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canceltheact · 3 years

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Cancel The Act: The Definitive Theory of Lunky, Lixian, and Actor Mark

Hello there theorists! This is the big one - the (hopefully) final draft of CancelTheAct.

For those of you that have been following this tale of truth, perserverance, and chromatic aberration,you may find that a few section of this are exactly the same. It basically is the same theory, but with a few things tightened up (see post from two days ago) and some updated information. This is the big one we’re hoping on spreading, so be sure to reblog this one like you’ve done before. We really appreciate all the support you’ve given this assertion.

And for those who are seeing this for the first time...welcome! This is a theory exploring what's been going on the past few months on Markiplier's channel, and the side story that connects the odd goings-on. If you support this theory, spread the word on Twitter and reblog, not just like, on Tumblr with the hashtags and this very site.

Thank you for all the support, folks! Now...let's talk about the truth. We'll see you on the other side.

So, if you are a Markiplier fan on the interwebs, you have no doubt seen the newest Cloak ad that was in the Cooking Simulator video from about a month ago and noticed something...off. Something... suspicious. And if you follow Mark lore, you know that this was NOT ordinary Mark. This was Actor. The robe underneath the Cloak merchandise he was wearing, the spotlights and cracking of his body reminiscent of the Darkiplier ending from AHWM, and of course, what he says in a haughty tone of voice, seeming to be the opposite of his opening stair spiel in WKM: "It's not about you...it's about me." Heading over to instagram, we get more interesting stuff, with a description of the ad clearly reflecting the events of WKM from Actor's skewed and self-righteous perspective.

Was this just a ploy for marketing purposes, you ask? How could it be important to something? Well, Cloak's response to said post says it all: "oh". Meaning they had NO CLUE this was coming.

Even in that Cooking Simulator video, there were signs that this wasn't just pertaining to an ad. In the kitchen of the game, he comments "Modern is stupid; I’ve always said this; I want the classics," quite a different opinion from the man we knew that owned FIVE OVENS, but would seem quite on brand for someone who lived in a old-style manor - even the Youtube description seems a bit suspicious saying that "this time, I'm gonna show everyone what I'm all about." No doubt, Actor Mark has made quite a return, for seemingly NO REASON, right? Right? Well....not exactly. We’re here to tell you that Actor's been here for quite a longer time than you might expect.

For those who have been paying attention to Markiplier for the past couple months, you may have noticed some strange, yet fleeting events.

The stick figure monstrosity known as Lunky invading Mark’s channel for one day. The strange revelation that Markiplier isn’t real, yet 6 days later denied by the very man who confirmed it. The erratic behavior of the editor known as Lixian.

Such strange goings on, isn’t it? But I have reason to believe that these incidents are part of a greater step in the lore of Markiplier. That these very events are tied to each other, and something much bigger than the sum of their parts. Many people have had their thoughts on what this all means. It’s time we threw our hat full of overthinking and crazed observation into the ring. Hopefully, this theory will help uncover a bigger story. A story of control, reality… and CHROMATIC ABERRATION.

First of all, let’s answer the question: is Markiplier real? Answer: No, he’s not. Even with the “Markiplier isn’t Real” videos not being canon, it doesn’t mean that Markiplier is “real” after all. Because he is, and always has been in terms of CANON, Actor. (Now this doesn’t mean that every video Mark has done has been in character, just the ones that have correlation with the Lunky arc, Lunxian affair, and the Mark isn’t real stuff, as this relates to bigger story beats that are happening.) Think about it. After the events of WKM, Actor (who already was a Youtuber as seen as one of the points on the Detective’s theory board reads “What is a Let’s Play?” implying to Mark’s original ticket to Youtube) used Damien’s body as a replacement for his own and going on with his life, rising to even more Youtube fame. This makes him not who he seems, and definitely not real as the person his fans and editors in canon thought him to be. But what does this have to do with Lixian? With Lunky? What about those confessions? Well, for that, we have to start at the beginning.

Lixian and the Lunxian Affair

Though the MarkiplierIsntReal videos aren’t meant to be canon, as told to the member mixers by Mark himself, we have seen behavior from Lixian that is still similar to the entire week-long event - that Lixian has found something out about Mark. We can gauge this through not only the behavior of Mark, but of Lixian as well. Most notably, in 3 Scary Games #46, we see the description of the video of what reads like Mark’s pleas to us, calling Lixian “a monster” and that “the old methods aren't working anymore.” Actor is trying to control Lixian, and even sow the seeds of fear into his audience. Lixian, in that same video, pulls a knife on Mark and, in general, acts more antagonistic towards him. From 3 Scary Games #46, we can gather that Actor isn't happy about any information Lixian may have leaked or let loose at this point.

There are 2 big points that support this:

1. Lixian's animation sprite during the episode mainly shows up as a shadow, otherwise known as "Shadow Lixian". Lixian's animation sprite typically assumes this shadow form as a visual way to let the viewers know that he's sneaking around and doing something that Actor wouldn't approve of.

2. Actor develops the idea of a "controlled Lixian" (which is later to become known as "Lunxian") to where Actor can use his arcane powers to have Lixian do/say whatever he wishes.

But of course Actor can only come up with the idea of a perfect editor at the time, and has no real way to actually manipulate Lixian at this point. It's not until Lixian leaves for vacation that Actor puts a plan into motion.

In an attempt to try and get rid of Lixian, Actor created Lunky to try and make a replacement Lixian. This obviously didn't work, as Lunky is barely like Lixian and was seen for a time by Actor as a poor carbon copy. And as we can see in the Minecraft video where Lunky is introduced, Mark dislikes Lunky immensely, pushing him off to the side and not wanting to even edit him in. Mark doesn’t even say that he made Lunky - he just says that he’s here so that he’s not talking to himself.

Despite this separation, though, there are clues right off the bat here that Lunky and Mark are connected. Where, may you ask? Well, in the outro of this very video (Lixian Is gone, Lunky Is Here), there were some awfully interesting shrieking sounds. Almost sounded….backwards. And wouldn’t you know it, after we reversed the audio, we could hear a voice. And with a few more tweaks to the speed and to isolate all of the echoing sounds that were added to the audio (which is actually a tad important), we made out “Thanks for watching - don’t forget to like” before it dribbles off. (Hear audio here: https://canceltheact.tumblr.com/post/645011603474038784/backwards-lunky-audio-for-reference-in-todays Also, if there are any audio expert theorists out there who are more skilled than us that can get a better result, write us and tell us what you find!) However...this echoing that comes off the audio seems familiar. What other type of person has a voice that echoes? Oh right! ACTOR when using arcane powers!

This CONFIRMS, through the echos and that would be what Mark would say, that Lunky was created by Actor through the arcane power stuff and Lunky, at the moment, though trying to be a poor carbon copy of Lixian, is at most being a channel for Actor's things he would typically do on the channel, as that encapsulates the story dimension and his power as a whole. And not only does the presence of this backwards audio reveal more about this seemingly joke character, it also reveals that this is something that Mark has put time into and planned for this to be something bigger than a one-off.

But then Actor realized that he could use Lunky to do the next best thing - be an extension of his own power and subdue Lixian enough so that he would be kept quiet. So Actor bided his time with Lunky and ‘allowed’ Lixian to trap Lunky in a cage.

This backfires on Actor though, as Lunky manages to harness some of that Actor power and attempts to complete his original intent...to destroy Lixian. Lunky goes on a rampage, overtaking both Lixian’s channel and Markiplier’s channel until Lixian kills him - Or so it seems.

Actor realizes what has happened and decides to do a combination of his two previous plans: have Lunky possess Lixian, making Lunxian (a name we have come up with for this phenomena), in order to keep Lixian completely under control. We see this through two things:

1. Lunky's rainbow glitch, or chromatic aberration, around him is transferred to Lixian AFTER Lunky gets killed - and we see Lixian acting VERY differently towards the editors, saying that he’s watching them, being present in several videos outside of 3 Scary Games and being generally creepier than usual when judging from the scope in general.

