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PMpatri.xyz

my heroic defense of pet scrapers

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SSsavagespiel.bsky.social

Character development is slow. The PCs are gaining a couple of skill points per session, and that slows down even more as the skills get better. Heroic abilities are mostly in the GM's hands. So I don't have to worry about overpowered characters and can just use whatever monsters seem fun. It works.

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MMmichaelmourning.bsky.social

The two heroic partners in crime-fighting are forced to stare at each other while the hypno-edging machines bring them to the brink of climax again and again. You're not here to capture them; your job is to ensure they'll be too busy fucking each other to be heroes ever again. #nsfw

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DHdavidheniguk.bsky.social

Not fish, but product standards, and a heroic attempt by Labour at "both-sides-ism" which isn't going to survive long in serious negotiations, and runs the risk of leaving few people happy. To govern is to choose? www.standard.co.uk/news/politic...

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Fdimchancecariad.bsky.social

“In a heroic move, Gisele Pelicot fought to make public the videos of her unconscious rapes at the hands of over 50 men and won. She wanted the public “to look rape straight in the eyes.” Shame, she said, must change sides —from the victims to the perpetrators.”

Fdimchancecariad.bsky.social

x.com/lailamickelw...

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AOadsomenk.bsky.social

It does; the heroic abilities allow for quite a bit of customisation so, for example, we had two knights who ended up working quite differently in play. You'll never get the same level of fine grain development you get in some other systems but that's not what this is made for

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basicchunnel.bsky.social

A few snippets from a wonderful 2019 interview with M John Harrison. "I revisit [other elements internal to story], to entangle the reader—to draw the reader into the process of writing... but also to jolt her with a kind of nostalgia, a sense that the story is haunted by other versions of itself."

JV: "The characters in stories like “Running Down”, “Egnaro” or “The Incalling” and, at some degree, even in Course of the Heart, are always invited (or forced?) to participate in a world they don®t fully understand and that they can’t even remember after the action is finished and the dust has settled. But they are not heroes, they do not come back from this experience with knowledge (about themselves or the world around them) that they can put to further use, like in so many SF and fantasy novels and stories."
MJH: I’m not sure “forced” is quite the word to use here. While my characters surrender to outside events, their compulsion to do so comes generally from inside. Most of them are alienated, estranged, bad at relating to other human beings, and anxiety won’t allow them to take their own agency for granted. Personal agency is the great obsession of our day: the more you lack control over your life, the more you are likely to believe you’re in charge of it. Advertisers and ideologists are happy with that: they’re happy to mirror back to you to the sense that you are indeed the centre of the universe, the heroine of the story. If my characters come back from the heroic journey at all, they don’t come back bearing useful gifts–because I don’t believe anyone ever does. If people didn’t have Joseph Campbell’s artful wish-fulfilment fantasy to place them at the centre of events and keep them enchanted with their own reflection, they might dump their wish to be princess of all they survey, and
JV: Is this linked with your interest in gnosticism? MJH: Not really. Gnosticism often provides part of the underlying structure of ideas; contemporary versions of Gnostic positions are sometimes examined by the stories. But they are not the prime concern. From the late 1970s on, I was writing fairly consciously about alienation, loss of agency, loss of ontological security, and epistemic collapse. The ghost story, the horror story, the post-disaster story, and my broken versions of the space opera and the Campbellian quest fantasy, were useful vehicles for that. I didn’t always make fiction about typical sufferers of these problems—the obviously dispossessed, the “losers” —but also wrote such stories about white, left-leaning middle class people who, in the face of the UK’s political disasters of the 1980s and 90s, still assumed that the concept of personal agency was working out for them.
JV: "... In ‘The Gift’, from Travel Arrangements, you mention the idea that every adventure is a half empty cup from which you can drink incessantly. Some of your stories seem to get tied together, as if they happened in the same mysterious world or shared some sort of continuity (but not in a “world-building” sense)... Why is this? Do you think of it as a writing method, or is it just the scratching of an itch that a story left in you?... MJH: "I revisit paragraphs, sections and sometimes whole scenes, to entangle the reader—to draw the reader into the process of writing, which is in itself a process of doomed interpretive effort; but also to jolt her with a kind of nostalgia, a sense that the story is haunted by other versions of itself, or that a scene is haunted by an earlier (or later) scene. There’s an essay by Ryan Elliot, called “On Versioning in M John Harrison” [Critical Essays, Gylphi Contemporary Writers, 2019]. Sometimes these connections mean something in a classic narra
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CPpancoondraws.bsky.social

awesome heroic dingo coming to save the day

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thomas-cloue.bsky.social

#31ChallengeBDMC#Jour9 Ton duo prĂ©fĂ©rĂ© d'auteurs dans le genre heroic-fantasy RĂ©gis Loisel & Serge Letendre ont rendu ses lettres de noblesse Ă  un genre exsangue en seulement 4 albums d'une inventivitĂ© et d'une beautĂ© folle avec leur sĂ©rie culte: La QuĂȘte de l'Oiseau du Temps😍

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