creative players

D&D Curses

There are initially four different ways to use the Bestow Curse spell in D&D 5e. Those are as follows:

  • Disadvantage on ability checks and saves for one ability score
  • Disadvantage on attacks against you
  • WIS save or do nothing during a given round
  • +1d8 necrotic damage when you damage them

The spell normally lasts for a minute, but if cast with a 9th level slot, it lasts until dispelled, which is worth noting because the best curses last until dispelled. if cast with a 4th level slot, it lasts for 10 minutes. A 5th level slot is 8 hours. A 7th level slot is 24 hours. These all have their uses for creative players, but the best part of the spell by far is the encouragement to invent your own curses, which many players and DMs have taken as a challenge for their own creativity. So while it is certainly not new, it’s my turn to take a crack at it!

Unique Curses

* - A curse marked with an asterisk is a 9th-level only curse due to its powerful detriment or long-lasting nature. But who is to stop you from enchanting an innocuous item with such a curse?

  • Hair Growth/Loss: You are cursed to grow hair at a rapid rate for the duration of the curse or else lose all of your hair (it grows back after the curse ends).
  • Mute/Deaf/Blind: You are rendered either mute, deaf, or blind for the duration of the curse.
  • Forbidden Speech: You are cursed to never speak about a certain subject, topic, or word for the duration of the curse.
  • *Rapid Aging/Deaging: You are cursed to either age by one year each day, or to grow one year younger each day. After you reach your final day, you die.
  • *Phylactery: Your fate becomes tied to a creature or object. If the creature or object is slain/destroyed, you die as well.
  • Ugliness: You are cursed with horrible deformity for the duration of the curse. You have -5 on Persuasion checks and Deception checks for the duration and are easily noticed and shunned by most humanoids of any race.

image source: Evil Dead 2: Dead by Dawn

  • Possessed Limb: One of your limbs (usually an arm) acts on its own for the duration of the curse, usually attempting to harm its host, harm others, or sow chaos.
  • Petrified Limb: One of your limbs becomes petrified and is unable to be used for the duration of the curse. It could turn into any solid mineral like stone, iron, glass, salt, or gold. Any damage it takes is retained once the curse is lifted.
  • Funny Looking: For the duration of the curse, anyone who you attempt to communicate with bursts into uncontrollable laughter. This does not prevent hostile creatures from attacking you, but prevents them from speaking.
  • Lichsight: For the duration of the curse, you can see the spirits of the dead. Whether real or illusory, you cannot communicate with them and you must make a WIS saving throw each round or become frightened and run in a random direction or cower in place (50%/50%).
  • Butterfingers: Each round while the curse is active, you must make a DEX saving throw. On a failed save, you drop whatever you are holding and cannot pick up or hold anything for the rest of the round.
  • Forgetful: You have a tendency to forget things. During the curse, whenever new information is revealed to your character, you have a 50% chance to not be able to remember it, even after the curse has ended.
  • *Lady of Shalott: You are doomed to die if you ever lay eyes directly upon another being, and must therefore look at the world through a mirror and avoid direct sight of others. The difficulty of maneuvering a hand mirror or the necessity to close your eyes effectively makes you blinded while in combat, imposing disadvantage on attack rolls.
  • Stingy: During the curse, you must make a WIS saving throw whenever you intend to part with money. On a failed save, you opt not to spend your money on it. You cannot make another such save for the same purchase, even from a different seller.
  • Empty Coinpurse: You are compelled to buy things until all of your wealth has disappeared. You will even go so far as to barter your own goods once out of money. Whenever you find something for sale, you must make a WIS saving throw. On a failed save, you will do anything you can to attempt to purchase it or trade for it. Only if the seller refuses three times will you give up.
  • *Baleful Polymorph: You are transformed into a small creature or tiny animated object for the duration of the curse. You retain the ability to speak using a disembodied voice emanating from the creature or object, usually paired with animation like a moving mouth (if a creature) or a mouth-shaped part (if an object; like a book opening and closing its covers and such). You can move with a move speed of 10 ft. per round if an object.

image source: Star vs. the Forces of Evil 

  • Talking Tumor: You grow a tumor-like second head that can speak that embarrasses, berates, or otherwise annoys and inconveniences you. It has +6 for Persuasion, Deception, and Intimidation checks, helping it be a complete jerk.
  • Evil Aura: Plants within 15 ft. of you wilt and turn brown or gray and animals within 60 ft. feel afraid or threatened by you for the duration of the curse.
  • Bad Taste: Eating food or drinking water causes you to become poisoned for 1d6 hours, or for the duration of the curse.
  • Bad Luck: Whenever you have advantage for the duration of the curse, you instead have disadvantage.
  • *Prophecy: You become destined to die under certain circumstances. Whenever it is possible for those circumstances to be met, you must make a relevant saving throw (falling boulder? DEX save. Poisoned apple? CON save. etc.) or begin dying. The victim cannot be threatened by the curse more than once every 2d4 hours. The curse will take increasingly convoluted measures to try and make the prophecy come true the longer the curse lasts.
  • *Guardian: The victim is polymorphed into a hostile creature of CR 6 or less. The victim is given some sort of command like guarding a location or spreading suffering, and will continue to do so until the curse is lifted or they are slain. They revert to their regular form if they are slain. The victim cannot communicate and is hostile to all creatures. The creature becomes immune to the charmed condition.

