads is an uncultured act and a step backward for art. If you are at your wit's end, please press the red button included in your welcome kit.
[CAUTION]: This Sinner's background is one that even our company may have trouble handling; it is advised against making her breed personal resentment towards you.
ISHMAEL: You may be disheartened by the defective state of many of your Sinners, but do not worry; this Sinner is one of the few who can carry out most missions without much complaint. She is likely to make reasonable judgements, so it is a good idea to start conversations while looking her way if you're seeking sound advice. However, you mustn't forget: this Sinner has survived an absurd voyage in a far and wide body of water. Her patience may run deep, but once you take a wrong turn with her, it will be a difficult task to regain her trust.
RODION: The unfortunate traits of being Backstreets-born are apparent in this Sinner. She loves money, gambling, and betting—so it is advised to pay close attention to her as the manager. She tends to deflect orders with an unimpressive wink or a silly joke; we recommend taking a stern stance at times to remind her that you are her superior. Her mood may be down at irregular intervals. There is nothing you can do to aid her in that state, so we recommend waiting for it to pass.
OUTIS: This Sinner could serve as an excellent advisor depending on your capability. However, she also has a meddlesome tendency, so it is recommended to keep her satisfied with short replies of agreement. She is an expert when it comes to tactics and various pearls of wisdom about life, making her advice all the more valuable for your mission. In addition, she possesses a vast knowledge of workshop technologies; you could trust her with simple repairs of the bus.
[NOTICE]: Unlike the other Sinners, accessing records pertaining to the past of this sinner is not permitted.
[WARNING]: Keep an eye on this Sinner and beware that she does not exercise her cunning intellect for purposes other than completing our company's mission.
...One of my mutuals with cream cheese and ham. I went for a fourth spin for the hell of it and got one of my mutuals again. I guess I could just eat the filling? I rather like chive cream cheese with turkey...
in 2015 i started working at taco bell as a 16 year old for the summer so that i could buy a gaming computer so that i could play league of legends at a higher frame rate so that i could get higher than gold. around this time i listened to the song "pink matter" by frank ocean a lot where he says "cotton candy, majin buu" while talking about pink things which are soft like pussy (which is also pink and soft). i didn't know what majin buu was and i had to look at rap genius to determine that. i saw that majin buu was from dragon ball so i spent an entire paycheck on the dragon ball manga up to the android saga. i read it all in one week instead of doing any of the practice i was supposed to be doing for marching band and got in trouble but i kept walking around everywhere going BAPIDABAPIDA BAPIDA but i never finished reading dragon ball because the books a million in the town i was living in ran out of dragon ball so i had to buy other things.
this ended up with me buying a pair of sennheisers off of amazon which i still use & also with me deciding to look at /mu/ all the time even when i was in class on my phone. one day i saw the album art for midori's album "second" and i thought "this is the coolest looking woman of all time" - i then spent all of the next year trying to teach myself japanese so i could try to determine what she was saying in the songs because i thought they were so beautiful and funny and aggro and i would walk around the school fountain in front of my high school and get into arguments with my high school ex about if this made me a weeb or not a weeb - and she was extremely positive i only listened to midori because their first album had tits on the cover even though i was very adamant out loud that that was not the case and i would even honestly say i was more adamant in my head that she was way hotter if anything in the album art for second
regardless i tried to kill myself multiple times when i was 17 and around that time i would walk down the extremely barren sidewalkless highway of north georgia that my neighborhood directly fed out onto when i had walked around the neighborhood i was living in circularly for hours and got tired of seeing the same few things - i would do this after and before school or whenever because one of the conditions of me getting out of the mental hospital was that if i got stressed out i should listen to music and walk around rather than hurt myself - and i would listen to the midori song with a title like "i want to hear but i don't want to listen" on a deafening volume and walk up and down the high way in a gulch while semi trucks and f150s would go barreling down this sidewalkless highway in the hills & i would do that all the time OR i would sit in my room and stare at the ceiling with my phone plugged into a guitar practice amp doing the same thing
