I know a normal amount abt waistcoats

"sandra lynn has incomprehensible taste" wrong! there are patterns and logic to her dating history

I know kipper cunt is a fictional character but I want y'all to keep something in mind:

fantasy high specifically is a coming of age story that has acknowledged the teen villains are children at the end of the day and should not be written off as evil and nothing else.

romanticizing trauma is a very complicated issue and indicative of deeper psychological problems. Hell, the bad kids only found out she felt this way because they read a file she thought would remain UNSEEN by her peers. As far as we know she has only told Jawbone about this. This is a young girl that is reported to have anger issues before she even went to the mountains of chaos so we can clearly see she isn't well or in a good headspace.

maybe I feel so strongly about this because I in my past romanticized other peoples trauma and I know what its like to be in that mindset. and looking back I can see why I felt that way. I had a complicated life like everyone else but because my life was good on paper I thought I needed something worse to happen to me so my psychological and emotional issues would be valid. I thought I wasn't valid in having issues because in theory I shouldn't have a reason to. I know thats a shitty thing to do which is why I never told anyone about it. its a very frustrating experience to have because you know its wrong but for the life of you, you cannot figure out why you desperately want something bad to happen to you.

I also wanna say this is an experience that is different from Dream Tannaka. Dream is a caricature of this issue but what Dreams character does not cover is how it truly feels to have this issue. you feel like a fucking asshole because you know at the end of the day you dont truly want someone else's trauma but you can't help but crave it for some reason. and you feel like you can't tell anyone about it because you know it will make you look like an asshole. Its very similar to the experience of having taboo intrusive thoughts that horrify you.

I will reiterate that I know kipperlilly is a fictional character but this show is no stranger to discussing complicated topics--especially through villains. ESPECIALLY child villains.

💙💜

Which character is not as hot as everyone else seems to think?

We've talked about this in DMs anyway but OTOHAN. She's physically attractive I suppose, although that's 100% from official art and absolutely not from initial description (perhaps that's just me, but Matt described her as having eyes like a bird of prey, and somehow the image of her in my head has always been. does anyone remember the weird turkey pictures of Ole Golly in Harriet the Spy (the book). Is this too weird a pull? Did I make it up because I can't seem to find an online image? Unclear.) But point being before the official art came out I was not imagining her as attractive, even. And then there's personality. Like, yeah, you can say someone is hot based on just a physical image without knowing them; this is how celebrity works. But when you've only one got one singular physical image and it doesn't really match your mind's eye which isn't terribly attractive, anyway and then there's no personality but...I can't even say zealotry because we literally don't know anything about her motivations other than raw murder. I can't even enjoy the inherent eroticism of the sword. Anyway. If you want hot middle age women villains why not og Delilah before she became a loser, or Raishan's human form, or Ripley, or Avantika, or Vess deRogna, or Liliana. If you just want hot middle age women with a propensity for violence why not Deanna with Jerry the Goat. If you are specifically interested in the "milf" archetype (Otohan is not a mother, so this is rather telling) then might I suggest Veth, who is not middle-aged yet but she is a mother and she is super good at violence. All of these women have hopes and dreams and personalities and aren't a blank dull slate to project upon, as I personally am entirely unattracted to the latter. Anyway hopefully this also fulfills one obligation to either @playerkingsley or @whirlingbadger who asked about "mischaracterized"; Otohan is a polarizing figure with many who agree with the above as well but she is also wildly mischaracterized as hot and interesting when she is at best depicted as attractive and deathly (and deadly) boring. She bored everyone to death; the sword just got in front of her.

Which character is way hotter than everyone else seems to think?

Eshteross. I fear we moved on too soon when he died. Everyone in Bells Hells wanted a slice of this hot old orc man when he was doing his sword practice, and also he was community-minded and loyal and devoted. More generally you know that post that's like "hobbits have it all figured out, farmers market high as shit, why are people horny for elves"? This is true but also might I suggests orcs. Elves are overrated. Why are people's fantasy lithe hairlessness. This is a very narrow beauty ideal and I reject it. We, as a fandom, and dare I say, a society, need to be hornier for orcs.