2. Lixian screams "I'm the Editor" after ‘defeating’ Lunky. Interesting, isn't it? Lixian has said a few times before that he doesn’t like being called editor. But Lunky, in control of Lixian now, has a different want. Lunky was meant to be the editor for Actor, hence why Lunky would want to be called editor.

#CancelTheAct Reasoning

But now, to let you know exactly WHY we're pushing "CancelTheAct". So, Actor has used the story dimension in order to keep those he has trapped in the manor in playing out his stories, such as Dark as the villain and Abe as the detective archetypes, right? I realized: the story dimension IS the channel. And what does the channel drive on? Fans. So, Actor derives his power from being able to be the hero, the lead of the stories, and his channel in canon gauges his influence and power right? Well... Lixian is trying to EXPOSE ACTOR from what he’s found and we see that as not just exposing... but “cancel” him in the eyes of the people who GIVE HIM POWER... his fans in canon. Thereby making Actor powerless. The fans in canon will see him as a fraud, not support him, and take away his strength of his ego. Jabbing a slight bit at the now-popular cancel culture, we are siding with that fight with a clever little hashtag that can be made alongside #MarkiplierIsntReal. Though MIR was never actually a canon intention by Mark, it’s still a hashtag that people are familiar with - and as it relates to the fact that Actor has been putting on a facade, we can use it in order to rally our cause.

Rainbow Chromatic Aberration Breakdown

Why would this rainbow aberration be cause for identification of something being off? Of Actor?

Well... back in the WMW breakdown video, Mark talks about this one point in the mini movie where there’s this aberration, when Wilford and Abe go from the detective’s office to back at the dance club. Paraphrasing here, he says that this is not Darkiplier and that he just wanted to replicate the effect of a VCR rewinding to establish to take things “from the top” with Wilf and Abe’s meeting. Remember the VCR thing though, that’ll be important later. (Time stamp: 2:07:50 https://m.youtube.com/watch?v=rsi_L1b1RwE&lc=Ugwo26EalTI5QP15ooF4AaABAg) This thereby establishing Warfstache’s use of gelling and framing this weird reality by manipulating time and space. We see this AGAIN in AHWM, as when the box is used in the Bob/Wade endings and we go through time, we see the SAME COLORS OF ABERRATION. Warfstache does the same VCR type thing in the interview as well. Ok, so we’ve established that the rainbow aberration implies when one (besides Dark) manipulates their time and space.

Now, these colors look familiar... where have I seen them before OH RIGHT. LUNKY. Lunky has appeared with this aberration through that video with his song (you know the one) and in the 3 scary games videos. Since we’ve seen that Lunky is connected as an extension of and creation from Actor’s power, it makes sense that Lunky would have a similar chromatic aberration. We see this fabrication from time and space (Lunky) use this manipulation power, and then, as Lixian is possessed and subdued by Lunky to become Lunxian, this aberration is also adopted. (for image examples, see Lunxian picture in the first part of this theory)

However, we have seen some slight resistance throughout these Lunxian appearances, showing signs of Lixian trying to break free, as we see in the Forest video “Escaping the Sinkhole” where he says “You think you can replace me?” But instead of the typical rainbow aberration, the colors are inverted to a purple and bluish green.

An aberration we’ve seen a couple times before: in the “DEAD” post that Lixian posted on his Twitter when he was thought to be killed, and in the flashback sequences in Lixian’s Confession which, while doesn’t give us any information for the story, still gives us context for what colors show Lixian in control.

However, despite the control of Lunky over Lixian, the past few weeks has shown the emergence of Actor, despite how he tries to keep it under wraps.

Events Post First Lunxian Emergence - Post MarkiplierIsntReal

In the past few weeks, we have seen through the types of video uploads that Mark has put out, along with Lixian’s behavior, that despite Actor’s attempts to keep his identity under wraps, there have been increasing signs in the in-canon Actor channel and Mark’s real life channel stuff that tips us off otherwise.

First off, in the first week after Markiplier Isn’t Real, there were only compilations and old footage from streams, which wasn’t exactly too important, except for a few hints through the editing that Lixian gave us - first, the fact that a lot of the text and effects were surrounded in that Lunky/Actor rainbow aberration - implying that Lixian isn’t really acting of his own free will...not controlled, per say, but not allowed to talk about the secrets of Actor.

In this same compilation, we even get a hint that something is amiss from Lixian - in a moment from the end of 3 Scary Games #38 where Mark is wholesomely preeshing Lixian, suddenly, the moment glitches in a similar fashion to how it was done at the end of Lixian’s Confession - then cuts to the scene where Lixian “kills” Lunky. This type of unusual transition into such an event lets the audience know that this event is important and something to pay attention to.

Secondly, in the 3 scary games compilation, we have an interesting change in edit that Lixian made - instead of the normal jumpscare from 3 scary games #57 with Mark with no eyes, Lunky is plastered over Mark’s face, implying Actor and Lunky’s connection.

The interesting thing that has popped up from these videos isn’t just the type of game that has been done, but, specifically, the behavior of Lixian. And it mainly started with the editor collabs that Lixian has been doing with Marcus (aka Nerd Fiction) and Rachel, the two new editors for Markiplier’s channel- not only a tool to help them learn the ropes to the type of editing Lixian does, but also leaving room for an interesting plot device.

In the first simulator collab episode, “Cooking Simulator”, Lixian seemed to be able to be in control by Actor, doing his VCR chromatically aberrated bidding, but being a bit more acting of his own free will, being a bit more resentful of the job instead of compliant.

However, in the second simulator collab video, “Car Accident Simulator”, Lixian seems a LOT LESS compliant and even rebellious. Yet Mark seems to be ok with joshing Lixian’s chain around, even mockingly calling him editor. Even more interesting…the fact that Lixian says “I’ve got all your dirt!”, implying his knowledge and slight ability to share the truth.

So, why is this? Well we think that Mark still thinks Lixian can’t escape, but Lixian is simply biding his time to get free from Lunky and Actor’s grasp... still playing along with Actor’s game, but planning to get stronger and plan an attack.

Unfortunately, this state of the upper hand does not last long. In the Forest 3 Peens stream before this, we get another Lunky appearance, with Mark seeing. Combined with the rebellious behavior he sees Lixian have and Lunky now being separate from Lixian, Actor sees that Lixian is not under control again, and realizes he has to take further action.

Breaking the Facade

This leads us to the latest 3 Scary Games: #64 and #65. In these two, some of the last regular appearances of Lixian, we see jumpscares like usual, but these monsters are...different. The spider monster in #64 is much more detailed than any monster we’ve seen before, and in #65, the fake Mark stand-in speaks in a newer type of audio voice effect. And in both of these video outros, Lixian is shown defeating them both with an axe, fighting them off. (not showing images due to arachnophobia that spider is dang scary) This tips us off that these monsters are different than just the typical jumpscares we see in 3 Scary Games - Lixian is deliberately against these monsters. And in BOTH VIDEOS, Lixian is in the same position, asking where Mark is.

This is why we haven’t seen Lixian in videos since this - because he is trapped in an area either by Lunky or Actor, fighting off these monsters and unable to escape while Actor keeps up his facade.

However, despite this, through real life and in canon, Actor’s facade has been breaking to us little by little.

The Reddit banner changing from a Heist promo to a picture of Date Mark a week after MIR.

In the “Teardown” video, Mark is shown with some interesting edits when he goes to shoot a tree - seems normal, but with that font being Lunky’s font and his background being red, this definitely seems like Actor - even the things he says,” You wronged me and it’s only right for me to come to pay back what is due” - seems like he’s projecting anger from the people in his past onto this tree.

Then, even the day after the infamous Cloak promo, we see even MORE allusion through referencing Actor scenarios THREE TIMES in the “Stormwatch” video: once referring to WKM, once referring to the END music and filter from WKM, and a reference to the Warfstache Markiplier interview, which points to Actor from THIS CONVERSATION: “You heard it here first ladies and gentlemen Markiplier has admitted to NEVER KILLING ANYBODY.” “Well I never said that”.

