On the subject of old events, does anyone else remember the Lock Capsule? What was even up with that?
If y’all don’t know what I’m referring to, let me explain. The Lock Capsule was a special event key item in HGSS and BW that was never used. Like not even in Japan. The idea was to have people send this item from HGSS to BW and it’d give them a TM (TM95, Snarl). Sounds straightforward, right? Nope. It was ridiculous. It was nothing but bad ideas and horrible planning.
Let’s pretend we’re an average player without a guide on how to do this whole thing. (Honestly, without a guide, we’re screwed by step 2, but go with me here.)
First of all, it’d have to be sent to HGSS as an event. But in HGSS, the item is absolutely useless - and cryptic. The info just says “A sturdy Capsule that can only be opened with a special key.” This alone would have players searching all over the Johto region looking for this “special key” … but there isn’t one. And there’s not a single clue in the game as to what it’s for, what it does, or how to use it. At all. Nothing. Nada. Null. Zilch.
Then we have BW. Which again for the most part doesn’t mention it at all - unless you have it. And getting it from HGSS to BW is even more absurd. You can’t use the PokeTransfer to send it up - since that only transfers Pokemon. You couldn’t give it to a Pokemon to hold because it was a key item. So, how would you get it there?
You have to use The Relocator,and I’m sure I’ve lost a few of you here. What’s The Relocator? It’s a very special feature of BW. Why don’t you know about it? Because the game fails to really mention that it even exists until you unlock it. And unless you know EXACTLY what you’re doing, there’s no way you can unlock it. You have to find an otherwise totally useless and cryptic NPC in Castelia talking ambiguously about a “special machine” he invented and tell him a specific phrase - “everyone happy, simple connection.” And let’s all be honest with ourselves: at this point, none of us are happy, and this is anything but a simple connection. So he can go take a long walk off a short cliff.
Alright, well, now maybe the game will tell us a little more about the Lock Capsule, or at least the Relocator? Hardly! He only says the Relocator is for “special pokemon and items,” and doesn’t tell you where to find it or how to use it. So again, we’re left clueless. What we actually gotta do is save and restart, and then select The Relocator on the main screen. Which is located at the very bottom of the pre-game menu, so unless you’re looking for it, you’ll probably never see it. As soon as you start it up, it - without any explanation - attempts to open DS wireless communication. At that point, it acts much like PokeTransfer - it tells you to grab your second DS with any 4th gen game inserted and go to Download Play. Except, unlike PokeTransfer, The Relocator can only transfer five every specific things: a shiny event Raikou, Entei, or Suicune, a 4th gen event Celebi, or the Lock Capsule. Oh, by the way, it doesn’t tell you any of that. If you have none of those, it will simply tell you nothing can be relocated. Even if you do have one of those, it doesn’t even tell you it relocated them, it just cryptically says the relocator will close.
Also, the aforementioned Raikou, Entei, Suicune, and Celebi (which are used for the Zoroark and Zorua cutscenes) could be transferred by the normal no-need-to-unlock-in-a-very-odd-and-unknowable-way PokeTransfer and still work fine for those cutscenes. (I wasn’t 100% sure on this, but since posting this I’ve had it verified by others.) Also because The Relocator doesn’t tell you exactly what can be relocated. there’s no way to know it can relocate the Lock Capsule, unless you’re Relocating with a game of HGSS that already has one. That’s it! That’s the only way!
Okay, let’s say you’ve now gotten to this point. You’ve relocated the Lock Capsule. Now what? Right, the item description says it can only be opened with a special key. Time for another key hunt! … or not! Because again, there’s no key! At all! Instead, you have to take it to another random, otherwise useless, completely no hints as to what he really does for you NPC in Castelia. The game, AGAIN, gives you no hints. At all. If you talked to the NPC before getting the Lock Capsule, he simply mentions he picks locks. That’s it. But even if you did talk to him before, you probably forgot all about him, because he’s just a useless NPC on a random floor of a building in the biggest city in Unova.
What’s your reward for all this? The TM for Snarl. And since the Lock Capsule was never released, no game of BW can legitimately have all TMs. Whoops! Also, because GameFreak never deletes items from their games, it’s still a dummied out, non-functional, unobtainable key item. Yeah. Even in Sun and Moon. It’s still there. It’s just hidden away.
So basically, they never did this event because it’d need to come with a highly detailed guide on how to use it. Amazing.