I'm going to go watch candela and the inbox remains closed and will for much of the rest of the day but there are two more asks that have the exact same two hearts and I will be providing two more separate answers as well as another mischaracterization answer, and possibly making an eye appointment although I'm inclined to think the hearts just look super alike on my computer.

Random Thoughts around D&D Westerns

Okay. So this started out as me thinking about character concepts for a D&D western-type campaign, and then moved to me thinking about setting elements for a western campaign, and then devolved into me thinking about both westerns and D&D style fantasy as genres, so like … bear with me? I’m trying to figure out how to pull this back and put it in order.

But. Okay. Let’s do it the way I did it. Let’s start from the characters.

So I’ve been noodling around the odd western type character concept for D&D the last little while, things like a druid/light cleric using guiding bolt for high noon style duels (and thorn whip as a lasso), and probably stemming originally from Kossi, my knowledge cleric/fey ranger frontier postwoman character that I’m playing in a solo campaign. So I was thinking about western characters in D&D, and thinking about the archetypes of westerns and how they’d fit.

You have things like the lone wanderer seeking justice or vengeance. The sly gambler with the heart of gold. The fire and brimstone preacher. The fiery homesteader fighting to drive bandits or railway barons off their land. The taciturn bounty hunter more at home in the wilderness than the town. The bewildered easterner about to get a sharp lesson in the way of things out west. The civil war veteran (of either side) trying to make a new life out here where people don’t care who you were, and where the rough and tumble lessons of war won’t look too out of place. The foolish miner lured to his death by greed for gold. The desperado determined to die free, go out in a blaze of glory.

The western, as a genre, is evocative. And, well, of course it is. The western is basically an attempt to valorise and mythologise a particular period of history, to gild over or ignore or straight up heroicise the, uh, less than laudable elements of that era. It’s a mythology, so of course it has some very evocative imagery.

But it is, also, a product/reimagining of a very specific historical and cultural context. And there’s elements of that particular setting that maybe you don’t want to carry over. And others that you do, but they need some set up to build in.

So I started thinking about how to get a western setting, how to make a campaign that would feel like a western. And there are …

See, the thing is, D&D kind is a lot of the way there already? When you think about the kind of stories that show up in westerns, the band of heroes defending a town, or the hunters sent out into the wilderness to track down a dangerous foe. Westerns definitely are one of the progenitor genres for D&D’s whole brand of fantasy to begin with. So what would make a setting feel more deliberately western than just standard D&D?

And, I mean. You have your basic biome shift. Put the story somewhere more arid, like the stereotypical western desert, instead of in a European forest analogue, and already it feels a bit more western. There’s also technology. Firearms, a telegraph analogue, trains. Bring some Eberron elements in, that’ll shift things a bit. But are those just cosmetic changes? Well. Yes but no. Put a pin in that for later. For now, ignoring what a western setting looks like, what does a western setting feel like?

And I think, to a large extent, it comes down to theme. Westerns had a particular set of themes that ran through them, and that’s where the backbone of your setting will come from.

So. Some of the themes I think you see a lot in westerns:

Land Ownership/Land Custodianship/Territory. Westerns are about land, on an extremely intrinsic level. It’s where the colonial underpinnings of the entire genre really show up. Think of all the western books and movies and series you’ve seen that are about claiming land and then defending that claim. So many stories are about being driven off your land. The homesteader under threat from robber barons and cattle barons and railway barons. Towns under threat from ‘Indians’. Miners getting driven off their claims. Who owns what territory. Who has the right to hold what territory. Who can defend their right to that territory. And there is … there’s a cyclical kind of terror in there. A cyclical colonisation. Because the first settlers went out there and took land from the first nations, set up their own towns and ways of life, and then the great civilising forces of the east, the railways and the telegraph wires and the big ranches, rolled in and stole it from them in turn. There’s a kind of a ‘what you do unto others will be done unto you’ sort of terror underpinning a lot of the ethos of the genre. The central theme of a lot of westerns is, basically, the territorial dispute. The land, who owns the land.