Looking back at the cloak promo for the self love story line, Mark himself has said that the promo featuring him wearing Actor’s robe was a last-minute choice by him, as he was largely involved with the release of this line. Even so, there are certain details that simply can't be ignored. Enter: At Dead of Night Part 1. During the video, Mark just decides that he has to leave the room, glitches out of the room, and after an uncomfortable amount of silence, he jumpscares us after some spooky red light engulfs the room. In this period of time, there are TWO things that separate it from the normal type of jumpscare that would be found when Mark plays a scary game (despite it NOT being 3 scary games video)

1. We see a quick flash of what appears to be Shadow Lix...until we look at the eyes.

This aberration definitely shows signs of Lunky - looking like Lunxian has returned.

2. Mark returns...with the same Cloak shirt that Actor was wearing in the promo over his robe. Probably just promoting the brand, right? Well this video was five days after the promo was released, quite an arbitrary number for just doing an empty reference to the promo, especially since the day of its premiere, February 16, was around the day the Self Love Story line was dying down and not needed to be promoted. And all the while Mark plays, the Actor robe is on the dresser in the background - the first time we've seen it since the promo in the first place.

Even considering the fact that the promo was a last minute choice, WHY would Mark bring it back up again? WHY would he nudge us with the hints to connect the promo to something bigger - unless he WAS planning something a bit bigger.

Other strange occurrences have been happening in bits and pieces throughout other videos. A Lunxian appearance in the Barn Finders episode.

And curiously enough, a jumpscare in a Forest video from a previously used 3 Scary Games video - #62, to be exact, and the only one who has eyes that are similar to Lunky’s.

Combine that with the fact that despite Lixian editing a lot of this video, he doesn’t show up at ALL to being called editor - this is showing that Lixian isn’t in charge of editing the videos - Lunky is in control. And the monsters coming out of the closet is a clear sign of another one of Lunky’s monsters that might have bled through the area between where Lixian is trapped and where Mark is - the 3 Scary Games dimension, if you will.

The Next Plot Step

The next 3 Scary Games videos since this time have clearly been very, very telling of this banishment and kidnapping of Lixian. Let’s go over some of the most important details, namely from #66, #67, and #69.

In #66, we see the latest monster in the line of the three we’ve seen before, such as the spider and the fake Mark; the squid monster fake Mark. This monster says the same things as the last monster: “Your end is near. Your end is here”, with the same font we’ve come to know of Lunky and Lunxian. (first pic #65, second #66)

But this time…Lixian’s axe doesn’t work. Why? Well, as we can see, there’s some kind of…force field.

Of…dark red. HMM…. looks awfully familiar. Even though we’ve never seen it before. Like RED, ARCANE ENERGY. There’s no doubt about it. Lunky, and by proxy Actor, are making the monsters stronger. So Lixian can’t escape.

And as we see in #67...this has seemed to work. As towards the end of that episode…

Lixian is…not doing good. At all. As we see him in an area, a rock or something, coated in red. Lixian is in trouble. It seems the monsters have finally banished him to a place where he cannot fight back, where he cannot tell the truth he knows. The red lighting looks similar to the prison in where Lunky was kept, possibly entrapping him in a prison of his own making.

Interestingly enough, before this, we see Mark’s “monster” thing: his eyes, moving aLLLL around. And the aberration on him is a tad rainbow-y. Could this be an allusion to Lunky, whose power is all about his eyes?

But...the most INTERESTING video was of course, #69...where quite a few things were confirmed. Let’s tackle them in this breakdown linked here, shall we? https://canceltheact.tumblr.com/post/649094311147978752/3-scary-games-69-the-eldritch-resurgence

We should have you caught up with all of our important findings for now. As you can see, Actor has been playing his games for quite some time. But he’s gotten bold - far too bold, to reveal himself to us like this. And this is where you, dear reader, come into play. It’s not too late to end this game Actor has us in. We, the viewers, give these alternative egos power, and if we refuse to play Actor’s games any further and cancel his acts, we can begin to weaken and perhaps even eliminate Actor’s grip on the channel. We believe that the time is now. Spread this post if you support it - reblog it, hashtag it on Twitter or Tumblr, use the hashtags #CancelTheAct and #MarkiplierIsntReal. This may be our only avenue to have our voices heard, and to truly unearth what the Actor has been threading together all along.

Chromatic Aberration Appendix (Yay!)

Hey there folks! I’ve decided to do a companion writing on my theory, that explains exactly WHAT chromatic aberration is and why it’s important to the current Mark lore.

Chromatic aberration is the glitchy effect of various colors surrounding words, objects, or people. There are quite a few different types of this aberration, and as they are an important part of this theory, this section is to denote the different types of aberration and what they mean.

“Rainbow” Aberration - This aberration has been used multiple times as a representation for the manipulation of time and reality in order to control someone - we see this used in AHWM as we surge through time using the artifact, and as Warfstache brings us to our proper interview location in time/space. This effect has also been associated with the effects or rewinding of a VCR, as Mark says in his WMW breakdown video when discussing said effect when Warfstache takes Abe back to the disco club to “have a little fun”. And as we have seen in this part of the lore, Actor has used this type of power as well in order to control people’s reality. This aberration, therefore, denotes for those OUTSIDE Actor’s planned story - which is why Warfstache has it (since he has no role), why Lunky has it (because he was created as something to exist outside the story dimension and to fill a role that wasn’t a set role in Actor’s story in the first place) and was used initially, yet unsuccessfully by Actor to control Lixian (because he was working outside his story onto someone who didn’t necessarily have a role)

Heavy Presence of Red Aberration - this aberration, though more of an aura than anything else, indicates the control and presence of Actor, as seen in “Damien” - though this isn’t used too often, it is often used with Lunky’s rise of power, such as in “He escaped...” and at the end of various 3SGs.

Lixian’s Aberration - this combination of dark purple, teal, and greenish blue aberration is present in Lixian’s confession and is a marker of when Lixian is in control - as seen in Lixian’s confession and the “DEAD” picture post on his Twitter.

#markiplier #markiplierGAME #markiplier game #markiplier lore #markiplier lunky #markiplierisntreal #markiplierlore #canceltheact #lunky #lixian #markiplier theory #actormark

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sunder-soul · 3 years

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you make most of it up? That's amazing. Could you maybe share your method/thinking/resources for someone who also wants to write believable class stuff in the hp fandom? Thank u very much

Yayaya sure!

Short answer:

So I'll pull details from the HP wiki, and if I need a random plant name or potion ingredient and can't be fucked making one up (or I don't need it to be something symbolic etc) I often use this random generator and either use those names straight out, or tweak them a bit before using them.

Long answer:

Well I'm a huge fan of soft worldbuilding (where you don't outline all the rules and details and instead have a sort of immersive description that leaves a lot unsaid) because I feel it makes things more realistic, like you're glimpsing little parts of things that are utterly normal and therefore don't need explaining ya kno. So when I write classroom scenes or any kind of 'lore' I try not to explain it and rely instead on characters reacting to things to convey its importance, normalcy, or strangeness.

I do this alllll the time but I did it HEAPS in white dove. When Tom is in trial and he gets a 'tier nine' cell (which I made up) I don't bother writing something like "oh my gosh tier nine is the worst and most intense type of cell you can get and it has these rules and these horrifying conditions" bc I don't need to. The whole room reacts with gasps and horror and even Tom looks freaked out (tho that's mostly bc he was expecting a sentence of a specific amount of years and was confident he could just outlive it bc immortal and that's the moment that he's like oh fuck, but the point still stands).

So the emotions/reactions of the people tell you everything you need to know without me having to outright describe it. You don't need to know what a tier 9 cell is, you get that it's fucking baddddd. In fact, it's sort of even better than explaining it bc our imaginations find the unknown even scarier than something horrifying described in detail.

In the same chap a bit further down, I make reference to a 'peeping charm' which I made up on the spot. Same deal but different context, it makes sense that magic users have a spell that'll act like a peephole in their doors, there's no reason to say 'this spell will let me look through the door without the person on the other side noticing so I can see who it is before opening it' because this would be a totally normal thing. So I just wrote it like it wasn't a big deal bc to this character in this context, this wouldn't be a big deal.