when i would sit in my bed on my LAPTOP though i got in the habit of just watching hella live performances of bands like i would watch the entirety of radiohead in lallapalooza or at gingleheim or googooboogoo all day i would watch and regularly did watch, drunk as fuck in the basement of my friends mom's house, every single front bottoms performance that had been recorded and uploaded to youtube, i would watch every band i could watch and when we were in the basement we would talk about all of us learning instruments & going on tour all the time & i was like No matter what i will invent a way to go on tour but i one night remember, on a lark, plugging in the words "midori live performance" into the youtube search bar and finding a video of what appeared to be the last midori live performance and i watched it in complete and total astonishment as i saw the coolest woman of all time climbing up and down amps and hitting herself in the head so hard with a microphone she was bleeding and curled over and shouting so hard it looked like she was going to die - the most insane woman of all time with song titles like "today my boy friend does not exist" where she would say things like "today my boy friend does not exist" (i knew this from reading google translate of the title even though at the time online resources about midori were relatively hard to track down and i dont think i was even able to find lyrics in kana for these songs because "second" was much less popular and was under a different label that "aratememashite hajimemashite midori desu" and i HADNT gone to college to learn japanese in class yet and even if i HAD mariko goto speaks in OSAKA BEN and i didnt even know what that WAS really yet because i didnt have FRIENDS that were into any of this stuff and i didnt watch ANY anime other than GAINAX ones and i didnt go on WEEB FORUMS to read about stuff like that i went on WEEB FORUMS to read about stuff like whether or not the fruit of life and the fruit of knowledge in evangelion were REALLY combining and what that meant for whether or not SHINJI was a PUSSY (he WAS - and IS - AND he should DIE!))
this was the point i decided that i had to go to college and learn japanese because that girl was on stage hitting herself in the head with the microphone so hard she was bleeding & if she was being like that over the songs and i could feel that without understanding what she was even saying then if i could understand what she was saying they might be the most beautiful songs of all time. i of course took japanese and german at the same time because as a 15 year old i probably watched eva 5 dozen times and thought asuka was "very cool" -
eventually my friend started driving me to school because we all started doing early enrollment at a college that was about a 20 minute drive from their house but a 40 minute drive from my house and my mom would drop me off at donut store parking lot 20 minutes from my house so that i could ride the next 20 minutes with my friend and he'd always give me the aux but it would play songs alphabetically from my phone meaning the first thing that would happen every single time i got in the car was the song AI NO UTA by midori would play, and every subsequent car i would get into for the next like 8 years would do this, and it would do it multiple times a day, and it would do it every day, and it would often be extremely loud and annoying, and i developed a habit of immediately shutting off car radios as soon as i got behind the wheel so i could choose my song first, because i fucking loved ai no uta when i was 16 but sort of got pavloved into thinking it was annoying by all of this
anyway when i started going to art school and inventing women i thought were cool to draw one of the things i did was start loading pimple with traits related to thinking dragon ball and midori were dope where as a parody of myself and the way i was acting when i was 16 and after meeting about 30 different animation students at SCAD who all would say stuff like "pool" by tricot would make a really good anime opening! and me always thinking to myself, secretly, "not as good of an anime opening as i thought yukiko-san by midori would make when i was 16 and my entire life was reading dragon ball and getting in arguments with my parents and girlfriend and listening to midori and imagining getting hit by cars" and so i designed a hoodie that i drew pimple wearing in some comics where she screen printed the word "DESTROY" in japanese onto the right sleeve because that's what mariko goto says in that song