Druids already have a huge part in most roles, so they don’t need much in terms of catering. A bard might need to feel more involved in a campaign, but a support druid can also provide utility, tankiness, damage… they can Wild Shape or cast a spell whenever they need anything! They are one of the most versatile classes in the entire game. If they need encouragement, give them a variety of challenges (as you should always be doing, really) to force them to take more creative problem-solving measures.
Make unique landscapes and environments for the druid. You don’t have to do it every time, but every once in a while feel free to go overboard. Floating midair land masses, waterfalls that flow upward, geysers of acid, an insect hive the size of a city… just describe some beauty shot that can really tug at the druid’s magic-strings. They will be interested in the unique plants and animals and magic there, which can influence how you populate such a land. Not to mention the other players will love such a wondrous place, too.
One thing a lot of DMs forget is to give druids a place to excel. Druids fall flat inside an enclosed dungeon. Give them space out in the open; in the wild. Give the druid some non-magical beasts to interact with. DMs always forget that regular threats like lions, tigers, and bears exist and with a druid, these often turn into roleplaying encounters rather than combat ones. Speak with Animals, Animal Friendship, Beast Bond, Beast Sense, Animal Messenger, Dominate Beast, Locate Creature, and Commune with Nature can all interact with beasts in some way. Beasts are everywhere if the druid is looking for them.
Another thing to keep in mind is plant life. I just did a whole two-part post about Herbalism as a more fleshed-out system for 5e. Part 1 is just a pipeline of dice tables to make up new herbs. The herb could play a minor role in a story or adventure, or it could simply be a useful tool that exists in your world. For instance, I once had some herbs with yellow flowers that would act as healing potions, but you could only eat them twice within 24 hours or you would get sick. Ever since then, the players could find those herbs elsewhere and have a unique source of HP instead of a boring old potion. Plus they have the a-ha moment of realizing they found something useful on their own instead of opening a chest and finding it there. Part 2 of the Herbalism Guide was more about how to use the herbs as potion ingredients, as medicine, and as spell components. If you want to go the extra mile or want ideas for what herbs could do, use it!
Just like clerics, druids can have supernatural senses that can add to the mood of an adventure. Imagine if you were a druid PC and the DM says “The druid senses something off about this forest. It makes you feel sick.” or “This jungle is in agony. You empathize with its pain, which feels like insects stinging you all over your body, and you can almost hear the wails of the trees.” Druids could make an Insight check to try and feel how a beast is feeling in the same way. It singles out the druid, identifies the problem as environmental corruption, and enhances the mood. What more could a DM want.
As a Player:
Get the Most Out of the Game:
Ask your DM questions about the flora and fauna and traits of the setting. When you travel to a new area in-game, be sure to cast Commune with Nature and get a lay of the land. This can add to the experience and provide vital information on targets for Locate spells, herbalism, and beast-influencing spells. Don’t be afraid to ask your DM for strange things that might not exist in the standard rules like “Can my druid think of any herbs that could cure paralysis in this environment?” The DM might find that intriguing and make it a plot point (making things a bit easier on the DM and giving you a potential solution to your problems to boot).
Don’t be afraid to request unique creatures to Wild Shape into, even if they aren’t in the book! I don’t see jellyfish in the Monster Manual but if a player asked me for it, I would just turn them into a Poisonous Snake with no land speed and 10 ft. swim speed, but maybe increase the poison damage a tad. And heck, who says there aren’t Giant Jellyfish in the realm of D&D? Use a Giant Poisonous Snake for that! You could easily reskin monsters like that, especially for cosmetic reasons. In the tropics? Turn into a Giant Parrot instead of a Giant Eagle. In the tundra? Turn into a Snow Hare instead of a Badger to better hide in the snow. In the desert? Turn into a Coyote instead of a Wolf. There are so many animals in the world, there is no excuse for creativity on your end as a druid!
Optimize the usage of your Wild Shape. Pick the right animals for the right jobs!
Mobility/Scout: Giant Elk, Deer, Hyena, Horses, Flying Snake, Giant Owl, Giant Eagle, Giant Badger, Ape, Panther, Giant Toad, and Giant Crab all have either fast movement or unique movement (fly, swim, climb, burrow).
Tackle: Lion, Panther, Allosaurus, Giant Octopus, Crocodile, Giant Constrictor, Giant Toad, and Giant Crab can all knock enemies prone or restrain them.
Poison Damage: Poisonous Snake, Giant Scorpion, Giant Spider, and Female Steeder (OotA) all have poison that can deal damage to those not resistant.
Sustained Damage: Wolf, Giant Crocodile, Tiger, Giant Boar, Ape, and Dire Wolf all deal reliable damage and have adequate tank.