On the other hand you can also totally introduce something new that DOES need some detail/exposition. At the beginning of this same chap I say that Tom's lips and cheeks are flushed, that this a tell-tale sign of veritaserum poisoning, and that they've obviously given him heaps of the stuff. I made this up just bc I wanted there to be something the MC could visually and easily see from across the room that would establish that Tom's been given a SHIT TON of truth potion so that for the rest of the scene, the audience in the room with him AND the audience reading the chapter knows he's being forced to tell the truth. It just added to the tension of the moment and made sense for the context (a trial lol). It also gives the scene some layers - Tom was fairly brief and controlled when he actually speaks in that scene, and I wanted it to be unclear if this is because he's being super self controlled by choice as he's normally prone to being, if he knows that he'll be unable to lie and doesn't want to let on any more of his secrets, or if he knows honesty will destroy the picture perfect tragic image the newspapers have made for him if he's TOO much of a monster.

I'm rambling but the point is, if you're going to introduce details or concepts it's really important to have an understanding of who would know that stuff already, who would find it commonplace and who might be totally unaware of it. Sometimes everyone in the scene would know about it already but the AUDIENCE doesn't, and that's when you can use like casual conversation/questions between characters to give more info whilst also showing that this is all very normal.

Having a character not know something is an easy way to have another character explain something to them but there has to be a solid reason as to WHY one would know it and the other doesn't.

An example of a time I've used this is in Mimicry when the MC knows troll blood will ruin Tom's potion but Tom doesn't. Normally we'd be like 'wait what, why would a nerd-ass know it all like Tom not know this,' but it makes sense to my understanding of the character that he's the sort of person who got a recommendation that 'Zoological Potions Ingredients' was the BEST textbook on ingredients and went off and fucking memorised the whole thing and didn't think that anything could have changed in the 70 years after it was published (Tom strikes me as the sort of person who chases 'the best' and doesn't think much past that is worth considering). Hence why he didn't know that the classification for trolls changed and that further research was done, since he also strikes me as the sort of person who would consider reading up on the social status of trolls to be a little pointless lol, but surprise bitch it wasn't.

So I made up most of that except for the existence of Bundimuns and trolls - I went hunting on the wiki for some obscure substance I could reference in passing for a potions ingredient (and found Bundimuns), and honestly I can't remember how much about them I made up and how much is canon (I think they're mentioned to be used in cleaning products canonically...?)

But the point is more that this scene doesn't just flesh out the world, it tells u stuff about the two characters and how they interact. It tells you that Tom is very studious but doesn't like to revise his opinions, it tells you that the MC knows their shit, it tells you that Tom is suspicious (he instantly challenges them by referencing the textbook not saying what they're telling him), and it tells you that MC is a good bitch who would help out a dick like Tom just bc it's the right thing to do. It also shows Tom's flaws - his disregard of learning about other creatures/beings/people and the way they're treated in society tracks with what we know of his character, and I always think it's important to demonstrate (either directly to him within a scene or to the readers) that this is a stupid thing to do. In this case, his lack of interest in the struggles of others nearly fucked his own potion, he's only saved because MC 1) cares enough to read up about it, 2) sees the importance of revising formally formed opinions/understandings, 3) steps in to help him even though he probably wouldn't have done the same.

So that's soft world building, ya know, using these things to tell you about the characters, using knowledge and lack of knowledge, reactions, etc etc. Most of the details I make up are there to serve a purpose for the plot, but honestly that's just bc I'm writing short super condensed stories that don't have a lot of space for proper world building. In Seven Devils (and Mimicry to a lesser extent) I have a lot more of these details there to create an emotion/sense of the scene just for the sake of setting that scene, but that's for bigger works with more room to breathe.

Hmu if you want to know more but damn I DID write an essay huh 😅

#Anon #Ask #Writing #Mimicry #White dove

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sillyfudgemonkeys · 3 years

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I am of the opinion that PQ2 should have been released AFTER P5R

Tbh PQ2 is placed where it is because of the 3DS' life cycle. I'd place it farther but the PQ series working on Switch(+maybe other places) is most likely reliant on the/an EO's switch game (to help adjust the formula). If it wasn't for that, I'd probs slowly remake/port P1-4 while spewing out more/different P5 spinoffs before we get to PQ2. (so I don’t disagree, there’s a couple of ways they could’ve gone about it, but even tho it’s speculation it’s fun, none of it matters cause we probs got the worst timeline ;w; anyway time to just ramble about related stuff 8U) (but I would love to hear your opinion as to why you think that’s the case!)

Word vomit word vomit~! Under the cut cause I can’t reply like a normal person 8U ;x; (don’t mind me the gears started-a-turning aklfjdsakl)

Tho tbh, from what we got with PQ2, I dunno if Adding Sumi and Jose would be good. PQ2 is pretty directionless with it's cast imo, like it has something to say but half the time they feel like mouthpieces and not actually......the characters we know being involved. It already has a handful of b/c/d/f plots and it barely even dives deeper than a kids wadding pool with them orz I'd say what's the harm in adding Sumi/Jose since it already can't handle the cast it's been dealt it won't hurt having two more, but do I WANT Sumi/Jose (and possibly Takuto) to suffer for that? Nah. I'd rather we get a PQ3, were we can focus on the implications of Sumi having just awakened and the team side eyeing Joker/Mona for not telling them and all those implications. Her bonding with the team would probs be drowned out by Hamu and Hikari (when they actually feel like giving them some focus that is), plus Goro's stupid bullshit just.......listen.... PQ1? Chars can be a biiiiit mean at times, and are flanderized, but damn do they all feel involved and still have some remnant of their original personality (they aren't flanderized all the time and not all chars are flanderized) but man did they feel important to the game. DX I’ll take it over the clustered bullshit that is PQ2 orz

Anyway, tbh, now that I think about it, P5R should’ve been released in 2021ish time. For a PS4/PS5 release. Would’ve given the PS5 another flag ship game, and justifying it on another console as well (plus a 4 year gap feels a little more justified than a 3 year gap, esp when there’s a new console involved). It also doesn’t help we got two horrible failures of spinoffs in between P5 and P5R (one is the P3/5D and yes I’m counting them as one game, and PQ2 who is at best a slog and at worst is one of the biggest thorn in my side lore wise since P5 sauntered onto the scene...that being said I mostly blame the failure of that game on the dead console it was on). A remake and/or Scramble honestly should’ve been the next game right then and there (oh hey where have I seen that before? Oh right, P4. And it worked, we had about 3 remakes/enhanced ports before our Arena/sequel but still it worked). Not “cash grab the game” or “let’s just set the poor thing up for failure” the game. Like PQ2 would’ve been ok to fail if we at least got a remake and P5S (and I really don’t give a shit about P5S, but it def should’ve been there early on).

And an extra bonus with P5S releasing early is that, after P5R released, we could have a P5S re-release with a tweaked storyline maybe involving Goro/Sumi/Jose/yadda yadda on the PS5! Is that a bit cash grabby? Maybe. Is it at least cash grabby with a purpose? Yes. We want purpose. Purpose is good. Purpose, means they have our interests in mind. 8U

*inhales* tbh....the PQ2 we got....could’ve/would’ve worked better without the P5 cast. I KNOW, Silly hates-a-the-P5, but.....at this point it’s not even that. There is one char that really tries hard to relate with Hikari that isn’t the shut in bullshit (yeah sure let’s give Futaba more screen time, it’s not like she didn’t have enough of that, nothing against shut ins, just P5/Q2′s writing). And it’s Hamuko. regardless how you feel about the FeMC, the B plot of “I am all alone, I am separated from my loved ones, the same loved ones I see look the same but aren’t them (oh hey another Tatsuya parallel 8U), and to top it off some stranger is in the role I’m supposed to be in. Am I replaceable? What’s the point of my existence if I’m not the only one who can fulfil this role?” have an entire game based on that existential crisis. We don’t even need the same setting/cast (Hikari/Nagi/Doe), actually I’d keep the Climax Theater but I’d lean HEAVILY into the P2 references/themes and such (Hamu already has a lot in common with Tatsuya, this just adds to it even more!). That B plot with Hamu could probs carry a game itself, or her issues can easily tie into the A plot of that game (like how Rei/Zen’s did with PQ1). Don’t delegated it to a watered down B plot that PQ2 gave us. jfjsadfj hell this probs would’ve been a better time for Sumi to be involved instead. Instead of the P5R new char, she’s the new PQ char and hey they can bond over that (sure we can do that in the current PQ2 game, but we can’t fit it in that well cause we have to tell the P5 cast how cool we think they are! even tho they haven’t really done anything but breathe! >8U)

