Hello-apes-of-the-world - Hi

I enjoy The Boys but one major problem I have with it is that it’s so hard to compare strengths to other settings, like we never see Homelander challenged so we have no clue how’d he fair against others which I get is maybe sorta the point with it being like him as a medium fish on a small pond but it’s still annoying

holy fuck universal gaslight god is terrifying but the fact the press secretary is so scary is so good, and the best part he might not even realize it

like i’m 50/50 does he know what he’s doing or is Shrews whole area actually just way more fucked up than inner Glottage and those threats don’t really exist in Glottage

i should tell you guys that i woke up in a cold sweat at 2:30 this morning to write something down in notes app

what.

Milo Songetay

Are there any blue roses? Like real ones. Or do they just take the white, green, or red ones then paint them as blue?

no, blue roses don't occur in nature- but they're easy to make artificially. just place a cut white rose into blue-dyed water and wait a bit, and eventually the rose will be blue. also why did you ask me this

i love in fantasy when its like “king galamir the mighty golden eagle and his most trusted advisor who would never betray him, gruelworm bloodeye the treacherous”

i think it could be interesting to have Taylor interact with a Mark who’s early in their career and only just starting to learn Taylorisms to see her as what he might end up as.

Like Cecil has Taylor working for him cause Contessa saw the only way for her to stay put was if she had a job and so she gets put on babysitting duty when Mark first starts to work for Cecil and Mark see this woman with some sort of mysterious past who’s sorta a vague mentor figure who says things he’s been thinking in the back of his mind which scares him and makes him wonder about the role he’s going down

Hey so, thought exercise, how do you think Taylor would fare if she got dropped into the invincible universe? For the sake of mechanics let's say she literally gets dropped in via doorman portal or something.

So one thing about Invincible is that I think it's setting is protagonist-centric in a way that Worm's isn't. To the extent that Invincible's setting has worldbuilding- worldbuilding that isn't, like, ported in from the books's early association with the confederated Image Comics shared universe- it's worldbuilding that exists to convey the impression of a big-two-flavor universe. Here's our spin on the undersea kingdom, here's the riff on the Martians, here are our riffs on SHIELD, on Gotham, on Themyscira, on 70s blaxploitation-adjacent heroes, and so on. This is the entire ethos underpinning the Guardians of the Globe in particular- piggybacking on pre-existing audience affection for the Justice League to convey that it's a Big Fucking Deal when the guardians get blendered in issue 7.

You have flashbacks demonstrating that there was capital-S Superhero Stuff going on in the seventies and eighties, or as far back as the thirties with Immortal, you create the impression of a status quo, a big pond in which Mark is a little fish. And to Kirkman's credit, some effort clearly went into making sure that the non-Mark capes are sufficiently fleshed out that you can believe that they've got other stuff going on in their lives. But at the end of the day, it's the Invincible universe. You don't see a lot of people talking about the Guarding the Globe spinoff. Many of the most interesting characters- Cecil being a big example here- are interesting because of the ways in which they bounce off Mark specifically, the ways in which he chooses to deal with them. The universe is less of a character in the story the way that Earth Bet is- it's just the place where Mark's story, specifically, is happening. If there's a codified setting bible, I'll eat my hat.

Now of course the world of Worm is, in many ways, equally Taylor-centric, because that's what it means to be the protagonist. But owing in part to the themes of the story, and in part to the sheer number of false-start protagonists Wildbow played around with before settling on Taylor, it's very good at conveying the idea that there are many stories happening in this setting and Taylor's is just the one this particular work happened to focus on. There's an actual point to doing OC worldbuilding for what the superhero scene looks like in Wormverse Denver or Seattle or whatever- whereas you can come up with superhero teams for Invincible-verse Denver, but what actually ties them to that universe? What are you getting out of putting them in Invincible specifically, that you wouldn't get from whipping up a barebones MASKS setting to support your OCs? Anyway. This is a really long way of getting to my real point, which is that I think the question is less "how does Taylor bounce off the Invincible setting" and more "How does Taylor bounce off Invincible the character, around whom the setting orbits even when it pretends not to."

This I'm unsure of, because where do you stick her in his life where you get an interesting dynamic? One thing that's interesting here is that Mark's overall character arc already involves learning a lot of taylorisms- the strategic ruthlessness, the shift from a good-evil dichotomy to a helping-not-helping dichotomy-so what about his arc is going to change if they spend time together? Why would they spend time together? Given the different power levels on display, what would differentiate her, in his experience, from the dozens of filler capes that exist for him at the level of "vague acquaintance?" This is assuming she's active as a cape at all, which she might not be if this is Post-GM. Mutual association through Cecil and the Global Defense Agency might be a hook- maybe they're paying for her new arm or something- but would she latch her cart to Cecil's wagon in the first place, barring some obvious crisis situation? Hard to say. If she's depowered, and present in his life somehow in a civilian context, well, that's a fast-track to not being part of the story anymore either, given how Mark's civilian connections slowly fading away was kind of a quiet plot point.

There's some configuration of these pieces that could be interesting, but I'm not quite sure what they are. Soliciting input here.

Something I noticed while rereading Scythe is how much incredible technology is just kind of not noted or in the background besides revival and corner turning. One example is how the incredible nanites aren’t talked about a lot but are amazing or how by the sounds of it they have holographic projectors and weather manipulation that just isn’t really discussed.

Not a meme, but if you’re feeling down, here’s my dog who tolerates this ninja turtles costume for 5 minutes every Halloween while my wife laughs her ass off.

One of the biggest obstacles to moving forward with Tiny Frog Wizards is that I just couldn't get Paths of Power and Power Dice to pull their weight. They represented a soft violation of the game's basic mechanical conceit that casting spells and only casting spells has dice-rolling attached to it, and in playtesting they didn't prove to be terribly effective at encouraging specific flavours of foolishness – they were just a lot of mental overhead for not a lot of benefit.

The pages previewed above represent a first pass at reworking them into something a little more on point. Instead of big goofy statements about your tiny frog wizard's ethos of magic that hook into a metagame resource economy, you get a generic pool of material components, optionally supplemented with magic items that mess with the dice economy at the time of casting, and you don't need to do anything special if you decide you don't want to use them at all.

As always, comments, criticisms, and/or bizarre rants are welcome!

(Please disregard the fact the page numbering skips from 11 to 13 – page 12 is reserved for the other twelve example Functions I haven't come up with yet. In the meantime, if you want to give it a spin, just use a d4 rather than a d6 for the first digit of the Function roll.)

AND YET A TRACE OF THE TRUE SELF EXISTS IN THE FALSE SELF