Tank: Warhorse, Black Bear, Giant Constrictor, Rhino, Ankylosaurus, Whale, Elephant, Hulking Crab, Triceratops, and Mammoth all have a bunch of HP and AC.
Spy: Mule, Horses, Cat, Frog, Crab, Snakes, and Spiders are great at hiding and some have blindsight! Crag Cat (SKT) has Nondetection as well!
Thumbs: APES HAVE THUMBS. Which means that they can manipulate things other animals can’t. Also: You can wield your weapons while in Wild Shape!
Other tips: use summoned minions or your allies to help flank enemies while in Wild Shape. Cast buffs before you Wild Shape, make sue they don’t require concentration if you want them to stack, otherwise you can at least concentrate on one thing while in Wild Shape. If you are in a long dungeon with little to no rest, save Wild Shape for big fights when the tank is worn down or save it for utility when the other casters are low on spells. Also for grappler beasts knock the enemies down before you grapple. Then they can’t move and when they break grapple they can’t get back up as easily!
Buffs: Druids are great for buff spells. Be sure to buff yourself before entering Wild Shape! ex: Enhance Ability, Faerie Fire, Longstrider, Barkskin, Stoneskin, Protection from Energy, Antilife Shell
Zoning: Druids have crowd control spells, but many of them control crowds through zoning. Take advantage of the fact that you are the largest influence on the surrounding environment. You get to change the battlefield to your advantage! These are big, flashy spells that make the druid fun. Use them to put obstacles in front of creatures to slow their advances, make it harder for creatures to dodge, provide cover for your party, or force enemies into a trap. “Oh there’s a Wall of Fire there I better go around it” [gets bottlenecked by ranged PCs instead of taking fire damage] ex: Wind Wall, Wall of Fire, Entangle, Plant Growth, Spike Growth, Flame Sphere, Sleet Storm, Insect Plague, Wall of Stone, Wall of Thorns, Bones of the Earth (such a cool spell)
Minions: In D&D 5e, most ACs are nearly the same thanks to Bounded Accuracy. So more attack rolls equals more damage. Minions help with this, and druids can get plenty using Conjure Elementals, Conjure Fey, Conjure Woodland Beings, and Conjure Animals! Not to mention spells like Awaken and Dominate Beast to get more allies.
Healing: Druids are good at healing. Note that Healing Word is a bonus action and has range, unlike Cure Wounds. Druids also get the Restoration spells and Reincarnate, which is less powerful than Resurrection and such, but hey it’s something!
Damage: Druids can output damage, mostly through their zoning spells, but also with some neat single-target spells. Note that Moonbeam and Blight are rare sources of Radiant and Necrotic damage, respectively.
Utility: Druids have utility. Various divination spells can break the game if you are clever. Several spells help you get where you want to go or get rid of enemy spells. Use them liberally unless you have a Wizard to lighten the necessity for utility spells. ex: Speak with Plants/Animals, Water Breathing, Animal Messenger, Pass Without Trace, Find Traps, Locate Object/Animals/Plants, Gust of Wind, Detect Poison/Disease, Detect Magic, Dispel Magic, Meld into Stone, Scrying, Tree Stride, Commune with Nature
So basics first. The items with no symbols in the bottom right corner are the safest to decompose! They are not part of recipes, customization, nor evolution.
But I’m going to take a wild guess and say that you’re here because of those FREAKIN IMPOSSIBLE EARRINGS.
So. The supposed trick to getting these is that you’re supposed to decompose the 4-heart items. But those are difficult to keep on hand, and if you DO get them they’re almost always part of some recipe or evolution. But you throw caution to the wind and decompose them anyway… … And get NOTHING.
Sorry to say, but there really isn’t any reliable way to collect those things unless you’re in an association. (Though maybe other players can contribute with their tips???)
If you’re in an association, you have this option:
Decomposing Gentleman Sapphire will almost always give you the earrings.
Hope this helps! I’ll be keeping an eye out and reblogging any helpful additions to this.
The trailer for the upcoming survival horror game City Shrouded in Shadow, a survival horror game where the player tries to guide their character out of a city under attack by giant monsters. There are several scenarios including ones involving:
Godzilla fighting King Ghidorah
Gamera fighting Legion
Evangelion Unit-01 battling the 4th Angel
The Ingram from Patlabor fighting a runaway labor
and Ultraman battling Nise Ultraman/Alien Zarab
You could say I’m a wee bit interested in this game!
image source: map from AD&D Tomb of Horrors module
When building a dungeon for your campaign, keep contrast in mind. What is contrast? Well it’s pretty black and white: it’s just a juxtaposed difference in two things.