image source: Sleeping Beauty by Henry Meynell Rheam

  • Slumber: You fall into a deep slumber and cannot be awoken until the curse is lifted.
  • Eternal Rest: If slain while under the curse, you cannot be resurrected by any means even after the curse fades.
  • Phantasm: You believe that you have been polymorphed into a small creature (like a toad or chicken) and act as such for the duration of the curse.
  • Unquenchable Thirst/Hunger: You feel eternally hungry and thirsty. You must make a WIS saving throw whenever you encounter food or drink, no matter how dangerous or questionable it might be (swamp water, obviously poisoned food, moldy bread, etc.). On a failed save, you consume it.
  • *Obedience: Whenever someone you can understand issues a verbal command to you while you are cursed, you are compelled to obey. You may attempt a WIS saving throw to resist a given command for one minute.

Hold your tongue! (Ella Enchanted)

  • Magical Immunity: You become immune to nonharmful spells for the duration of the curse. Spells cast by enemies or damaging spells still affect you, but healing spells and buffs do not.
  • Unhealing Wound: A wound you have will never heal. Your maximum hit points are reduced by 2d4+the caster’s spellcasting modifier. This curse cannot reduce a creature’s health to 0 in this way.
  • *Wandering: While under the effects of the curse, you are compelled to wander. Each day at dawn, you must leave and never return to the same city/town or 2.5 mile radius (if in the wilderness).
  • *Deadly Descendants: All of your descendants are cursed to kill their birth parents, whether intentionally or not.
  • *Lonliness: You are cursed to die alone. Anyone you become romantically close to or close friends eventually leaves or dies or meets a horrible fate.
  • *Gargoyle: You are petrified during the daytime and return to normal at night for the duration of the curse.
  • Voyager: You cannot set foot on dry land for the duration of the curse, taking 1d6 psychic damage each round that you do.

Removing Curses

Yes, there’s always a Wish spell or a Remove Curse spell, but I often believe that if any cleric can remove a curse it undercuts the drama of the punishing spell. Instead, use an alternative way to remove the curse. Most of it depends on how the curse was placed and the reasoning behind it. For instance, if you refuse to give a gypsy shelter from the cold in your luxurious castle, you might get transformed into a beast until someone falls in love with you. Here are some ways that one could feasibly break a curse (if the situation allows).

  • Give back an item that was stolen from the caster
  • Complete a quest or mission for the caster
  • Kill the caster
  • Pass the curse onto someone else (through some deliberate means like a handshake or kiss or losing a wager)
  • Seek out a powerful extraplanar being
  • Seek out special magical ingredients for a cure
  • Find a loophole in the wording of the curse (either through tricky wording or by finding a liminal loophole. “No man of woman born” could exclude a man born by C-section. “Neither day nor night” could exclude twilight)
  • Change your alignment (an evil or chaotic character learns to be good or lawful.)
  • Change your ideal or traits after learning some sort of lesson
  • Overcome one of your flaws.
  • Let the curse run its course instead of fighting it.
  • Find true love/True love’s kiss etc.
  • Prove your worth to the caster
  • Atone for past sins
  • Selflessly risk your life for someone else
  • Convert a creature to worshiping the caster’s deity
  • Avenge the caster

image source: Disney’s Beauty and the Beast (1991)

Feel free to use this list and add to it your own ideas for curses! There are so many possibilities that it’s never out of the question to find a new curse that uses arbitrary magical rules to drive the plot of a story. I guess that makes curses the sitcoms of the fantasy world.

anonymous asked:

hey, can you break down the differences between the adventure zone and critical role for me? i haven't listened to either and now i'm curious

Oh gosh, okay. They’re delightful but… very different approaches to the same general idea (broadcasting a D&D game), and I think the fans of one show tend to have a sort of skewed impression of the other show, so here’s my thinking.

Just the basics, to begin with: The Adventure Zone started running in late 2014, and it’s an audio-only podcast in which the McElroy brothers and their dad start a brand-new D&D campaign from scratch. Critical Role started running in early 2015, and it’s a video podcast in which a bunch of best-friend voice actors started filming the D&D campaign they’d already been playing for years at home with the same characters. TAZ is (generally) prerecorded and lightly edited down, CR is 100% live. Both have a lot of howlingly funny and surprisingly touching moments, both get a lot more intense the more you get into them, and both are good shows that are a Good Time, especially when they make you feel things you didn’t sign up for. The main canon of TAZ is currently 56 one-hour-long episodes, with new episodes every two weeks, and CR is currently 85 four-hour-long episodes, with new episodes every week. Most of the reason for CR’s absurd length comes down to (a) three times as many players, and (b) no editing.

