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let's talk about Bridgerton tea, my ask is open
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JBB: An Artblog!


shark vs the universe

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roma★
he wasn't even looking at me and he found me
NASA
Aqua Utopia|海の底で記憶を紡ぐ


if i look back, i am lost
Show & Tell
Acquired Stardust
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@dreadbirate

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So the thing is, I do ship maia and csevet, but like, in a really stupid abstracted way... nothing ever happens, literally nothing, they're just Like That for fifty years and then at maia's elaborate imperial funeral one of his adult children dabs genteelly under their mourning veil, sniffs, and says 'hey so, what the fuck was the deal with csevet'
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?
"No, why would it?"
One of my favorite anecdotes about early D&D, from Blog of Holding:
"It’s hard to get that context just from reading the original Dungeons and Dragons books. If nine groups learned D&D from the books, they’d end up playing nine different games.
"Mornard told us about an early D&D tournament game – possibly in the first Gen Con in Parkside in 1978? Gary Gygax was DMing nine tournament teams successively through the same module, and whoever got the furthest in the dungeon would win. You’d expect this to take all day, and so Mike was surprised to see Gary, looking shaken, wandering through the hallways at about 2 PM. Mike bought Gary a beer and asked him what had happened – wasn’t he supposed to be DMing right now?
“It’s over!” replied a stunned Gary Gygax.
"Gary described how the first group had fared. Walking down the first staircase into the dungeon, the first rank of fighters suddenly disappeared through a black wall. There was a quiet whoosh, and a quiet thud. The players conferred, and then they sent the second rank forward, who disappeared too. The rest of the players followed.
"The same thing happened to the next tournament team, and the next. Players filed into the unknown, one after another. And they were all killed. The wall was an illusion, and behind it was a pit. Eight out of the nine groups had thrown themselves like lemmings over a cliff; only one group had thought to tap around with a ten foot pole. That group passed the first obstacle, so they won the tournament.
"Gary and his players couldn’t believe that the tournament players had been so incautious. But, to be fair, none of those tournament groups had played in Gary Gygax’s game. They had learned the rules of D&D, but they had no experience of the milieu in which the book was written. Of those nine groups that had learned D&D from a book, only one played sufficiently like Gary’s group to survive thirty seconds in his dungeon."

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Crazy how many people want characters in fiction to speak and act like they’ve had 20 hours of intensive therapy. Could NOT be me I want these bitches fucked up insane
my friend briar and i lovingly call this one ‘therapy speak joker’ and it almost caused her to drop biological samples one time
i think the joker should start talking like this for real. no other character should do this only the joker. i want batman to have to deal with this
in case you're wondering what the greatest AMV of all time is, it's this one from 2008.
y'all need to watch this this pride month
There's a thing in Classics studies where you'll read surviving descriptions of Ancient Greek automata which attribute all manner of near-lifelike behaviour to them – then you look at the reconstructed plans for the automaton in question, and it's a device with roughly the sophistication of a wind-up mouse.
The broad consensus seems to be that the authors of such descriptions are exaggerating for clout. For my part, I look at all the people in the year 2026 who've managed to genuinely convince themselves that LLMs are not only sapient, but smarter than they are, and I think: hmm.
women are like diamonds: synthetically-produced women are not meaningfully different from naturally-formed women, and anyone trying to tell you otherwise is probably trying to justify keeping their women mines open
Women are like diamonds since they are composed primarily of carbon.

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TADC The Final Act spoilers
The conclusion of Jax’s arc is a fantastic mix of tragic and hopeful, which masterfully pulls off its emotional tension and the following catharsis. The finality of Jax’s metaphorical death, with his memory in abstraction continuing to be cared for is wonderful, and provides wonderful symbolism of the characters claiming The Circus for their own out of love for one another
This is immediately undermined thematically in impact by Caine coming back to life, doing an abrupt heel-face turn, giving them the circus even though really they had already claimed it for themselves, and then getting to live happily ever after in the circus.
Still very good moviefilm don’t get me wrong, but as much as I love Caine as a character the way his story ends is not very well executed, and ends up making Jax's ending worse. Regardless, as I said, wonderful but flawed conclusion to a wonderful but flawed series
I beg my kidnappers for a phone, swearing not to make any calls or texts, and they stare over my shoulder, holding a gun to my head as I use my newly-freed hand to post, "So do like, dudes just buy ropes and baklavas from the same store or what lmfao like a specialty Crime Store"
One of the kidnappers says "balaclavas" but it's muffled under the fabric. I ask them to repeat and they do, their voice raspy from disuse. "You wrote baklava, that's a pastry." The other kidnapper goes "stfu" and then after a pause goes "Why would you buy from a crime store"
Then they spit roast me
I didn't wanna say this but now that someone's left this kind of comment I have to be honest: Everyone else's tags are funny but this is the only person who understood my vision for this scenario
this is how new yorkers @ mamdani
I feel like each successive adaptation of The Addams Family is edging closer and closer to making jokes about how Gomez hates his wife.
I have this overwhelming sense that there's only one family dynamic these writers understand, and at this point only sheer inertia is stopping them from diving straight to the logical endpoint of making Gomez a Shlubby Sitcom Dad Who Hates His Wife. It's coming.
me insta
i cannot describe how deeply in my bones I relate to apollo

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still genuinely might be the best own ive ever seen in my fucking life
I was feeling agitated and artblocked yesterday so I decided to give my brain a rest by watching TV and then the next thing I knew these were in front of me
phineas and ferb heritage post