High contrast draws attention to those differences, each one becoming stronger. That’s why complementary colors, light and dark values, or sharp and blurry edges near one another draw your attention in a piece of artwork. If you want to draw attention to an encounter, area, or concept in your campaign or dungeon, sharpen that contrast! Deviate from the norms and standards you have presented your players, and their emotions and brains will snap alert and focus on exactly what you wanted it to.
Low contrast does a few things. First, it sets a standard of comparison. Areas of low contrast in a dungeon would be the approximate challenge rating of the dungeon, so when easy or difficult encounters are juxtaposed next to it the players realize how different it is. If the majority of rooms are symmetrical, rounded, and neat, then once that is contrasted with an asymmetrical, sharp-edged, rough room will be a huge eye-opener. Without low contrast, we cannot have high contrast to compare it to.
Low contrast in a dungeon also gives the brain a rest. After long periods of deliberation in combat or a puzzle, getting back to that low-contrast standard is a mental break an relief for a player. It’s sort of a recovery time that helps balance the pacing of a dungeon.
Lastly, low contrast creates anticipation. In our cinematic world we have been acclimated to, all of us today know how stories should work. If everything is the same for a long time, then things are more likely to change soon. This is that feeling of anticipation; we keep searching and exploring for that difference in design or mechanics and when it finally resolves we get that sweet, sweet rush of endorphins that says “yes you were right it had to change sooner or later.”
Here are some examples of how contrast can be used to psychologically guide and manipulate your players (boy that sounded a lot darker than intended):
The type of encounters in your dungeon, when lined up in sequence, can be contrasted. A combat encounter has very different pacing from a puzzle or a skill check or roleplaying encounter. If you chain together a series of combat encounters, it will wear down the party and add tension and importance for whatever breaks that chain. A puzzle will suddenly carry greater weight. This contrast is sort of why in practice, when building encounters, you sprinkle a few puzzles or skill checks or roleplaying encounters throughout the combat in your dungeon. It gives players a break and lets them relieve that tension that’s built up from combat and lets them use a different part of their brain for a bit.
One the flip side, when you have a bunch of non-combat encounters chained together, it creates a sense of anticipation. D&D is a combat-focused system, so players are just waiting for something to just out at them. This holds true in “funhouse” dungeons like the Tomb of Horrors where actual combat is few and far between, but puzzles and traps abound: there is a sense of abject terror filling the dungeon as players become more and more neurotic from only solving puzzles.
Each encounter is always immediately compared to the encounter that came before it. You can use this to your advantage. For instance, if you want your players think your boss is even more powerful than the CR says, have them fight a few easy minions right before the boss. Suddenly, the Bone Devil hits seem far more dire and frightening compared to those Kobolds that they just faced, even if it’s normally an appropriate CR for the players. Contrast here acts as a psychological boost to the drama of a boss fight. On the other hand, a difficult encounter immediately followed by an easy encounter is a point to relax your players’ brain juices after a mechanically difficult encounter. Players need this or else they will start to feel as used and abused as their characters.
Left: Asymmetry, sharp corners, and tight spaces make players uncomfortable. Right: Symmetry, round edges, and open spaces are comforting.
Visual design is also important (and my specialty). Visually, contrast is a means of showing the viewer what to focus on. Points of low contrast are less important while areas of high contrast are more important. I will go into further detail in a future post on guiding player movement, but for now:
Complexity: More complex rooms are more intimidating and take longer to explore while simple rooms are more approachable and take a mere moment to take in. Juxtaposing complexity of a room vs. the encounter within should ideally create balance to avoid either overwhelming players or boring them. Good practice would be putting a complex encounter in a simple room or putting a simple encounter in a complex space. This contrast will also bring attention and focus to the encounter, rather than the space (which is typically what you want). Symmetry could also be considered simple while asymmetrical would be complex.
Shape: Visually, sharp corners evoke conflict, while round corners create a sense of comfort. If you want your players to worry, add some additional angles to your room using alcoves or room dividers. Besides, adding angles to a room where a combat encounter is about to happen gives players more environment to play with. If you want your players to feel safe, like in a sanctuary area where no monsters are likely to enter, round out the room or add round objects to the room like pillars or statues. Placing these rooms next to one another will draw attention to and enhance this psychological difference.
Scale: A large room begs players to linger and explore and creates a sense of the sublime: something larger and greater than the players. An ideal place for a boss encounter. A small room or cramped space means players won’t stick around. It creates tension and unease and compels players to move forward; a good place for a trap or a surprise. When compared to a large room, the small room will look smaller and the large, larger.