Resources/The Lure of Gold. Linked to that, there’s the resources of the land, and who gets to use them, and how far do they get to use them, and who gets murdered in the process. Gold rush. Oil. Lumber. Water. Again, very much linked back to the territorial dispute, but often in a more directly destructive way. Who can not just own the land but destroy the land. How much does owning the land give you the right to use it. And, linked from that, if you own one bit of land, and you destroy it, how does that affect, say, everything downstream of your land? (Mines and mining has a lot of knock on effects).

Civilisation vs Wilderness/Urban vs Rural. Again, linked back, but a lot of the underlying mythology of the Wild West was about being that halfway place, between the full untamed wilderness (or the full ‘savagery’ of the native peoples) and the full civilisation of the big eastern cities. A lot of (particularly later) westerns are about valorising that lost freedom and independence and rough and tumble ‘honesty’, before the railways came through and the cities built up. Which leads to a smaller scale:

Personal Freedom vs Rule of Law. Outlaws. Sheriffs. Bounty Hunters. Gunslingers. The fundamental conflict between a person’s right to do what they think best, exacerbated by so many people feeling like they had to do things for themselves because they were on their own out in the ‘wilderness’, and the need for the civilising, but also potentially tyrannical, forces of law and order. Bringing law and civilisation to the wild frontier. Personal vengeance vs impersonal justice. Corruption. Freedom. Basically, a lot of the conflict in a western will primarily run along the law vs chaos alignment axis. Good and evil depend on your interpretations of the players involved, but the fundament of the conflict will be order vs chaos. And also:

‘Progress’ vs Preservation. The thing about westerns, particularly the ‘golden age’ between the end of the civil war and around about the 1890s, was that they were right in the middle of that 19th century theme of industrialisation. As well as the colonial theme of ‘progressive civilisation vs backwards barbarism’ (hence the inverted commas on ‘progress’). This is a whole bundling together of the above themes, but westerns had a definite theme of encroaching progress. The old way of life being bulldozed for the new. The railroads are coming. Law and order are coming. The old rough and tumble frontier life is dying. The last great gunslinger is about to have his final duel. The famous desperadoes are going out in a blaze of glory. Progress is coming. And it will destroy everything in its path. But will it be a better future? And again, that kind of ties back to the colonial thing. Westerns are weirdly poised where the white settlers are experiencing what they did to those before them.

So. With all of that said. How much of that do we want to emulate? How much of that do we need to emulate? Maybe I don’t want to get into colonialism and land ownership right now, maybe all I want is a setting where a lonesome spellslinger can wander up to a desert town seeking justice, or a rough and tumble party can get together to defend a town from some desperadoes.

But. On a macro geographic level. I do think there’s some elements you want about your setting to set up those kinds of stories.

On a basic level, you want a large region of contested, non-urbanised and non-agriculturalised land (at least in the European sense of ‘endless fields of tillage’), that is divided up into a lot of small territories, where the largest urban areas tend to be towns at best, and large sections of it are claimed by various different groups or even individual owners. This region needs to be bordered by one or several very urbanised and centrally controlled powers. Probably several, not necessarily because you want to directly mirror North vs South or America vs Mexico, but because this region has been the recipient of the leftovers of a lot of outside conflicts. It’s where people come to hide, or reinvent themselves.

And it’s also where people, powers, come to build themselves. So you want to give it resources. Things people want to come and take. The constant theme in westerns is, someone wants your land. Someone wants your gold. Someone wants your town. And why? What do you have that someone wants?