The DMs both put a ton of work into the world, but they also have very different approaches. Griffin (TAZ) is DMing for the first time, while Matt (CR) has talked about how DMing D&D games for the past 20 years is what got him interested in acting in the first place. The world of TAZ is much more of a sci-fi/fantasy hybrid, while CR sticks more to traditional fantasy.

TAZ plays fast and loose with the rules, which can be both a delight and a frustration for storytelling reasons—for instance, until the latest arc both spell slots and HP were not really tracked, which means (a) Griffin has had to come up with incredibly creative ways of introducing risk and limitations to the game, and (b) those incredibly creative ways can start to get pretty damn brutal. The mechanics of the game feel like an imposition on the story, most of the time—it’s rare that you get a dice roll that makes a huge difference to the plot (but when you do, as in the most recent episode, it’s pretty darn cool). As a result, the biggest spanner in the works of Griffin’s plans tends to be in the form of out-of-the-box thinking from his players, which they excel at; I think there is a tendency to railroad the plot as a result, but it’s a good story and it’s well worth a little bit of elbowing to keep everyone on track. Magical items also play a huge role, with viewers of the show submitting awesome new trinkets for the heroes of the story to use/abuse/completely forget about.

Because CR tilts more towards the rulebook (although Matt gets more than his fair share of shit for homebrewing and letting things slide and defaulting to the Rule of Cool), chance plays a much bigger role in the story. Matt’s simultaneously battling some incredibly creative players and dice that seem determined to roll as dramatically as possible. Entire subplots have been wiped out by a strategic roll, and in order to be able to adapt to that on the fly, Matt has to be hyper-prepared and have a lot of possible branching points. It’s absurdly open-world, especially now that the characters have the ability to travel instantly through different planes of existence, and Matt keeps pace with a story that feels more character-led than DM-led; railroading is practically nonexistent, which means you get incredible plot developments and super-deep characterization… but it also sometimes leads to long circular conversations trying to figure out what to do next. Because the players are all actors, there’s also a lot more that’s just straight-up improv theater: it’s not unusual (especially lately) to go for verrrry long stretches of riveting conversation without anybody rolling dice (I can think of a moment where Matt could’ve just had everyone fail a charisma saving throw against an NPC but instead just straight-up charmed them all in real life with words).

I’ll put it this way: CR is a basketball pickup game between friends who’ve been playing together so long that they kind of have their own home rules going and stick to them. TAZ is out there playing fuckin’ Calvinball. Both are great fun, but if you go into one expecting the other you’re in for a bad time.

Both shows have a lot of great NPCs, although Critical Role’s format gives them a lot more time and depth to shine (there are episodes where an NPC will have as much or more “screen time” than some of the player characters). Both shows have LGBT representation among player characters and NPCs alike that, while not perfect, is generally improving as the show goes on. For me personally, one of the more frustrating things about going from CR to TAZ was going from three female player characters and a metric fuckton of extremely deep characterization for all the female NPCs to no female player characters and many great and memorable female NPCs who nevertheless don’t get too much screentime or development just because of the the structure of the show.

TAZ is pretty shaky throughout the first arc (Griffin’s fighting a bit of an uphill battle getting everyone to sit down and actually play the game, which is funny in and of itself), but things slowly start to come together and the real potential of the show becomes clear once they break the heck out of the 5e Starter Set. I think the “Murder on the Rockport Limited” arc is what started to pull me in, and it’s not until the latest arc that I’m starting to get the character development I really crave in that show. Critical Role also takes a little while to find its footing, and to me the Briarwood arc (starting around episode 24) is where the mood of the show starts to solidify, with episode 40 and beyond really pushing from “this is cool, I’m enjoying how these interpretations of fantasy tropes are sometimes kinda unusual and off-the-wall!” to “how is this the most honest and genuine character development I’ve ever seen in media what the heck is happening here”.

