Hilma Af Klint, No. 1 Groupe VIII, c. 1913
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Hilma Af Klint, No. 1 Groupe VIII, c. 1913
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Bibliothèque nationale de France. Département des Manuscrits. Atlas FM ICONOGR 2
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Splendour Solis, Salomon Trismosin, c. 1582
George Ripley's alchemical roll, c. 1600, Bodleian Library MS. Ash. Rolls 53
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If you'd asked me a decade ago which contemporary tabletop RPG was most likely to do the AD&D-versus-BD&D "two versions of the same game being published simultaneously, one of which is ostensibly a stripped down version of the other, but in practice they're really two separate forks of the same core system that fundamentally disagree with each other about what kind of game that system should be" thing, I definitely wouldn't have guessed "Exalted", but in retrospect it seems almost inevitable.
Ok, I have not been paying attention to new Exalted after 2.5 stopped - what in the world is happening over there?
In brief, there are currently two separate versions of Exalted in active publication: Exalted 3rd Edition, and Exalted: Essence. The latter's marketing kind of positions it as a lightweight or introductory version of the former, but in practice the two are just totally incompatible visions of what the game is supposed to be, and familiarity with one isn't necessarily transferable to the other. They even disagree with one another on the level of basic setting worldbuilding that has no implications for the game mechanics, which is actually kind of remarkable.
In theory, Exalted: Essence sort of positions itself as "Exalted, but friendlier." So, lighter rules, all the Exalt types are (in theory) mechanically balanced instead of Solars having a huge power advantage over everyone else (this is supposed to be a non-diegetic concession to play experience), but also the Essence setting has kind of... had a bunch of its edges sanded off. You are far less likely to encounter something that makes it clear that plagues happen in an Essence book, or that gender-based bigotry is normative in Creation even though it takes different form than it does on Earth. And this is confusing because it is ostensibly the same setting to the point where most of the setting books are written for Exalted 3rd Edition and Essence points you at the 3rd Edition books for more setting info.
I wouldn't even necessarily agree that Essence has lighter rules. Some of its individual subsystems are lighter than their 3E counterparts, yes, but other subsystems are substantially elaborated upon where Essence's authors seem to have felt 3E's are lacking – and some of those subsystems which have received greater elaboration are sitting right in the middle of core components, like action declaration timing.
Zoroaster Clavis Artis, MS. Verginelli-Rota, c. 1738, Biblioteca dell'Accademia Nazionale dei Lincei, Roma
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Les dovze clefs de philosophie de frere Basile Valentin, c. 1660
or to be a little less pithy, groundedness means a sense of internal consistency, the idea that events and traits of a story or world are grounded in a coherent set of logics.
while realism means--exactly that, adherence to the specific logics of actual reality and its physics, logistics, etc.
there is of course nothing wrong with wanting realism in a story, but 99% of the people who say they do really want groundedness. like the vast majority of dumb arguments about asoiaf/got are its fans saying "its realistic" when they mean "its grounded" and people ridiculing them because it is in fact not very realistic (and not just because of the overt fantasy elements)
In my experience, another big part of the problem with talking about "realism" in fictional milieux is the product of a specific Type of Guy employing the term as a sort of semantic bait and switch, sometimes without consciously realising that this is what they're doing.
There's a particular recurring discussion of "realism" in media that goes something like this: "okay, but realistically the heroes would always win because they'd just shoot the villain while they're monologuing" – while refusing to acknowledge the obvious follow-up question: "wait, but if monologuing reliably gets you shot, where do all the monologuing villains come from?"
i.e., what we're really discussing is not a milieu which has adhered to some notional model of "realism" ab initio, but one which was apparently governed by the conventional tropes of its genre right up until the moment the character the person framing the scenario wants to win walks into the room, whereupon "realism" asserts itself.
Heck, there were folks doing this song and dance in the notes of the post this one is following up on, trotting out hypotheticals like "in a realistic fantasy setting the twelve-year-old chosen one would always lose because experience trumps skill and the power of friendship isn't real", implicitly taking it as given that in a milieu where this is true, people would still be handing out magic swords to twelve-year-olds.
It's basically treating those silly "How [Media] Really Should Have Ended" YouTube videos as a legitimate critical lens, and in circles where this song and dance is common, it leads to a lot of people reflexively shutting down the moment they hear the word "realism" because they assume (often quite reasonably!) that oh great, it's That Guy again.
Splendor solis, c. 1582

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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?"
dam…….. that website “you feel like shit” (it’s like a questionnaire / troubleshooting guide for when you feel like shit) really works………………….. im not even all the way thru it and i even half-assed a lot of the suggestions and i already feel loads better
for some reason, with this website, i was able to complete small tasks ive been fruitlessly bugging myself to do for weeks??
anyway, i feel almost good now :^)
im glad this got some notes!!!! i hope it helps y’all find some measure of peace or comfort <3
This is astonishing. I’m going to use and save.
dead serious normalize having an average boring ass life where you have enough to meet your needs we do not need to be remarkable we just need to be alive
Iam sibi Lusyadum cupiunt caput, astra, Draconem; Quod decreverunt Numina sacra Poli. Illustration to page 708 of Antonio de Sousa de Macedo, 'Lusitania Liberata' (London, Richard Heron, 1645).
“Now the stars themselves desire the Lusyadum head of the Dragon; What the sacred deities of the Pole have decreed.”
“He will rule over the stars.”
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"He attains what he seeks, like Diana’s arrow; And my mind attains whatever it piously seeks."
Nucleus emblematum selectissimorum, c. 1611 by Gabriel Rollenhagen
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Sun. Jeu de tarot kabbalistique dit "des imagiers du Moyen-Age" c. 1889 by Oswald Wirth
Universitätsbibliothek Heidelberg, Cod. Sal. X,16, Hildegard von Bingen, Liber Scivias — Zwiefalten und Salem, Ende 12. Jh. und um 1220