Ok so you said 'Gamzee better be in hiveswap'. What I hope will happen in Hiveswap: Jude and Dammek, end up finding a fridge washed up on a beach. Upon opening it, they find the wonderful clown known as Gamzee (Dammek slightly disturbed that one of his kind, a troll, was locked up in a fridge). So Gamzee just kinda follows them around, occasionally honking or giving his input on thing ( tHaTs OnE wEiRd MoThErFuCkInG cReAtUrE) and things like that.
Is he still following us? quit staring at him. I don’t even think he knows where he’s going. ohgodhesStaringAtBothOfUsAtTheSameTime maybe if we walk faster he’ll catch out drift and leave us alone
the level 20 battle royale is going to be some hardcore shit like?? percy gets four attacks per round, grog’s strength could be 30, unlimited wild shape, vax can move like a bullet and can move in his opportunity attacks, divine intervention automatically succeeds
This is a guide to influencing your players to go where you want them to go. It’s like railroading, but more calculated and nearly invisible during a game. Here in Part 1 I am talking about purely visual properties and composition of a dungeon map. Throughout this post I am using a map from a previous dungeon my players went through. For context, it’s an ice cavern made into a lair for a clan of frost giants. Hidden somewhere within is a secret entrance to the lost tomb of a hero, which is their goal to find for this floor. Check out Part II here.
Leading the Players
Leading lines are lines that lead the players from one point of the map to another, much like in the composition of a photo or painting. Use them to less-than-subtly direct players in the direction you wish. Strong leading lines start from a large shape and end at a small shape, subconsciously simulating depth. Imagine someone pointing at a faraway object. You start at the person’s body, then arm, then finger, and finally at the direction they are pointing.
In the above image I’ve drawn out the leading lines. They are formed by the lines denoting elevated areas in the northwest room, the barrels in the northern room, the stone pillars in the eastern room, and miscellaneous objects in the southern room.
The stars on the map indicate the end goals that lead to the next level (there were two possible places in case they found one area before the other). The leading lines try to funnel players towards these goals.
Ways to create leading lines:
Actual lines: walls, barriers, elevation changes (marked by a line), floor tiling, rugs, long tables, etc.
Repeating Pattern: repeated objects that form a sequence can create a leading line.
The visual design of Bloodborne is highly dependent on its use of lighting… cool and warm lights are used in constant contrast through levels, especially in exterior environments. This is achieved through intelligent use of the environment- fires and lanterns to create warm “hotspots” that guide the player, and wide stretches of road filled with water to reflect cool “coldspots” that reinforce the hotspots and give the player’s eyes a rest.
This time I’m going to go over some factors that guide movement that are less about visual composition and more about content. I am using the same map from Part 1, a map of an icy cavern frost giants are using as a lair. An entrance to a hero’s lost tomb is located within.
To say this game is meant to be accessible to everyone and require no more than dice, pen and paper, to do it properly is incredibly expensive!
I’m gonna be honest and not pretend that I haven’t been using a dodgy copy of the Players handbook, DM guide, etc for years, but today I decided to invest and actually buy the genuine articles (finally, a semi local shop that sells such things!)
The three core books (players, DM, monsters) set me back £120!!! That’s like $155! I was also planning on buying some official WotC miniatures but they were crazily expensive! No chance.
They are books of exquisite beauty but still… Ouch my wallet.
A/N: First, some warnings. 1) This was written in a delirious state at 1:30 am and an annoyed state in the day following 2) I have no idea, what I’ve done. It’s probably shit. I’m so sorry. 3) I think I’ve used “oddly” an “rather” more than I should have 4) I call Luke a bread stick…. Now that, that’s out of the way… Enjoy, I guess? I don’t know if it’s good enough, but I tried my best. I think it’s a little but different from the request, just a teeny bit. My best friend proof read this for me (thanks I would die without you). If there are more typos, then apologies. It’s not my best work. Anyway, have a great day/night! xx
The five of you had arrived at the venue two hours or so prior to the show. You had arrived at the hotel you were staying at a couple of hours ago, giving the boys just enough time to relax before their performance. You were now in the dressing room, playing FIFA.
You were squished in between Luke and Ashton on the couch while Calum and Michael sat at the foot of it. You and Michel were currently engrossed in a very intense match of FIFA. The two of you had your eyes glued to the screen, hands occupied by the controller.
“You’re never going to win Y/N. Just give up and save yourself the humiliation,” Michael taunted, controlling his player expertly.