So yeah. TAZ isn’t total chaos with no plot or effort put into it, CR isn’t a humorless wasteland of mathematical minutiae and rigid formulaic approaches. Both shows are great fun, both are IMO in an upswing and getting better and better as they go along, and I heartily recommend them both if you know what you’re getting into. Have fun!

favorite solos of the ‘16-’17 season by age

I’ve done this the last two years and people seemed to like it! So here goes again :) Youtube vidoes are linked for all! If you want, feel free to comment some of your favorites so I can watch them. 

age 8: Cameron Voorhees (Evolve Dance Complex) - The Way

age 9: Savannah Kristich (The Rock Center for Dance) - Dance in the Light

age 10: Brooklin Cooley (Club Dance Studio) - Solitude

age 11: Kiarra Waidelich (The Rock Center for Dance) - River

age 12: Ella Horan (Creative Arts Academy) - Risiko

age 13: Tate McRae (YYC Dance Project) - Stillness

age 14: Eva Igo (Larkin Dance Studio) - River

age 15: Talia Seitel (Murrieta Dance Project) - Natural Woman

age 16: Camryn Mandelbaum (Expressenz Dance Center) - The First Time

age 17: Justine Kaneda (West Coast School of the Arts) - Wild in the Wind

age 18: Simrin Player (Club Dance Studio) - Good Girl

bonus favorite groups:

mini: Landslide - Evolve Dance Complex

junior: Vibeology - Club Dance Studio

teen: Hideaway - Murrieta Dance Project

senior: La La Land - Larkin Dance Studio

In case you want to check the past years out:

Favorite Solos 2015 - 2016

Favorite Solos 2014 - 2015

In a recent thread, the question of whether tabletop gaming systems that “focus more on story” are friendlier to beginners. I’m going to spin off a separate post because - as always - I have Opinions on that.

My first reaction is that I don’t think the question makes sense. All tabletop RPGs “focus on story” - they just do it in different ways, because the word “story” can mean more than one thing.

There’s “story” as in “a planned narrative with scenes and acts and character arcs and Something To Say about life, the universe and everything”.

However, there’s also “story” as in “a retrospectively constructed explanatory narrative for a bunch of stuff that happened”.

Or, in plain English, there’s the kind of story where you decide what kind of story you want to tell, then invent the specific people and events that will allow you to tell it; and there’s the kind of story where you start with the people and events already defined for you, then invent a narrative to organise and explain what the heck just happened.

Even the most “gamified” tabletop systems are story-focused in the sense that they produce stories. Some of the most engaging anecdotes from the tabletop come from the dice deciding to do something bizarre, or from some subtle interaction between various layers of the rules kicking out an unexpected result, and rather than fudging or ignoring it, the players at the table ran with it and made a story where that was the only thing that could have happened.

Now, some systems may produce stories badly - i.e., the events they generate are too predictable, too repetitive, or too frustratingly paced to easily make into good stories, or they demand too much work from the players for the value of their output - but that’s a flaw of individual implementations. The idea that complex or rules-heavy systems are bad at story focus in principle is nonsense.

Of course, that’s a tangent, because that’s not what the question really means.

To the extent that “not being story focused” is erroneously equated with “having many or complex rules” - there’s that old role-playing versus roll-playing fallacy again - what it really means is “are systems that demand less engagement with the rules categorically friendlier to beginners?”.

I wouldn’t agree that they are.

To pose a simple example, if we assume for the sake of argument that less mechanical engagement = more beginner friendly, then freeform RP, which demands no mechanical engagement whatsoever, must obviously be the most beginner-friendly game of all - yet it’s my experience that freeform RP in a group setting can be extremely challenging for beginners, often to the extent that they’re unable to participate at all, in spite of their best efforts.

Detractors of rules-heavy games will often characterise game rules as serving to limit player creativity, but any student of improvisational storytelling can tell you that limitations are good for creativity, at least up to a point. Tell a person they can do anything and they’ll flounder - but give them a couple of specific options to pick from and off they go. “Rules impose creative restrictions” is merely the evil twin of “rules provide creative frameworks”.

Naturally there’s a balance to be struck; hand someone a two hundred page rulebook as their first introduction to the tabletop roleplaying hobby and more often than not you’ll just scare them off - and rightly so. I mean, what were you thinking? But it’s not as simple as less rules = more beginner-friendly; a game with too little structure can be just as intimidating to newcomers as a game with too much.

Where that line lies is going to vary from person to person; I’ve touched on this in the past, but in a nutshell, there’s no such thing as a body of rules that’s naturally easy to understand. For all that folks like to hold it forth as a virtue of their favourite games, “intuitiveness” is a phantom - it’s nothing more than the intersection of textual clarity and similarity to stuff you’re already familiar with. That’s something that trips a lot of folks up here: thinking that a particular game should easy for newcomers to master because it’s easy for me.

So I suppose the TL/DR version boils down to this:

  • There’s no such thing as tabletop gaming system that isn’t story-focused; there are merely those that yield boring stories, or that demand more work than you feel is reasonable to produce them
  • When it comes to beginner-friendliness, too little rules engagement can be just as bad as too much
  • Where the tipping point between those two failure states is going to be varies from person to person, and finding it depends on understanding both your target audience and your own preconceptions
Monk Week: New Monastic Traditions

image source: Complete Psionic D&D 3.5e supplement

Way of the Zerth Cenobite

The Zerth Cenobite is a student of time and the body’s movement through it. For the Cenobite, time has become simply another dimension to move through. The teachings of the Zerthin style have been passed down through Githzerai monks from deep within the plane of Limbo. A useful subclass for a creative player that rewards forward thinking. It is a great for Banishing the biggest threat in an encounter to make it easier on the rest of the team. It is also a near-impossible class to kill with its ability to become temporarily invulnerable or step forward in time to evade danger on top of a monk’s regular tendency to skirt death.