Maybe, since we’re in fantasy western territory, you want to give it a rare, mystical resource. Maybe you can link that up to the theme of progress, too. A particular mineral that allows the manufacture of more powerful, durable spellstones, that would enable someone to set up a network of sending stone stations that would allow news (and information for outside powers) to flow more easily. You know. A telegraph network. Anyway.

So. A large, divided, contested region, not directly occupied by but of interest to several nearby urbanised, civilised powers. An area where there has been a lot of successive waves of people coming in, often from conflicts in or between those surrounding civilised powers. An area with a distinctly fractured and individualistic ethos as a result. An area that maybe always did, because it was never natively inhabited by empire-building societies. Everyone is this land has always claimed their own piece, just big enough for themselves, and been content with that. Yeah, bigger groups wanted more, and wars were had, because people are people, but this idea of ever-expanding ‘progress’ is new and weird and kind of terrifying.

Is this sounding a lot like a typical D&D setting again? Well, I did say D&D has a lot of western in its bones.

So. How do you make it distinct, then? Is it just cosmetic elements, biome shifts and different technology? Give it a more directly desert, 19th century vibe? And, well, that is part of it. But it doesn’t necessarily have to be technology. You don’t have to give everyone a gun. There just has to be a theme of progress. Maybe it is that sending stone network. Maybe you do want to invent a fantasy railway. But you don’t necessarily need gunslingers directly.

As an option for the gun thing, you could give every character, regardless of class, a free ranged attack cantrip. Make it part of the local culture. Defense of home. Every kid in these parts gets taught enough magic to manage that. Shit, hon, everyone teaches their five year olds how to throw a firebolt around here. What if they meet critters out there? Or worse, people?

Mostly, you want to theme your adventures around small, independent towns and groups. You want a lot of the conflict to be over land, over who has the right to be where, over who has the right to take what. You want external regional threats that are attempting to push into the area, often under the guise of for its own good. You want a theme of freedom vs law. You want wilderness vs civilisation. Or ‘wilderness’ vs ‘civilisation’, given how loaded those terms are from a standing start. You want progress as both a promise and a threat. You want natural resources, you want greed, you want boom towns and magical mining and the communities downstream that are paying for it. You want bands of outlaws running from foreign wars and making it everyone else’s problem. You want folk heroes of dubious morality. You want big powers talking about big projects, like driving a new trade route straight through someone else’s territory, like stealing rivers to bring water to cities two hundred miles away, like carving out a whole mountain that doesn’t belong to them to fuel a magical revolution in another city just as far.

And, yeah. Looping back to character concepts and plot elements. Some specific elements and ideas that I might personally include:

An apprentice wizard who’s working as a sending stone operator for the newly established United Sending Corporation station in the local town. It’s the big new thing! You can send messages instantly to any town that has one! Think of how easy it’ll be to get news! It only costs a bit per message. And yeah, the USC high ups are all big city folk from down on the coast, but hey! All the operators are local, and it is a good idea! So why not, huh?

A local druid who’s been seeing strange new afflictions in the plants and animals in their area, and who has come to town to see if anyone else has been having similar issues. And a few people have, mostly along waterways leading back to a particular area of the mountains. Incidentally, there’s also a lot of wagon traffic and provisioners moving through town. Miners and supplies moving out to a big new claim in the mountains …

A wandering itinerant preacher-slash-teacher of a gentle god who, this last little while, has been found themselves moving through towns where another, clearly much more militant preacher has been there ahead of them, and who has been riling up local tensions in ways that they’re beginning to suspect are deliberate. Setting towns on towns, tribes on tribes. Misplaced zeal, or perhaps a more long-reaching attempt to clear a path through the area for something else?

A genteel gambler who’s maintained a careful circuit around some of the local settlements for some time now, taking care not to over-harvest their flock at any one place, has started hearing whispers of a new group of bandits in the area, and some of the whispered names are worryingly familiar, echoes of the good old bad old days, when they were a different person in a different place, and under a different name …

A lean, hard, soft-spoken ranger, who ain’t got no home, who hasn’t had a home in forty years, who gets paid good money to track people down and bring ‘em in, and who has been wondering, after these last couple jobs, just who exactly has been setting the bounties in this area. Because there’s starting to be a pattern in their targets, and they’re starting not to like it.