It’d be a good follow up to PQ1 esp if released not long after, with it being a P3xP4 crossover, it’d 1) feel almost like a direct sequel, 2) riding the coattails of PQ1′s success at the most timely of times, 3) connected with 2 but it’d be at the hype of the 3DS, 4) we don’t have to worry about fans not knowing who they are since that cast is still relevant, 5) it gets Hamu’s thing out of the way so that PQ3 can allow the P5 kids to shine! Cause I’mma be honest, the PQ2 we got doesn’t really make them stand out, outside of the Kamoman dungeon. Plus it’d allow us to give more screen time to juicier B plots that people probably wish for with a P5 involved PQ game (such as Goro, I know y’all thirsty for him, this benefits you guys!)

Ah sorry you probs didn’t want a rant klasdjfalf just tired and the gears started turning and ahhhhh orz Anyway, again, I don’t disagree with you anon, I def think they could’ve done things differently and done it a lot of different ways too. XU And btw I’d love to hear more why you think that!

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dailybestiary · 4 years

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Books of Magic: The Voyage of the “Princess Ark”

(Images by Jim Holloway and Thomas Baxa come from PDF scans of Dragon Magazine, are © Wizards of the Coast or their respective copyright holders, and are used for review purposes.)

Previous installments in my “Books of Magic” series were, weirdly enough, about books.

This time, I want to tell you about a series: Bruce A. Heard’s “The Voyage of the Princess Ark,” which turns 30 years old this very month.

TVotPA ran in the pages of TSR’s Dragon Magazine nearly every month from January 1990 (Dragon #153) through December 1992 (Dragon #188). A serialized travelogue and adventure story told in 35 installments over three years, TVotPA was part Master and Commander, part Star Trek, and part The Adventures of Asterix (the last two of which Heard explicitly cited as inspiration in his letters columns). It follows the saga of Prince Haldemar of Haaken, an Alphatian wizard who recommissions an old skyskip and sets out to explore the lesser known regions of the Dungeons & Dragons game’s Known World, which would soon come to be known as Mystara.

Some background might be necessary for those of you who aren’t familiar with the chaos that was D&D at the time. In the 1980s and 1990s, Dungeons & Dragons and Advanced Dungeons & Dragons were two different games. I’m simplifying the chronology here, but basically in the late ’70s D&D was meant to serve as a simplified gateway to introduce fans to fantasy role-playing before guiding them on to AD&D. But in the 1980s, thanks to the release of the Moldvay/Cook Basic and Expert Sets, and then the five Mentzer box sets (the ones with Larry Elmore dragons on the cover, now referred to as BECMI D&D—for the Basic, Expert, Companion, Master, and Immortals Rules box sets), D&D had become a viable game in its own right, with its own world, referred to only as the Known World.

The Known World—particularly as it was showcased in the Expert Rules—was a mess: more than a dozen nations slammed together in the corner of a continent to illustrate for young DMs the various forms of government you might find in D&D beyond kings and queens. Along the way, these nations also served as analogues for real-world societies ranging from Western European countries to Native American nations to the Mongolian khanate. But it was a glorious mess, thanks to a series of excellent Gazetteer supplements that had rounded out and mapped these nations in great detail, capped off by a box set, Dawn of the Emperors, that described the Known World’s pseudo-Rome, Thyatis, and its rival empire Alphatia, a nation of wizards across the sea.

By the end of 1989, then, D&D was at a crossroads. It was clearly the unloved child, seen as “basic,” best for beginners. Its setting did not have the novel support of Dragonlance or the energy of the surging and more thoughtfully conceived Forgotten Realms, then only two years old. The Gazetteer series had covered nearly all the known nations (two more would come later thanks to popular demand). And even Dragon Magazine rarely carried D&D material—a fact that was excruciating to me when I started picking up issues in late 1988 as a 5th grader.

Into this void stepped Bruce Heard. He’d been the architect of the Gazetteer series, had written some of its best installments, and was the overmind behind the D&D line at the time. If I’m remembering my history correctly, he approached the editor of Dragon, the amazing Roger Moore, about supplying a column that would provide regular D&D content for that starved segment of Dragon’s audience. In his editorials and answers to reader letters, Moore had made several mentions of needing more D&D content for the magazine, so he was a receptive audience. Heard got the green light, and “The Voyage of the Princess Ark” was born.

I still remember where I was when I realized this was happening. I missed the series launch—with my tiny allowance, I could only justify buying Dragon issues that really interested me, and Dragon #153 hadn’t leapt of the shelf at me. (Not having the Masters Rules box at the time, I didn’t realize the illustration of a continental map plastered with “WRONG WRONG WRONG” was referring to the D&D world.) I did have Dragon #155 (still one of my favorite issues of all time), but somehow I skipped past TVotPA Part 3—I wasn’t reading issues cover to cover yet and somehow didn’t grasp what was going on.

Then came issue #158. I was away for a week at Boy Scout summer camp, and I’d brought the June issue of Dragon with me. Having torn through the articles about dragons (June’s theme was always dragons), I turned to an article illustrated with a wizard and an ogre/elf cross riding pelicans. Better yet, they article had stats for playing these ogre-elves as PCs.

D&D stats.

THIS WAS A D&D ARTICLE!

And it was part of a SERIES!!!

With some effort, I tracked down the issues I’d missed—no easy task for a just-finished-6th-grader—and soon was buying Dragon every month. Moore and Heard’s plan had worked. I was hooked on both TVotPA and Dragon from then on. (The next time I missed an issue, I’d be a college freshman and the industry was on the verge of collapse.)

Most installments of TVotPA followed a simple template: The Princess Ark would fly to some new spot on the map, the crew would get into some trouble (usually brought down on them by the actions of Captain Haldemar himself), and then more or less get out again, either due to a last-minute save by Haldemar or some surprising turn of events. All this played out in the form of log entries—originally by Haldemar, then supplemented by other crewmembers as the cast expanded—that allowed Heard to deliver both in-world descriptions and rollicking action at the same time. The article would then offer back matter containing rules content or setting write-ups, and sometimes conclude with a letters column of readers reacting to the setting or seeking clarification on some arcane point of D&D rules and lore.

While this template was simple, it was never boring. The episodic nature of the series let Heard play in a variety of tones and genres: lost-world pulp, courtly drama, horror, farce, even a Western—heck, he slipped in an homage to the Dark Crystal (which at the time I didn’t get, not having seen it) as early as Part 5 (Dragon #157). As well (without getting into too spoilery territory), various overarching antagonists and plot threads—including a threatening order of knights, a devious dragon, two major status quo changes, and divine machinations—kept things simmering in the background from episode to episode. The characters likewise became more developed as Heard’s writing grew in confidence and ambition, and reader affection grew for side characters like Talasar, Xerdon, Myojo, and the rest. Once the series was up and running at full speed, it was a sure bet that if you didn’t like that month’s story, you’d dig the rules write-up, or vice versa. And when the story, setting, characters, and rules all came together, such as in Dragon #177, an episode would just sing.

Once again, I can’t tell you how thrilling this series was to 6th–9th-grade me. First of all, it came along at the perfect time. Heard’s writing literally matured just as my reading did, so the series and I literally grew up together. 6th grade was also the year I discovered comics, so this was also the era of my life when I was falling in love with serialized storytelling. Similarly, it was my first time really embracing the epistolary form.