Temporal Strike: At third level, you gain the ability to hit enemies forward in time a number of rounds equal to your monk level when you hit an enemy with an unarmed strike. The creature must make a WIS saving throw to resist the effect. If the effect is resisted, the creature is only moved forward in time by one round. Once you use this ability, it cannot be used again until you finish a short rest to meditate on the passage of time.

Future Sight: At third level, you may spend 1 Ki Point to cast Augury as the spell.

Timeless Step: At sixth level, you are able to step forward in time any number of rounds up to your Monk level using an action. To the rest of the world, you have effectively disappeared in a soft flash of light, ceasing to exist until you return. You return at the start of the round, without any changes to your status from the moment you used the ability. You can use this ability once per short rest.

Temporal Acceleration: At eleventh level, you may spend 1 Ki point to accelerate your timeframe for one round, gaining an extra action and doubling your movement speed for that round. Once you use this ability, you may not use it again until you complete a long rest.

Temporal Distillation: At seventeenth level, you can emerge from mortal peril unscathed by entering an alternate timeline where no harm has befallen you. At the start of any round (regardless of any and all status conditions affecting you), you may use this ability to return to your state at the beginning of the previous round. Any status conditions, changes to your hit point values, spells cast upon you, or movement taken or imposed upon you since the start of your last turn is removed. This does not change the results of any rolls or uses of abilities since the last round, just your bodily status and position since the last round. No other creatures are affected by this ability. Once this ability is used, it cannot be used again until you finish a long rest.

image source: Genji (Overwatch)

Way of the Bladestorm

The bladestorm disciple is a monk that has trained to optimize a stealthy and deadly weapon: the shuriken. They work in shadows, attacking from stealth to take down their foes with a cloud of metal shuriken before they have realized what’s happened. For the purposes of this class, a shuriken has the statistics of a Dart.

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starlass  asked:

Do you have any creative ways for players to learn about new areas? I am about to introduce a new location in my world that the party has to travel to for a quest, but I don't want it to be as simple as: NPC comes up and says "here's where you need to go."

Town center has a little board where people post quests, you can hear yelling in the distance, can hear NPCs talking nearby about a cool thing happening in X area, emergency evacuation towards that area, you get a letter asking you to come, you find a map of the area with strange markings,you get asked to take a letter to someone in area, etc.

No Big Deal

Fandom: Harry Potter Marauders

Word count: 2691

Characters: Remus x reader, James, Sirius, Peter, Professor McGonagall

Warnings: reader being bullied

Summary: The reader is a target for team rivalry after she gets onto the Gryffindor Quidditch team.

The broomstick over your shoulder was quivering slightly as you headed down to the Quidditch pitch. It was a beautiful day, the sun was turning the trees of the Forbidden Forest bright green, but you could only focus on the pitch ahead of you. It felt like a pair of Bludgers were swooping around inside your stomach.

Remus was chattering at you softly, but you’d stopped listening to what he was saying sometime between the Gryffindor common room and Hogwarts’ front doors. He was probably trying to reassure you somehow, but you didn’t think anything could make you feel better.

For Merlin’s sake. It was only a Quidditch tryout. Why were you letting yourself get so wound up over it?

You didn’t even notice when Remus stopped right in front of you, so you collided with him and nearly sent both of you sprawling. He managed to catch himself and steady you, but then kept hold of you.

“Hey. There’s no need to look so worried, you know.”

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Our bold vision for the future of Creativerse

Yesterday we announced that Creativerse will launch on May 8, 2017. Today our game director shares our vision for what comes next…

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In Creativerse, we have a blueprint system for building. When you place a block, hints for the adjacent blocks are revealed.

At first it doesn’t look like much, but the more progress you make, the more it takes shape until eventually you end up with something amazing. With our bigger blueprints, you might be surprised by hidden depths and unexpected twists.

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In some ways, it’s an apt metaphor for developing Creativerse. We set out more than 4 years ago to build the ultimate sandbox game. It didn’t look like much at first. Seriously, the early version of our mobs were spooky, and not in a good way. But each day we made progress, and as we did, more steps along that path revealed themselves.

One of the best decisions we made was to open up our development process by participating in Early Access on Steam.

Again, there are parallels to blueprints, especially ones you build with friends. People start working near each other and branch out. Eventually you look up and see someone in a completely unexpected location, but then it clicks and a whole new perspective for what you’re building takes shape.