You scowled at the back of his head, before turning your attention back to the screen, pressing buttons to guide your players. You’d played with the boys before. You weren’t half bad at the game. But you were yet to beat Michael- the dude was like the king of the game.
Both of you were fully devoted to the game, but with the press of buttons and experience from over the years, Michael had scored the winning goal.
“No!” You whined, tossing the controller on the floor as you cuddled into your best friend’s side. “I know you rigged the game.”
Your friends laughed at your antics. You grabbed a handful of pop corn and chucked them at Michael. Luke laughed, wrapping an arm around you. “Aww, don’t be such a sour loser.”
You playfully punched him in the torso before nuzzling closer into him, unaware of your boyfriend frowning on the other side of you.
Now Ashton’s never had a problem with your relationship and physical affection with the other boys. He didn’t mind the affection you showered them with. He didn’t mind the occasional hugs and cuddles you gave the boys when one of them had had a rough day. But recently, your physical interactions with Luke had bugged him more than it should. He felt oddly ignored and insecure during moments like these, when you chose to curl up into Luke rather than him. He shouldn’t feel this jealous, this angry. You were his girlfriend. Not Luke’s. You loved him. Not Luke… Right? You guys were just best friends… Right?
Your giggles at something Luke had said pulled him out of his reverie. Doubts were creeping into Ashton’s head, insecurities bubbling up. He got up, suddenly, causing you all to look up at him. He looked rather grim, the smile on his face a minute ago- not there.
“You alright, Ash?” You questioned, looking up at him.
He nodded distractedly, eyebrows furrowed as he looked around. Grabbing his hoodie, he headed to the door. “I’m going out for some fresh air. I’ll be back in a bit.”
“Want me to come along?” You asked, siting up, peering at his disappearing figure.
“Uh, no. I’ll be alright. Stay with the guys if you want to.”
“Alright,” you answered, shrugging off his changed mood as pre-show nerves.
Half of him wanted to be left alone for a while, but the other half of him wanted you to come along. But as Ashton went out and stood at the door to put on his hoodie, he heard you laugh at a stupid joke Luke had cracked and he was off, biting his lips in sadness and frustration.
Ashton’s short walk had turned into a long one around the venue. He had stopped by to click some pictures with the fans that had found him and had lay in the soft grass for some while before finally deciding to return. He was in a slightly better mood. He was heading to the dressing room to get ready since soundcheck was only in a bit. Calum and Michael passed him as he walked towards the room asking him to “hurry the fuck up” and he sped up.
The door of the room was open a creak, light from the hallway slipping in too. As Ashton reached the room, he stopped when he heard voices. He peeked in through the sliver. He didn’t know what to feel as he saw you and Luke standing very, very close together before you moved away, smiling. With the seeds of doubt already planted in his head, he assumed the worst. Should he feel hurt? Angry? Both? He moved away from the door when tears pooled in his eyes but he wiped them before they could drip down his cheeks.
He slammed the door open, glaring at the two of you before yanking his hoodie off. He walked past the two of you, ignoring your questions as to where he had been. He pulled off his shirt and put on a slightly less warmer tank top.
You stepped closer to him, standing on your tip toes to give him a peck. Though right when your lips were about to touch his, he turned away and your puckered flesh met his cheeks. You frowned, confused. Before you could ask him what was wrong, he turned to Luke and rather hatefully spat out- “We’re getting late.” And then he was gone.
Through out the show Ashton had been very aggressive. He broke his drum once and his drumsticks twice. He also hadn’t conversed with the fans as much as he usually did. Every smile you’d sent his way through the side of the stage where you weren’t visible was returned with a scowl or a glare.
When the show and the meet and greet was over and the guys were heading to freshen up, you tried to block Ashton’s path. “Hey, whats wrong seriously?”
“Move Y/N. I’m really sweaty. I need a shower.” He said, not looking at you.
‘Not until you tell me what’s wrong.” you answered.
“Y/N…” He warned.
“What’s wrong?” You repeated adamantly.
Rather unexpectedly, Ashton burst out. “Y/N, I said move. Stop annoying the crap out of me.”
You stepped back, surprised by his outburst. His yell earned the two of you looks from the crew and the others. Ashton sighed, rubbing his temples with his thumb and forefinger. His voice cracked and came out raspy,”Let me just go, Y/N.”
Hearing the waver in voice, you immediately stepped aside, letting him pass. You looked at him as he weaved his way through the crowd of people backstage, wondering all the while what had gone wrong. What had you done?What had you done that you made him cry?