Perhaps most significantly for this blog and my freelance career, the column was also an early primer for me on game design. Watching Heard tweak D&D’s simple rules to evoke a more complex world, especially when looked at in concert with D&D’s Gazetteer and Hollow Word supplements, gave me the courage to think about tweaking/inventing lore and systems myself. Heard also made a habit of pilfering monsters from the Creature Catalogue, seeing potential in them no one else had, and then suggesting entire cultures for them. (If that doesn’t sound like someone you know…what blog have you been reading?) He made creating a world seem easy, because he did it month after month after month.

Finally, TVotPA was thrilling because it was clear proof that someone took “basic” BECMI/Rules Cyclopedia-era D&D seriously. And that meant someone took us, the fanbase, seriously too. Back then, I couldn’t afford AD&D. Even if I could, I didn’t want to mess with all the complexity. Plus, I loved the Known World. I loved the Gazetteer books and the Aaron Allston box sets. By writing and publishing TVotPA, Bruce Heard and Roger Moore made me feel like they cared about and for fans like me. I didn’t have Raistlin, I didn’t have Elminster…but I didn’t need them, because I had Prince Haldemar of Haaken and his magical Princess Ark.

In fact, it’s no exaggeration to say that falling under the spell of Dragon and TVotPA were some of the most magical and mind expanding moments of my middle school years.

But what does this mean for you, the current Pathfinder or D&D fan? Should you read “The Voyage of the Princess Ark”?

Obviously I’m going to say yes, for all the reasons I’ve listed above. If you like maritime adventures, steampunk, or pulp adventures, this is obviously the series for you. If you like Pathfinder/D&D where a wizard is as likely to throw a punch as he is to go for his wand, this is the series for you. If you like on-the-fly worldbuilding, this is the series for you. If you like setting, story, and rules expansion all mixed together every month, this is the series for you.

TVotPA has never been collected in its entirely (more on that later), but there are PDF scans of all that era’s Dragon issues online. Start at Dragon #153 and keep reading. I’ll warn you that the first installments are a little slow, but I’d be surprised if you aren’t pulled in by the end of Part 8 (Dragon #161). If you’re the sort of reader who wants to sample a series running on all four cylinders before committing, I recommend Part 18 (Dragon #171), set in the pseudo-Balkan nation of Slagovich, or Part 24 (Dragon #177), when the crew encounters the Celtic-influenced druidic knights of Robrenn, as great places to get a strong first impression.

To my eye, “The Voyage of the Princess Ark” consists of four major arcs, plus a smattering of follow-up material that owes a debt to the series. If you do decide to dive in, here’s a quick reading guide:

Arc 1 / Parts 1–10 / Dragon #153–163 / This arc launches the series and introduces us to several major antagonists. The first few installments are slow going, but by Part 6 (Dragon #158) or 7 (Dragon #160) we see signs of the series as it will be in its prime.

(Dragon #158 also looks at D&D’s immortal dragon rulers; some of this info will later get superseded by a more canonical article in Dragon #170 a year later. Don’t sleep on Dragon #159—though it doesn’t have an installment of TVotPA, there is some fun Spelljammer content in that issue. Speaking of Spelljammer, Dragon #160 also has a companion article entitled “Up, Away & Beyond,” that serves up rudimentary rules for space travel in D&D in tandem with the action in that month’s TVotPA.)

As you have probably just gleaned, this arc also takes the Princess Ark briefly into space and introduces D&D’s second, secret setting, the Hollow World, which was being launched at that time .

Arc 2 / Parts 11–15 / Dragon #164–168 / This short arc deals with the ramifications of a major status quo-altering event at the end of the previous arc. As the crew comes to terms with their new circumstances, Haldemar learns more about the ship itself and the magics behind her. The arc ends with yet another status quo shakeup and detailed maps of the Princess Ark.

Arc 3 / Parts 16–28 / Dragon #169–181 / Hex maps! One of the calling cards of the D&D Gazetteer series was its gloriously detailed full-color hex maps, so it was kind of a disappointment when TVotPA served up only rough sketches of coastlines and mountain ranges. Part 16 gave us what we’d wanted all along: glorious hex maps (detailing the India-inspired nation of Sind no less!). They weren’t always perfect—several issues in the #170s had the wrong colors for mountain ranges, or even seemed crudely painted with watercolors—but by Part 24 (Dragon #177) we got the crisp, expertly designed nations we expected in our Known World.

Early in this arc, we also get a passing of the torch between artists. Parts 1–17 were illustrated by Jim Holloway, who I like for his action scenes, his expressive faces, and the classic stern captain’s look (complete with mustache) he gives Haldemar. (Holloway also does the best dwarves, gnomes, and halflings in the fantasy business.) Starting with Part 18 (Dragon #171), we are treated to the more angular, stylized look of Thomas Baxa, with Haldemar losing his mustache and gaining a silver-streaked ponytail. Terry Dykstra takes over in Part 25 (Dragon #178); his style is more cartoony (his Myojo really suffers from this), but he keeps Baxa’s character designs till the end of the series.

Now that I’ve totally buried the lede, let’s unearth it: This arc is, for my money, the series at its absolute prime. Action-packed stories. More characters in the spotlight. Meaty setting descriptions and rules content. New PC races and classes. Even heraldry for each nation! Heard also continued his habit of dredging up D&D creatures from the Creature Catalogue and loosely tying them to real-world cultures for great effect. I suspect many of you will love the French dogfolk of Renardy or the English catfolk of Bellayne, not to mention the Teenage Mutant Ninja Turtles reference he sneaks in there.

(By the way, it should be noted that today in 2020 we’re more hesitant to do such A+B design. But remember, 1) 1990–1992 was a different time—by ’90s standards, Heard is engaged in pretty solid, multiculturalist worldbuilding, and 2) Heard grew up in Europe (France originally, I believe), so while some of the characterizations and comedy is broad, the settings are grounded in both on-the-ground familiarity and good research, and the humor is affectionate and of a piece with works like Asterix that any European reader would be familiar with. In other words, don’t stress it and just enjoy that the dog-dudes are shouting “Sacrebleu!” The one exception might be the depiction of Hule, an evil D&D nation that has always been hung with vaguely Persian or Arabian trappings…but again 1) Heard was working within the established canon, and 2) the Known World setting more than balances that out with the Emirates of Ylaruam, an Arabian/Persian-inspired nation that was depicted with lots of sensitivity and care by Ken Rolston and others, to be followed by the amazing Al-Qadim setting for AD&D. So I don’t think there’s much in here that should raise alarms from a cultural sensitivity perspective, but if something does strike you discordantly, remember we’re talking about works that are 30 years old and make allowances as you feel you can.)

Along the way, you’ll also get a sneak peek at what would become AD&D’s Red Steel setting and the Savage Baronies box set—including some of the first Spanish and Moorish-inspired nations you’ll find in fantasy RPGs of this era—learn a bit about the Known World’s afterlife and undead, and even get an honest-to-Ixion cowboy shootout, as well as lots of PC options and deck plans for the evil knights’ flying warbirds, which put the Klingons’ warbirds to shame. (Oh, and while you’re reading, don’t skip the two articles about the Known World’s dragons in #170 and #171!)

Arc 4 / Parts 29–35 / Dragon #182–188 / Dragon #158–181 is among the best two-year-runs Dragon Magazine ever had, and TVotPA is a large part of the reason. But a lackluster issue #182 was a first quiet sign of a long slow downturn to come. The fact that that issue’s TVotPA entry was only a letter column portended even more dire things. In fact, three of the seven installments in this arc were purely letters columns, which was a huge disappointment at the time: We’d waited a whole month and got…just letters?!?

By this point, I think we knew the Wrath of the Immortals box set was coming—one of those world-shattering setting updates that was being pitched as a relaunch of the setting, but which could also serve as its climax. My hope at the time was that Wrath of the Immortals would kick things into a new, higher gear for both the Known World (which by then we knew as Mystara) and TVotPA, especially since the D&D Rules Cyclopedia had only come out the year before. But alas, it wasn’t to be.