Without your feedback, the game would be a shadow of what it is today

While we had a basic plan for what we wanted Creativerse to become, I can’t state enough how important our players have been in helping us expand on that plan, in revealing to us the nuances of the game’s destiny, in teaching us just what it means to be the ultimate sandbox game. By far, the biggest twists in our journey have come from players helping us continually see the game in new, fresh ways — players veering off in unexpected directions that helped us define and refine the “blueprint” of Creativerse. It’s safe to say that without your feedback, the game would be merely a shadow of what it is today.

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Not an end, but a new beginning

Next week, Creativerse will officially launch on Steam.

The game has come so far since it first launched, with forty-one updates, more than 2.6 million players, and a great many features and content added, including player-published adventures, blueprints, machines and wireless circuitry, public worlds, land claims, the arc glider, a world map, block rotation, world simulation systems, new biomes and mobs, farming, taming, block phasers and mob spawners, a steady stream of blocks and items. The list goes on and on.

But for every feature we shipped, there are at least 10 we still want to add. We’ve barely scratched the surface of realizing our vision for the game. So why launch now?

A lot of reasons went into picking this specific time (and here’s a fun fact — we initially planned to launch a year ago!), but they all boil down to one overarching theme: vision. In recent months,

We’ve barely scratched the surface of realizing our vision for the game

we’ve taken a good look at the blueprint of the game, including all the essential nooks and crannies our players helped us see more clearly, and we feel like we’re finally starting to see its “shape”. We think we know what Creativerse wants to be when it grows up.

And yet, at the same time, the game feels polished enough, fun enough, and, in many ways, complete enough that we are ready to shine a bigger light on it. We’re ready to invite the world to join our journey and become Creatifriends with the rest of us.

What Creativerse wants to be when it grows up

Creativerse was not the original title of the game. In fact, for a long time leading up to our Early Access debut, the game was called “Thereafter.” We had a logo and everything. The change to Creativerse happened at the last minute and was somewhat controversial among the team.

More on that in a minute. But first, let me tease some of the ideas we’ve been talking about recently…

Creativerse is not our story. It’s your story.

Imagine joining a multiplayer adventure where the goal could be anything from being the last person alive to scoring the winning goal in a round of Pigsy Soccer. Imagine finally getting your hands on creative tools that allow you to build something almost as fast as you can think of it. Imagine one day joining someone’s customized world and having no idea what kind of creatures you’ll meet, what recipes you’ll find, how long the days will last or even what color the sky will be. Imagine not just being able to share your creations with the world, but having the option to publish them to a marketplace where your hard work and creativity could be rewarded with real money.

While it’s too early for us to elaborate further on the specifics of these ideas, they all point to one universal theme: Creativerse is not our story. It’s your story.

Because if there’s one thing we’ve had reinforced again and again, it’s that the imaginations and creativity of our players are as vast as the universe. The best thing our small, scrappy team at Playful can do is continue giving you more and more tools to unleash and empower your creativity.

And this is why I’m so glad we ended up choosing the name Creativerse. Whether or not we were fully aware of it at the time, the choice was prescient. It contained the seedling of the idea that the collective creativity of our community would always far exceed our own, and that no creation or lore or adventure we came up with would ever be more compelling than what our players can dream up.

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Final thoughts

At a high level, here are the major milestones on our long term roadmap…

  • Improved (and multiplayer) published adventures.
  • Tools to help you build faster and better.
  • Entirely new ways to customize your world and even the gameplay.
  • More ways to share your creations with the world, including some kind of revenue-sharing marketplace.

Thank you for teaming up with us on this thrilling journey!

There will be lots of additional stuff mixed in along the way. For example, we’ll continue regularly adding new blocks and cool content. We also plan to keep polishing the overall game and furiously squash bugs along the way. And we’ll always leave room to refine our plans based on your feedback.

This is the next frontier for Creativerse. It’s our chance to welcome a new wave of enthusiastic Creativerse players into our wonderful community with open arms. It’s our plan to build and grow Creativerse into a household name. And it’s your opportunity to continue to shape the “blueprint” of Creativerse for years to come. Thank you for teaming up with us on this thrilling journey!