but i remember i was like, at the time, as a 21 year old, thinking, "midori is so cool, it's so crazy nobody really knows midori yet still, but when i finish my million dollar web comic IP 'Manifesto' then this will be a very cool easter egg" - anyway midori Now is a band which a lot more information has been translated and exists and i didn't KEEP taking japanese classes because when i was 18 i got so SICK from having to sleep in an UNINSULATED SHACK OUTSIDE OF MY PARENTS HOUSE FOR A YEAR THAT I FAILED ALL OF MY COLLEGE CLASSES AND HAD TO TRANSFER SCHOOLS TO A PRIVATE ART SCHOOL THAT DIDNT HAVE JAPANESE CLASSES AND I THREW UP EVERY SINGLE DAY FOR A YEAR BECAUSE I WAS INHALING SO MUCH DUST AND NORTH GEORGIA DETRITUS AND SINGING SONGS SO LOUDLY ON MY GUITAR MY THROAT WAS SEMI PERMANENTLY FUCKED UP - culminating of course years later in me on the opposite side of the country, in portland oregon, getting tubes shoved down my throat to find out if i have a "GERD" and how many prilosec generics i need to take in a day which i ended up taking none of ever
i was very convined all of this would matter some day and i would say a lot of this stuff to anybody who i talked to in the course of having conversations with them about our lives and interests and when AI NO UTA by midori would play on my car radio and i had a new passenger i would usually have to say something about how it was the first song that always played in my car and it did start with really loud and annoying drums but they were the coolest band of all time but i also was very convinced none of it would matter and i became instilled with a lot of different, bespoke, fear of "none of this will matter" based drives and ways to make all of this matter and i drove myself insane threading and needling various different references and signifiers of things like "the thing that represents the point in my life where i was trying to kill myself this way" vs "the thing that represents the point in my life where i was no longer trying to kill myself this way" but every time i tried to make stuff, stuff didn't work or if it did work i wasn't sure things mattered or didn't matter regardless,
& when i was 26 i was touring with a band & we were in new york & i was sitting around one morning with the tape label people who organized the tour & i had been driving the tour van & selling the merch & taking pictures & i was extremely exhausted because we had stayed up the entire previous night waiting for someone to drive from new jersey to new york to deliver us drugs & i slept barely at all & one of the people on the tape label - everybody decided after this tape label was SCAMMERS & frankly before we even went on tour i knew this tape label as SCAMMERS but everybody was being nice because they didnt yet believe they were SCAMMERS even though they were SCAMMERS and would go on to be fully recognized as SCAMMERS nobody was allowed to talk about it but they said one morning as we were crowded around an air bnb in new york - i believe it was long beach, new york - and there was a like cafeteria long table inside the air bnb we were sitting on, and the chief scammer of the scammer label said, "next time we all go on tour, in april, we can go to japan, because we've got a tour lined up with this artist, and this artist, and DJ510MARIKO" and he said DJ510MARIKO like she was the least important artist of the 3 artists, but it clicked inside of my head like 10 million explosions, and i said "like, mariko goto?" and the guy said, "huh?" and i said louder, "like, mariko goto?" and he said, "oh yeah i think so" and i was like "like the dj project of mariko goto from midori after she quit midori and was institutionalized and then took a break on and off from making music you're saying we could go on tour with her" and he was like "wow you know a lot about this" and i was like "yeah she's like the coolest woman on earth" and he was like "yeah you could go on tour with her" and then we never went on tour with her and i never finished manifesto the end
Fascinated by the implication that asking if someone played AD&D is offensive. It is presumably impossible to play AD&D if you are under a certain age. It's banned you simply can't do it.
(With reference to this post here.)
I think that remark is more the product of the weirdly common (on Tumblr, at least) notion that it's somehow offensive to imply that anyone is over the age of thirty. I didn't call it out at the time because it would have derailed a much more interesting line of questioning if I had, but that doesn't mean didn't notice it.
Did you play AD&D? I can't remember how old you are, so hopefully that's not too offensive. If so, was a typical game really as hostile as people say it was?
That's one of those question where the answer hovers somewhere between "no, with a couple of massive caveats" and "yes, but not in the way most people think".
A lot of AD&D 1st Edition's GMing practices are pretty hardass by modern standards; however, they need to be understood in the context that the game's authors were writing for a target audience who mainly played the game in college wargaming clubs, where players would frequently transfer between groups and group sizes tended to be very large – six players per GM was considered a bare minimum, and up to a dozen player characters in a single party was by no means unheard of!