You guy were sitting in Calum’s room having dinner out of take out boxes when you were back from the venue, the work for the day done. Despite the conversations Luke, Calum and Michael made, an awkward silence hung in the room. Michael kept sneaking glances, eyes flitting between you and Ashton. Finally, curiosity got the better of him and he spoke up. “Alright, what’s wrong?”
Ashton looked up at him from his box.”What?”
“What?” Calum snickered tauntingly. “What as in why aren’t you both all over each other? You’re literally on top of each other after shows. I don’t know how you do it, he’s so fucking sweaty.”
“Well, I assumed she’d rather enjoy some time with other people,” Ashton sneered.
You turned to him, eyebrows drawing into a scowl. “What do you mean I’d en-”
“I’m going to bed,” he cut you off, shutting his box and placing it back on the table, food still unfinished. He got up to leave.
“No, you’re not,” you said. Your eyes followed his moments, as he shuffled around, grabbing his jacket, his phone and his room key. You got up from your seat as well “Ashton, stop being so fucking cryptic. Just spit it out!”
Ignoring you, yet again, he walked out slamming the door at your face. You gritted your teeth, eyes burning as tears filled your eyes this time.
“Uh… Did something happen between you two?” Luke asked.
You turned to him, glaring. “I don’t know, Luke. Does it look like something’s happened?” You hissed, sarcastically.
Luke cowered back, shooting you an apologetic look.
You sighed, muttering a sorry. You began to pace by the door, lips drawn between your teeth and panic flooding through your system.
“Did I do something wrong you guys?” You asked worriedly, running your hands through your. “Did I say something? Why is he so pissed off at me? Is he going to bre-”
“For the love of god, Y/N, can you please breathe for a minute?” Luke said, coming to stand beside you. He put his hands on your shoulders giving you a shake before he continued. “Go talk to him. That’s it.”
“If you haven’t noticed, he’s ignoring me.” You pointed out the obvious. “He won’t listen to me.”
Luke rolled his eyes. “Then force him to talk. Listen, if he doesn’t talk to you we’ll talk to him.”
“Yeah,” Michael piped in. “And if that doesn’t work we’ll take you to a relationship therapist.”
Calum made a face at Michael, before turning to you. “We won’t because it won’t come to it. Just go talk to him. You’ve talked through your problems before.”
“Right. Yes, I can do this.” You repeated, sucking in a breath before letting it out.
Luke gave your shoulders a squeeze as you walked out towards the room you were supposed to share with Ashton. The door of the other room shut behind you.
You were oddly nervous. Sure, you had had your fair shares of arguments with him but he’d never been this mad at you. You’d never made him cry.
You knocked on the door of the room twice, eyes focused on the carpeted hallway. “Ashton? Open up, please.” You said, softly knowing that he was listening.
He didn’t reply. Neither did he come to unlock the door, despite all the moving you could hear him doing inside. “Ash, babe, please.”
“You know I’m sharing a room with you any way, so you have to let me in anyway.”
You heard the lock turn, and his face popped into view. “Really? Because I thought you’d rather sleep with Luke.”
You frowned. “Why would I want to sleep with Luke?”
“I don’t know. You had no problem kissing him today.”
Your jaw went slack and a look of pure confusion overtook your face. “What the fuck are you on about? When did I kiss Luke?”
He was about to shut the door again, but you put your foot in between, wincing at the pressure. He was shutting you out again, quite literally as well as emotionally. You pushed on the door, slipping in and past him.
“No, we are talking about this.” You said, enunciating each word. You slammed the door behind you, crossing your hands in front of your chest.
“There’s nothing to-”
“Cut the shit Ashton!” You yelled, frustratedly. “You’re literally accusing me of cheating! That too with Luke! Your band mate!”
“Well didn’t you?” He screamed right back. His eyes had turned a shade darker, his jaw was gritted and hands clenched into fists.
“When the hell did you see me kissing him? Because I clearly don’t remember doing so, ever. So if you can jog my memory it would be really helpful.” You spat, moving inside.
Ashton followed you. “I saw you… And him. In the dressing room. You were standing so cl- close to him and you were smiling. And-”
You scoffed. “And you assumed I cheated on you with one of your best friends. That’s what you think of me, Ashton? That’s what you think of your girlfriend?”
“Why wouldn’t I, Y/N?” Ashton whimpered. When you looked up at him his orbs were filled with tears again. He plopped on the bed, dropping his head into his palms. “I mean you’re always so close with him. You’re always with him.”