Daniel Havens (aka Thor)

P.S. We might just have a little something up our sleeves for you guys on launch day…

The midheaven signs
  • *note these are all meant to be thought of in our professional lives*
  • Aries:
  • -good organization skills
  • -shy in real life, alive in the spotlight
  • -thrive in careers that provides services
  • -needs to find a balance
  • Taurus:
  • -persistent
  • -creative potential
  • -prone to possessiveness
  • -needs a hands on career
  • -doesn't like change
  • Gemini:
  • -adaptable
  • -micromanagement skills
  • -strong intuition
  • -prone to tunnel vision
  • -public careers are ideal
  • Cancer:
  • -sensitive to others feelings
  • -great organizers
  • -longs for stability
  • -ambitious
  • -trustworthy
  • Leo:
  • -has tenacity and longevity
  • -professionally ambitious
  • -dignified and generous
  • -prone to taking things to personally
  • -social careers
  • Virgo:
  • -good with words
  • -blunt
  • -can live with a mess, prefers tidiness
  • -prone to over analyse
  • -science or literary arts
  • Libra:
  • -balance is crucial
  • -personal presentation on point
  • -great communicator
  • -can come off as insincere
  • -follows the crowd often
  • Scorpio:
  • -self motivated
  • -career centered on research
  • -prone to overindulgence
  • -willing to full commitment
  • -great sympathizers
  • Sagittarius:
  • -intuitive and reflective
  • -great multitaskers
  • -usually stubborn
  • -does their best alone
  • -publicly involved careers
  • -works hard
  • Capricorn:
  • -wants to care for others
  • -confident
  • -reliable, responsible and systematic
  • -jobs that provide stability and wealth
  • -needs structured career
  • Aquarius:
  • -loves learning
  • -team player
  • -creative and constructive
  • -self employment
  • -prone to contradictory views
  • Pisces:
  • -psychically sensitive
  • -sensitive to outside sources
  • -art careers
  • -compassionate
  • -intuitive and inspired

There’ll be no cheek-to-cheek,
he won’t look at your face,
he only wants your body;
to see you disgraced.

Sure, at first it can be fun,
but after a while
his moves get stale,
‘cause he always
dances to the same tune;
same beat, same pace.

He’ll whisper empty promises;
hot lies in your ear,
but he says the same to other girls
each time you’re not here.

He is a sly dog, I’ll give him that,
feeding you your insecurities
making you believe
you need him to solve them,
his words will be
too subtle to make you see
that he –
is your true enemy.

He’ll seduce you, and use you;
carelessly throw you away,
you can dance with the
but he’ll never stay.

The predictability of the devil’s dance bores me - M.A. Tempels © 2015

anonymous asked:

How tall are rugby players?? Are they all Giants??

That would be one word for it. Another one would be “freak”, for instance… But yes, in general, they are pretty tall.

The numbers 4 and 5 (locks) are usually the tallest ones in the team. Guys like Richie Gray, Luke Charteris, Brodie Retallick, Bakkies Botha; those guys will be 6′10, 6′11, (way over 2m) easy. Here’s a picture of Richie Gray next to a fan:

Next, you have the number 8s. They’re also pretty tall, around 1,90 (6′3). Those are guys like Kieran Read, Sébastien Chabal and Jamie Heaslip. Here’s a picture of Chabal, mostly because I’ve just realized I probably don’t have any pictures of him on my blog and that is a DAMN SHAME.

The flankers, numbers 6 and 7, theoretically need more mobility than the lower numbers, so they should be leaner. Those are my coach’s words I’m repeating. He’s a very good coach, and I respect him a lot, but that doesn’t make him automatically right… I mean, think of Thierry Dusautoir, Richie McCaw, Sam Warburton, Chris Robshaw; do those guys strike you as “leaner” than the rest of the team? Anyway, they’re pretty tall, too, usually around 1,88 (6′2) (Funnily enough, I just checked the heights of those four guys I just mentioned and they’re all exactly 1,88m tall. Weird, huh?) Here’s the obligatory Richie pic, because I love him (also, you can see that he’s taller than Nigel Owens – at least I think it’s Nigel):

Followed by a pic of Warby, because I love him too (and I especially love cuddle pictures) (look at his faceeeeeeeee ^-^):

Then there’s the front row: the props (numbers 1 and 3) and the hooker (number 2). People say that the hookers should be shorter (something to do with it being easier for them to hook the ball if they don’t have to bend their knees too much) but, in practice, they tend to be the same size as the props. They are not as tall as the rest of the team, I’d say around 1,83m (6 feet), but they are still kinda tall and wide. Here’s Cian Healy, my favorite prop, to give you an idea of their body type:

Also, here’s Cian Healy with his pug, Ted, which is the reason why he’s my favorite prop (he’ll take selfies with this little creature looking like a dust mite next to him, and tag them with #puglife, and go to pottery classes and make decorated bowls for him, and all his Ted tweets are so adorable I wanna claw my eyes out):

And here’s Tom Youngs, a hooker, who’s actually atypically short (1,75m – 5′8) but, as you can see, could never be called “little”:

But they can also be leaner, like Dimitri Szarzewski, who’s 1,80m (5′10) tall (I’m only including this picture so you’ll know of the variety in rugby players. I swear this is my only interest here.):

That’s it for the forwards. As far as the backs go, heights can vary a lot, but they’re usually not much shorter, and can be quite tall, too, like George North (1,94m – 6′4), Sonny Bill Williams (1,94m – 6′4 too), Israel Folau (1,93m), and Jonah Lomu (1,96m – 6′5):