Thanks to the three letters-only entries, the writing was on the wall. In Part 35 (Dragon #188), TVotPA wound its way to a close that felt appropriate but not properly climactic. God, what I wouldn’t have given to have traded those three letters columns for one last showdown with a certain dragon, those dastardly knights, or any other more suspenseful end! The end we got was nice and tidy enough (and took us to fantasy Louisiana, Australia, and Endor), but it wasn’t the end we wanted…in part because we didn’t want it to end, ever.

Arc 5 / Coda & Part 36 / Select issues of Dragon #189–200, Champions of Mystara, Dragon #237, #247 & #344 / In 1993, TVotPA was replaced with “The Known World Grimoire.” This was a grab bag of announcements, letters columns, nitty-gritty details on running dominions (Companion and Master-level D&D players got to have their own lands, castles, and even kingdoms if they so wished), and other sundries. Most of these are skippable. Four exceptions are four “Grimoire” entries which could practically be TVotPA installments: Dragon #192, which covers the manscorpions of Nimmur, Dragon #196, featuring the orcs of the Dark Jungle, an article on D&D heraldry in Dragon #199 (which is an edge case, but I’m including it here because the rules could be applied to the coats of arms of the various Savage Coast nations), and Dragon #200, which looked at the winged elves and winged minotaurs of the Arm of the Immortals. Coming out as it did in the giant-sized issue #200, this last article felt like what it was—a last goodbye to D&D’s Known World/Mystara as we knew it before Mystara’s relaunch as an AD&D line.

(Dragon #200 also had a nice article on making magic-users in D&D more distinctive. There was also “The Ecology of the Actaeon” in Dragon #190, one of the only D&D ecologies to be published in Dragon’s 2e AD&D era. Somewhere in this time we also got the news that the Known World would be relaunched as AD&D’s Mystara setting, whose products were famous for coming with audio CDs and not much else.)

Around this time TSR also published its TVotPA-inspired—and utterly maddening—Champions of Mystara box set. I say “maddening” because, at least to me, it clearly felt like a “Sure, here fine, have your dang box set” product, a too-pricey production made because fans demanded it, but not out of real love from anyone at TSR but Bruce Heard himself and co-designer Ann Dupuis.

(Let me be clear: This is all speculation; I can’t confirm any of that; I’m just saying what it felt like.)

Among the reasons for my disappointment: There was no new content featuring Haldemar and his crew. One of the booklets reprinted most of TVotPA…but not the first 10 or so entries (so it wasn’t even the complete epic! *headdesk*) and none of the ancillary material, just the story logs. Another booklet was deep in the weeds of skyship construction—hell yeah, you could build your own skyship!—but gave little content to, say, inspire lots of fun skyship-to-skyship adventures in the vein of Spelljammer, such as tons of skyships from other nations. The box did contain eight standalone cards with other ship designs, but most of these were one-off constructions by solitary wizards and rajahs, not enough to really launch a campaign. My favorite booklet was the “Explorer’s Manual,” which gave us some new setting details we hadn’t seen before, including an amazing subterranean nation of elves and gnolls that I still think about to this day…but again, it was all too little, too late—for this fan, at least.

In other words, don’t try to buy the Champions of Mystara box set—at time of writing it’s crazy expensive and not worth it for anyone not actively playing BECMI D&D right this minute. If, after reading the entire series, you’ve fallen in love with TVotPA (which admittedly was my goal in writing this) and absolutely must have Champions for that nation of elves and gnolls, get the PDF on DriveThruRPG.com.

Years later, as Dragon was limping through the late ’90s before its rejuvenation in 2000, Heard provided 2e AD&D rules for Mystara’s lupins and rakastas in Dragon #237 and #247, including writing up tons of subraces inspired by actual pet breeds. If you’ve ever wanted to play an anthropomorphic St. Bernard or Siamese, these are the articles for you.

Finally in 2006, when Paizo had taken over publishing Dragon, they invited Heard to deliver one last TVotPA entry in Dragon #344…giving us, if not a climax, definitely one last burst of palace intrigue and action to bridge the gap between the series proper and the events of Wrath of the Immortals. Over and above all the other coda material I’ve mentioned, this actually fits in the saga—it’s even labeled Part 36. If you want to ship out one last time with Haldemar and his crew, track it down.

Finally x2, there is the world of Calidar. After being thwarted for several years trying to get permission to write new TVotPA content, Bruce Heard has created his own game world filled with skyships and adventures. I own the books (which are rules-light so fans of any system can use them), but haven’t had time to read them yet; hopefully you will be a more determined fan. Keep an eye out for his various Kickstarters and definitely show your support.

Finally x3, if you think I am the only diehard Known World/Mystara fan out there…wow, no, not by a long shot. The Mystara fan community is one of the most dedicated in gaming. In addition to holding a torch for BECMI/Rules Cyclopedia-era D&D, they’ve taken it upon themselves to continue mapping and describing the remainder of Mystara as part of the fan community based out of the Vaults of Pandius website and the stunning fanzine Threshold. I’ve only skimmed Threshold a little, but it is stunning work on par with the Pathfinder fanzine Wayfinder for the amount of effort the fans put in and the quality that comes out. Kudos to everyone involved!

“The Voyage of the Princess Ark” is a testament to the creative heights one writer could achieve in a fantasy world.

“The Voyage of the Princess Ark” deserves to be spoken of in the terms we use for Pathfinder’s Golarion; AD&D’s Dark Sun, Planescape, and Al-Qadim; and Vampire the Masquerade’s World of Darkness. And Bruce Heard deserves pride of place in the company of Greenwood, Grubb, Weis, Hickman, and others of his era.

Heard showed us that simple rules didn’t mean a less complex world. Heard showed us that a few lines of monster description could be blown out to fill entire nations. Heard showed us that the cultural diversity of our own world could inspire our fictional ones. Most importantly, he showed that if you put in the work month after month, you could achieve amazing things. And he did it for a neglected fanbase of underdogs and windmill-tilters. He championed an audience and a world when no one else would.

“The Voyage of the Princess Ark” is also why I spent nearly seven years serving up monster ideas for another underdog fanbase. And the inspiration and work ethic I took from it is a big part of why I’m lucky enough to occasionally be freelancing on a professional basis today.

Three years isn’t a long time in fantasy fandom. If Elminster and Drizzt are Star Trek, perennially chugging along, and Harry Potter is Star Wars, a brilliant core surrounded by progressively less compelling follow-ups, then “The Voyage of the Princess Ark” is Firefly, a ragged crew whose sojourn was cut short, but whose legacy far outstrips its impact at the time.

Or at least, that’s the way its legacy ought to be.

Give “The Voyage of the Princess Ark” a try. Maybe I’m overselling it. Maybe years of nostalgia have painted a picture rosier than the original could ever live up to. Maybe, in an era where outstanding fantasy worlds and strong writing are almost commonplace, current readers can’t perceive the lightning-in-a-bottle magic that was this series.

Maybe. But I think there’s something more there, something perennial, something of value even when placed side by side with the embarrassment of riches that is Pathfinder 1e/2e and D&D 5e.

The only way you’ll know is if you book a berth on the Princess Ark and see for yourself.

Happy flying.

#daily bestiary #the dailybestiary #books of magic #pathfinder #paizo #3.5 #5e #dungeons & dragons #dungeons and dragons #d&d #dnd #BECMI #known world #mystara #the voyage of the princess ark #voyage of the princess ark #bruce heard

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thegoddamnowl · 7 years

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i want me overlord 3 :(

So yeah, Overlord pretty much cimented how the series should go about, and with the somewhat troubled development of the subsequent games, a third installment on the main line should take a look at its older siblings in order to become fully realized.

Both Overlord and Overlord 2 presented additions that work well in their respective games, though on the second one there could have been a benefit if the devs had implemented the upgrade as they wanted. Even on the spin-of games there are some rather good features that shouldn't be overlooked too.

Bring back the custom forging and the forge stones

The forge stones where incredibly convenient and actually I did welcome their inclusion, maybe because I actually stopped for a while to farm even before knowing they even existed and thus got nice uniques by the time I had them avaliable, but I digress.