“No. Please, let me finish,” he sniffed, wiping the tears that had spilled. “You always choose to be with him. You choose to sit next to him even when I’m there. You choose to cuddle into him, you choose to joke around with him, you choose to make fun of him. Not me. You choose to talk to him when you’re upset. You choose to go have fun with him. Not me. It’s like you- It’s like you choose to love him. And not me. Not me.”
By now Ashton was sobbing, and tears were rolling down your cheeks too.
“But- I don’t blame you. You’ve known him your entire life. He’s talented- plays mean tunes on that guitar. he’s good looking. He’s charming. He’s everything I am not and more. Maybe I’m just not enough to deserve you. Maybe I’m not as good to deserve your love. Maybe I was stupid enough to try in the first place. Maybe I am not good enough.”
You shook your head, sitting beside him, the mattress bending under your weight as you sat down. You reached out to grab his hand but he pulled away. So you scooted closer, wrapping your arms around his broad shoulders. “No. No. You listen to me, alright? Listen to me carefully, okay?”
You pressed your lips to the side of his forehead, holding his shaking body as close as you could. You moved your face closer to his ear. “I love you. I fucking love you. No, I didn’t kiss Luke. I can’t ever kiss anyone ever, but you. I will only ever want to kiss you. I only want to feel your lips against mine, okay? And I will never in a million years leave you, or stop loving you. And you deserve me. You probably deserve better than me. Not someone who doesn’t give you attention. But I’m sorry. i didn’t mean to make you feel that way. I wouldn’t ever want to hurt you. I will always want to cuddle you, or laugh with you or have the time of my life with you. And I will be selfish, because although you deserve better, I want you all to myself.”
You grabbed his face in your palms, turning it towards you. You looked into his green eyes, red and glazed. “And I love you more than any thing in this whole damn world. I love you because you make feel more wanted than anyone ever has and ever could. I love you because you put the stars in my fucking sky. I love you because you look at me and all I see is love.”
You leaned your forehead against his. “I love you because you listen to me ramble about the most boring things.” You kissed his left cheek. “I love you because you laugh at all my bad jokes.” A peck on his right cheek. “I love you because you let me steal all your shirts and hoodies.” On his nose. “I love you because you let me play your drums and you play them better than anyone ever can. And I love that.” On the corner of his lips. “I love you because you hold me like we’r in our own world, like everything will always be okay.” On the other corner of his lips. “I love you because you’re Ashton Fletcher Irwin and I wouldn’t ever want to love anyone else.”
You pressed your lips against his softly. At first he didn’t move- the two of you felt everything, every crease, every torn skin of your lip brushing against the other’s. And then he turned his body to face you completely, a hand grabbing your waist while the other went into your hair. His eyes were closed, forehead still against yours ass he pushed you into the mattress. “You love me, right? Not Luke?”
“Not Luke, that dude looks like a fucking bread stick.” You smiled, fingers grazing his jaw, up and down. “Only you. Always you.”
Ashton giggled and then asked. “You never kissed him?”
You shook your head as much as you could in his grip. “Never had and never will. No one but you.”
He moved his face, lips brushing lightly against yours. “And you’ll always love me?”
“Always and forever.” You answered.
“You promise?” he asked.
You chuckled. “Yes, you adorable noob. Now shut up and kiss me.”
One the best skills you can cultivate as a GM/DM/ST or other form of Roleplaying Game Referee is Improv. As the guy in charge of the universe, you need to be prepared with a “yes, and” for any situation.
A lot of Game Masters will sit down and plot out absolutely everything, and be completely unprepared for characters to go off script. And it’s so easy to do! If you put the players in a tower room, they will find every other way to go out it, besides the door.
And you should let them! To often I have seen GMs absolutely stymied because the players decided to do something unusual, and try to guide the players back to thier track-
“Is there a bed in the room?”
“:Okay, I cut the beding into strips, to make a rope to climb out the window”
“Uhm, the bedding tears, and won’t make a good rope…”
No! See, as GM it’s your job to keep the plot going… which means you let the players do things. Roll with what they try, go along with it, see where it leads…
And for the love of god, do this espeically when it comes to puzzles, riddles, prophecies, or the like… Let the players find ways to solve it! The players are always going to come at things from thier own point of view. And you will always have the one player who decides to be Alexander with Knot…If they aren;t good at puzzles, gameplay slows, and becomes boring.
Learn to role with the flow, move with the punches, and play along with the players, not against them, K?
The lighting and visual design of each room in Resident Evil 7: Biohazard is meant to guide the player to highly specific points, without outright illuminating the area or leaving all of it in darkness. Light fills the space, but through a combination of hard shadow divides and dust particles, it doesn’t reach everything, and thus keeps plenty of the environment hidden.