In particular, players would often bring their character sheets with them when hopping between groups, and it was considered a faux pas for a GM to reject an incoming player's existing character or request any substantive changes be made, so managing expectations could be quite challenging; even as late as 2nd Edition, the Dungeon Master's Guide contains extensive discussion of how to gracefully handle players bringing existing characters with them who aren't necessarily a good fit for the present game's tone or resource economy.
The upshot is that the culture of play these iterations of Dungeons & Dragons are targeting inherently obliges the GM to take a much firmer hand to keep things on track than a pickup game that draws players exclusively from within the GM's established friend group might – and to be sure, some GMs abused these expectations to act like petty tyrants, but some contemporary GMs do that, too.
A big part of the modern perception that 1E and 2E were extraordinarily player hostile, meanwhile, has nothing to do with the previously discussed GMing practices; rather, it emerges from the transition away from that culture of play in a slightly unexpected way.
In brief, back when D&D was mainly played by wargaming clubs, it was fashionable to run pre-written adventure modules competitively at conventions; the competition wasn't between players, but between parties, with multiple groups running the same adventure in parallel to contend for prizes. Tournament play sometimes chose its winners based on the fastest real-time completion of the module in question, or set specific objectives within the module which would award points when completed, a bit like speed-running or achievement-hunting in a video game (though neither practice existed yet at the time).
It was the survival module, however, that quickly emerged as the most popular tournament format. In a survival tournament, each player would provide or was furnished with a binder containing a fixed number of pre-generated character sheets, switching to the next character sheet in the set as each preceding character died; the winning group was the one whose last surviving character's corpse hit the dirt furthest from the dungeon entrance.
Many of 1E's most popular adventure modules, including the infamous Tomb of Horrors, were originally written as survival modules to be run at tournaments in conventions. As such, they were designed to kill off player characters both quickly and efficiently, so as to reduce the likelihood that the tournament would run overtime and get kicked out of the convention venue. When they were later cleanup and repackaged as commercial adventure modules, their text rarely bothered to explain any of this – who doesn't recognise a survival module when they see one?
The answer to that question, of course, is kids who didn't come up through the mentorship system of the college wargaming clubs, but taught themselves how to play D&D from first principles using books they bought at their local hobby stores – and when D&D's popularity unexpectedly exploded in the early 1980s, there were suddenly rather a lot of them!
These kids purchased the repackaged survival modules along with all their other D&D books; having no frame of reference, they assumed that these represented what a "standard" D&D adventure was supposed to look like – and since they weren't experienced players with whole binders full of pre-generated backup characters at their fingertips, the result was a lot of seemingly unfair total party kills, and a lot of kids concluding that the previous generation's GMs must have been objectively insane.
There is an additional amusing point of order here, which is the answer to the following two questions. I once had a discussion with someone in Gary Gygax's gaming group, who was involved in early TSR work a bit. Allow me to paraphrase my questions and his answers.
Why publish survival modules as your primary format of published adventure?
"Because that's what we had -- they were already laid out for publication. Why not publish them and make some money off it?"
Did it ever occur to you at the time that publishing adventures like these would shape the larger D&D culture's expectations of what play was supposed to look like?
Blue velvet worm, Euperipatoides rowelli, Peripatopsidae
Euperipatoides rowelli occurs in humid, temperate forests of southeastern Australia. Its main habitat is decaying logs on the forest floor, where it lives in crevices and feeds on small invertebrates.
Specimens are rarely found alone, usually forming groups of a few individuals containing females, males, and juveniles. Laboratory observations on behavior concluded that these groups present some sort of hierarchy with dominant females.
not every mutual fits neatly into an archetypal medievalism but there are some mutuals that im like yeah addressing you as “my liege” would come strangely naturally
i think we should be ridiculing them more for this. you don't get to try and go all "queer website" when your staff likes to go on nuking sprees targeting the trans fem users
would be remiss not to mention that the rainbow notably straight up just removed the trans flag colors from it. like they’re gone. it’s the progress flag minus the trans flag colors.