A tired fighter, not even forty years old and already grizzled, with an albatross around their neck in the form of a legend. A bright young child who watched everything they loved be destroyed, home burned, family killed, and land stolen, and who became the fastest, meanest, most dangerous spellsword in the land in response. But that was thirty fucking years ago, and vengeance can only sustain you for so long, and now they’re broke down and broke up, and so fucking tired of all these young idiots trying to make a name for themselves out of their hide.

A charming, vicious sorcerer with a very visible scar who tends to respond dramatically to threats, and who takes a certain amount of perverse pride in being the ‘bad element’ in any town they wind up in, but who maybe, if it was offered, wouldn’t say no to chance to be better regarded than that. At least in one place. At least by one person.

Because, you know, as tangled and thorny as the genre is, westerns do have some really fucking iconic archetypes, and they are fun. Throw magic on top of it, and it is a vibe. I do enjoy it. Just, you know. You’ve got to set it up a bit carefully around the implications. Heh.

Sometimes you just gotta shamelessly project on your parasocial best friends, ya know? 

It’s really interesting to me how elusive Kipperlily Copperkettle has been throughout what is now the first half of the season.

She’s the closest thing we have to an identifiable Big Bad. She gets established in episode 3 to be constantly vigilant, capable of eavesdropping on anything and everything.

And then she’s physically MIA (iirc) for seven episodes, barring her scene with the food trucks at the start of episode 7. I think she’s said to be present at the assembly this most recent episode (ep 10) but she doesn’t appear to be an active participant in anything. That inaction is eating away at me… bc I know she’s doing something.

Talk about haunting a narrative… I’m constantly aware of her nonexistence. I’m paranoid. With every episode that we don’t hear from or interact with KLCK, she grows more terrifying to me. Brennan made sure to establish right away that she could be listening at literally any point. Riz tried to keep that at the forefront of his mind initially, but even he let that idea fall to the wayside as stress built up and time passed.

I think we’ve settled into a false sense of security in this respect. I think that at any point Brennan can and will drop a KLCK bomb on us and oh boy it’s gonna be deliciously messy.

okay I’ve been seeing a lot of gifs/references to the Lou and Brennan create Chungledown Bim video recently, which makes sense Junior Year and all, but it is also what made me aware of it’s existence and I have finally watched it, fully might be one of the funniest things ever

brennan you can’t do this to me my url is literally applebees4prez… i’ve made buttons and stickers… i gave a vote for kristen button to @caitmayart at zenkaikon… what do i do now if kristen’s getting expelled?

Something about the way Siobhan and Emily play teenage girls is just so incredible and accurate to life I don’t know how they do it. Adaine’s rage at injustice, her impulsive violence, her constant anxiety. Fig’s insecurity, the way she barely knows herself because she’s always hiding behind a mask, her reckless love and trust. Ylfa’s conviction that she’s turning into a monster, the pain of growing up and realizing you can’t be the girl that everyone wants you to be, the girl you expected to be. Rosamund believing she’s figured it all out at 18 and there’s no use hoping for anything better, trying to establish herself as an active force in her life when she’s always been told to just wait for men to take care of things. I’m closer to my teenage years than they are but they capture it better than I ever could

what do you mean you don’t “agree” that riz is aro. HES LITERALLY GREEN.

armor of ayda!?!!!!!?!?!! if i fucking sob.

Forgive me if I'm a bit nervous about Gorgug this season. It's just that the last Zac Oyama pc was Colin Provolone, who was arguably one of his greatest D20 performances, if not the greatest.