Make it so that the forge stones not only give you unique recipes but also so they give you like a special type of ore recipe to forge and imbue armour and weapons just like the first game, using mineral and materia to create it and maybe upgrade it with like some alloy or stuff. I say this because when you get a better smelter on Overlord, the other one(s) become basically pointless (which is likely the reason for the change from smelters to forge stones). Having an upgradable forging material helps getting rid of that problem. Or make it so you can recycle armour and stuff you don't use anymore, be it because you got a better object or just because it was a human mistake.

Bring the variety and customization from Dark Legend to the main line

Dark Legend is commendable within the franchise in that the Overlord here has access to quite a number of weapon tiers, types and even armour options to customize as pleased. For example, I love that you can hue your armour with at least 3 different options.

Put it like being an option on the forge similar to the tower upgrades

Make the tower upgrades be more substantial

I really dig having a Dark Tower that suits my evilness and stuff, though I'd like it to also be seen by everybody and see what they think about it. The Tower upgrades should make like, affect a respect/fear gauge similar to the Tyranny rating. I know in Overlord 2 people were actually very trusting with the Overlad after conquering the regions, to the point of making audience for stupid silly requests, and in Overlord because of the main story my subjugates both welcomed me and feared me and somewhat seemed rather paradoxical

So yeah, the Tower upgrades should be more useful aside of eye candy, with every upgrade having an affinity towards either respect or fear.

Make a respect/fear gauge, but keep the corruption and tyranny as well

In Overlord we had Corruption level. In Overlord 2 we had Tyranny rating. And though both affect the Overlord in their own particular way, as well as having their own benefits, it somewhat ends up feeling not fully realized. For example, I liked how by being more evil I got a new small quest where I could "persuade" people and take them as servants for the Tower, or made people fear me when I destroy towns. Or how my final spells became more evil and savage. I liked how I got from simply "Witch-Boy" to "Demon Lord of Nordberg" as well as having a differet outcome from missions depending on what I favoured most. However, this can be expanded further.

A respect/fear gauge would affect how people react to your presence, making your enemies like, approaching you more carefully or outright somewhat nasty if they were able to hear about you, the more fear they have the more desperate their tactics become, as well as making your subjects or subjugates like give you some hints or useful stuff or small side missions through chitchatter or audiences. Keeping both the corruption and tyranny also helps to measure just how much out of the line you want to go and also what kind of help would you receive from your people.

Make the effects of corruption and tyranny more noticeable

Corruption and tyranny are actually pretty good concepts. The more corrupt you are the more people fear you, you also get a slight power bonus as well as slightly different final spells. Tyranny makes your abilities work differently depending of your alignment with slight bonuses to certain traits. The problem is precisely that: slightly.

Just make the bonuses slightly more noticeable.

Bring town management

One of the aspects I liked a lot on Overlord 2 was that of really going on and subdue everyone to my evil presence (overjoke haha). When I first downed the governor of Nordberg, seeing a Town Hall interface popping up made me feel actually good because I thought I could have a more hands-on management of my conquered lands. Sadly, this is not the case. Continuing with my first point, subduing everybody has the benefit that they'll work tirelessly to give me resources like weapons and armor for my Minions, and gold. Though I didn't like I had to get the gold from chests and run about every single time I wanted to gear up. And seeing how the lore establishes the Overlad being a more hands-on kind of Overlord with its conquered lands, I think it justifies the inclusion of such mechanic.

So, expanding on that solitary hall menu, make it a central management hub for the towns, allow for upgrades to gather more resources or to keep everything centralized, like the money made by the slaves over time so one can go and just take it no problem. I know Overlord is not a management simulator, but since the management aspect is actually there with the Minions and we even got an item that helps us get more and more of them faster, it should be logic to bring at the very least basic town management into the table. It could also receive a small bonus from the strongest aspect of the Tyranny rating (Domination or Destruction).

Add a reticle for the war contraptions

Or at least something to know where I'm aiming at. I approve of the side-weaponry like catapults and crossbows in Overlord 2, however they are very difficult to use without a proper reticle. Well, maybe just the catapult since I can actually aim with the crossbow somewhat. I learned how to aim and shoot the catapult by counting the clicks on the weapon as well as looking at the joint height when I charged the throw. A reticle is a more than welcomed addition.

Expand on vehicle use

It was interesting to see the change from going on foot around the tundra, to sailing across the jungle. Upgrading my ship by stealing the one from the elves was also a rather entertaining challenge too. It'd be nice that we get to see more transport options, like Minion-leg powered chariots, perhaps a rudimentary tank with Red firepower, maybe a mount for the Overlord at some point?

Implement the concept of Elite Minions

From Minions, we got to know that there are certain Minions able to work without direct influence from the Overlord for the most part. The Elite Minions are Minions that are extensively trained and can perform rather difficult missions that a normal Minion couldn't.

In Overlord 2, troopers had a Centurion that actually made an impact on their combat behavior, and overall made the opposition more resilient to the Overlord advances. Minions can also level up as well in both main games. With all of this in mind, you could implement a way to train one or two Elite Minions per tribe that aside of being more resilient and maybe have an special attack of their own, can also help giving a bonus to Minions that are within a Marker with it, as well as making their behavior adopt a more aggresive approach. Though you can do that with the Minion branch spells and the Minion Domination spell, the former affect all and also makes you unable to put them on Markers or direct them unless the spell runs out or you cancel it, and the latter affects just one that you target. This would make the Elite Minion a compromise between the two, making the Minions slightly stronger and aggresive but only if they are on a Marker. Of course, knowing when and how to use this considering the enemy behaviors based on type and your respect/fear ratio should be a tactic to consider as Minions tend to be go lil bit out of control when they are blood-thirsty which can go so right or so wrong for the Overlord's evil scheming.

Give more chances to use the mounts

I loved the mounts on Overlord 2. Shame one doesn't get to use them as often as one would want. I could have added Blue Mounts, but then again they are too meeky for having one. Perhaps there can be an implementation of dolphins like on development, but honestly I can see why it was scrapped.

Tweaking the Minion control

Or rather, just fix it. Its tweaked already but is a bit twitchy on Overlord 2, especially on sweep mode.

Implement the Mincyclopedia from Dark Legend

I just like to have some lore to read about and maybe find something to help me on my conquest. It could be on the menu for looking at enemy references and also could be accessed on a new library for the tower just if the Overlord feels like staying at home with a nice read.

Fusing the Dark Legend and O2 maps

Dark legend had the regions divided into zones, Overlord 2 had relatively comprehensive markers as well as the objectives for the regions. Fuse the two and you get a nice view of any part of the world and what needs to be done where.

Charged physical attack (third attack command)

A charged attack aside of the three-hit swing and the spin attack. A charged attack would be a high-risk high-reward sort of thing. Because its always nice to have options :v

Teleporting Greens, Overlord-healing Blues, RC-Kamikaze Reds

The one good thing from Fellowship of Evil aside of the writting (which is very Overlord if you ask me) are these new Minion abilities. Enough said. You could put these as the Elites special abilities in order to not break the game.

Bring back the costumes

This serves no purpose in particular besides of pure comedic entertainment. Except for the fact that you could make your Minions pass up as one of the enemies and give them a nice backstabing to their frontlines before they even realize they suddenly had a few extra men. Or even make them wear leather pelts and the like so they can avoid some animals or monsters attacking them on sight. Case in point being that costumes should trigger different responses from others. It doesn't have to be very extensive, just enough to influence how to approach things.

Bring back the higher enemy variety

I know most magical creatures went extinct or into hiding on Overlord 2, but the plague of Golden from Fellowship of Evil should have had at least something to do to bring them back. But yeah, more enemy variety is something that shouldn’t be ignored.

I have some story suggestions as well to tie up everything and maybe opening a [good DLC] opportunity too but that’d be entering into spoiler territory :V

that above :T

ALL OF THAT can be achieved relatively easy with the current hardware and some time and investment. It could have happened on Overlord 2 but now is late for that. At least the third installment should be an improvement over everything, I think.

#Owlpost #Owl things #Overlord #yeah- i like those games

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