In theory, scrum-halves should be a bit smaller and scrawnier, but that’s not necessarily true, especially in professional teams. Mike Phillips, for instance, is 1,91 (6′3), and far from scrawny (again, I’m just trying to prove my point, I don’t post gratuitous shirtless pictures, this isn’t for me at all):

But it is true that some smaller players can be found among the backs. And, of course, those are the ones we adore. Smaller backs can usually make up for their lack of size and mass with agility and mobility, and they have the added advantage of giving us in idea of what a regular-sized person would look like next to the other players. There are three players in particular that I hold very dear to my heart because of this: Cheslin Kolbe (who, being 1,71 or 5′7,  is what I would call “regular-sized”), pictured below looking like he’s running towards Valhalla while being pursued by Ice Giants:

Fumiaki Tanaka, who is 1,66m (5′5) and would be considered short in spite of the fact that he’s actually just a little bit taller than me (I’m 1,63m) and, in this picture, you can see that he’s also just a little bit taller than the other guy’s leg:

And, of course, our dear, dear, Leigh Halfpenny, who generally looks like a very muscular cherub. Being 1,79m tall (5′10) he would, in a normal setting, even be considered tall, but everyone else on his team is so much taller than him he always looks like a child:

I mean, LOOK AT THAT^^^!!! If you drew two human figures, side by side, with ^that kind of size difference, people would tell you you have no sense of proportion. And if you look at their feet, you’ll see that Luke is actually a little ways behind Leigh; so, because of perspective, he should be looking smaller than he actually is. THIS IS UNACCEPTABLE!


FUCK HIM!!!! FUCK ALL OF THEM!!!! I CAN’T TAKE THIS!!! I need a moment…

*drinks a gallon of water to stave off a very INTENSE THIRST*

Alright. So, going back to what I was saying in the other post (which I imagine was what prompted your message in the first place), if you look at Kolbe and Fumi playing, you’ll see that they have a completely different style than Leigh. Leigh plays just like the other players, creative in his own way, but physically very conservative, doing all the standard moves, especially when it comes to tackling and being tackled. Both Kolbe and Fumy play in a very different way, physically.

When it’s a one-on-one defense, for instance, Leigh rarely goes for their ankles; he goes low, but more to their hips. Kolbe and Fumi, unless they’re trying to take the ball, tackle very low, almost at the ground, or very high, almost to the neck. What Leigh does is the standard procedure: wait until the very last moment, until the attacking player has committed to a course of action, and then go for their gravity center; that way, you avoid getting side-stepped or missing the tackle (and if you’re the last line of defense, if you fail it means the other team scored). Problem is, you’re going to take the full brunt of the impact right on your shoulder, and if the other player is much bigger than you, that can be brutal, and you might not be able to stop them. Tackling very low or very high, on the other hand, is risky but physically safer. For tackling low you have to be very fast because they can see what you’re doing a mile away and your chances of missing are very high, but the impact you suffer is almost minimal. Tackling high can give the other team a penalty (or even a penalty try) and you a yellow card if you go too high, and it’s largely ineffective. It’s more of a delaying tactic, you hang on to them and try to slow them down until your forwards can get there and give you a hand. But, again, the impact you suffer is very low.

When Leigh is tackled, he usually resists and tries to keep his feet or, at least, the field position. Kolbe and Fumi never resist being tackled. When you watch them play, it looks like they’re getting the beating of a lifetime: they’ll soar backwards, legs in the air, arms flailing, the other players can pick them up and throw them over their heads; but they immediately get back up, brush it off and keep playing without showing any signs of hurt. They give a little bit of ground (and, really, it’s just a few meters at most) so they can fully cushion their own falls.

Kolbe and Fumi are very fast, agile players, so they actually can pull off these moves without harming their team; I think Leigh could do it too, but, honestly, it has never occurred to him that, since he’s smaller, he should play differently. Now that I think about it, it’s quite likely that Jonny Wilkinson might have had a similar problem…

This goddamn essay having been written, I should probably warn you that I’m no rugby theorist, I just really like the sport, both watching and playing, and tend to pay attention to all sorts of stuff and draw conclusions from that. Of course, I could be wrong and just talking out of my ass here (although I play both in a women’s team and a mixed team, so both in competitions where I’m roughly the same size as everyone else and where I’m much smaller, and I’ve found that what I said generally applies). If anyone cares to add to what I’ve written, or correct me, please do so. I’m always eager to learn! :)

(Also, if you were expecting a short, straightforward and technical answer, I’m very sorry. I just needed to unwind a bit and I wanted to talk about/fangirl on/thirst over rugby a bit. And I apologize to everyone else for not putting it under a “Read more”, but I just spent some 15 minutes of my very scarce free time writing this and looking for the photos, so I want everyone to see it.)