Zac always does great with every pc he plays, but Colin was something else. He came out swinging with actions and words that were teeming with unspoken emotional baggage. The way Colin's presence affected the other pcs; there was this level of depth that I don't think I've seen in any of his other characters. It was understated and quiet in that signature "just a guy" way that he tends to be, while still captivating everyone instantly with just how raw it was.

Not to say we haven't seen emotional depth in Gorgug. It's just that, compared to the other Bad Kids, Gorgug's journey and progression as a character has been very... impersonal? Like, yes, he found his birth parents, and he found friends who appreciate him, and he faced his insecurities about his intelligence, and he navigated relationship troubles, and his trial through the claustrophobic bug-tunnels was a horrifically-uncanny parallel to how he's spent his entire life trying to make himself as small as possible.

But how much of that has actually changed him from the Gorgug we started with? I would agree that he's definitely happier with his life, given all the loving and supportive people that have been added to it when it used to be just him and his parents. And he's certainly grown into himself and become more self-assured in his abilities, even if he's still, and always will be, our anxious little guy. And there's nothing wrong with that. I've always liked how Gorgug was a representation of all the little things. The subtle acts and kindnesses that don't seem like much to most, but to some are everything.

We don't need another Bad Kid living in fear that their mouth could be shit-in at any moment. We've already got one-too-many.

All that being said, I just feel like Gorgug's personal story beats are much easier to sweep under the rug than everyone else's. He has the same soft and understated quality that Colin held, but they lack that extra oomph that pushed Colin over the edge from being just another guy in a series of dudes, to a character that the vast majority of us could not get out of our heads. He took someone who was anxious and softspoken, who ultimately never wanted to be violent— someone who is remarkably similar to Gorgug in many ways— and maintained that demeanor and core in Colin's character while still hitting us in the feels with character development at max velocity at every turn.

I think Zac gets better and better at this with every season that goes by. With each new character, there is always something that leaves me stunned in awe. And it's been, what, three? Four years since we last saw Gorgug?

I'm just,,, I'm cautiously optimistic but also going into a bit of a worry about what violence this man may inflict upon us

I do have a big question (which I assume will be answered), which is why are so many of the NPCs we’ve grown to love being seemingly removed from the season?

Ayda & Aguefort are off on a ‘holiday’ through time.

Zelda & Tracker have both broken up with their respective Bad Kid love interest. And honestly? A part of me assumes that the only reason Ayda is MIA rather than having also broken up with Fig is because Emily was already so tempted to retire Fig entirely so she could have her ‘happy ending’.

Gilear and Halariel are off on a cruise. And Cathilda is, seemingly MIA?

Aelwyn has moved out and gotten a whole ass job in less than a year (which like, while I love that for her, it does feel kind of unrealistic? Everything else at least somewhat makes sense imo).

I just, idk. I trust that Brennan (and presumably the rest of the cast to an extent) had good reasons for doing all this. It seems like the point of a lot of this season is to tear the bad kids out of their own comfort zones and see how they cope, at least based on the preview we got for next week. But idk, I’m just kind of sad that it seems like we’re not going to be seeing much - if any - of so many fan favourites

Does anyone else remember how during ACoC people kept trying to prove that Caramelinda was somehow in on [redacted's] betrayal and was actually evil? And do we all remember how many times Brennan had to say "No, she's not evil or Bad or anything, she's just a woman who is trying really hard to make the best decisions she can with the information she has in the heinous circumstances she's in"??? Do we remember Brennan having to tell the Bad Kids that Zayne Darkshadow isn't just some cringefail fucking edgelord but a child who suffered greatly in his life and then DIED?

Does anyone else remember Kalina literally having to snap her own neck to get the Bad Kids to realize that she might not be just *blanket evil*?

I feel like I'm seeing something very similar happening with Porter and Kipperlily and I really hope Brennan once again subverts the idea that just because a character is antagonistic they are inherently Bad or Evil.

Also, just a reminder Protagonist = main character Antagonist = person opposing/challenging the main character

These terms do not possess a moral assignation.