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teddybears and spaceships

@teddybearsandspaceships / teddybearsandspaceships.tumblr.com

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braxiatel

It says so much about Grian’s character that he is willing to bend every single rule and to go on deadly quests for his allies, but never once has it occurred to him that he is a dark green name and letting Skizz or Mumbo get a kill on him would save them far easier than any tnt minecart traps or cobwebs or diamond armour ever could.

On the one hand it speaks to that rat bastard every-man-for-himself side we all know he has. In the same way that he can never bring himself not to try to win for a second time, the thought of willingly giving up a life is so foreign to him that it doesn’t even occur to him as an option. Of course he isn’t going to just let someone kill him, Grian is a survivor.

But on the other hand? On the other hand it speaks of hope. It speaks of the idea that if he fights hard enough, if he is clever enough, if he can just stick it out and use his lives to solve this puzzle then there is a way for him to save his loved ones. There is a way for all of them to live.

You absolutely Do Not need to apologise this is great stuff

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i love the mental images of grian making the murder snails:

  • c!grian carefully painting their shells, putting a little rainbow on scott's and an i on impulse's, teaching scar's to smirk and figuring out how to get mumbo's to grow a moustache
  • cc!grian lovingly placing each pixel on the snails' textures, eyedropping from his friends' skins, deciding to go for the original shrek look for joel's, figuring out how to make them recognisable
  • both versions giggling like a maniac while imagining how his friends will react
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Hey btw, if you're doing worldbuilding on something, and you're scared of writing ~unrealistic~ things into it out of fear that it'll sound lazy and ripped-out-of-your-ass, but you also don't want to do all the back-breaking research on coming up with depressingly boring, but practical and ~realistic~ solutions, have a rule:

Just give the thing two layers of explanation. One to explain the specific problem, and another one explaining the explanation. Have an example:

Plot hole 1: If the vampires can't stand daylight, why couldn't they just move around underground?
Solution 1: They can't go underground, the sewer system of the city is full of giant alligators who would eat them.

Well, that's a very quick and simple explanation, which sure opens up additional questions.

Plot hole 2: How and why the fuck are there alligators in the sewers? How do they survive, what do they eat down there when there's no vampires?
Solution 2: The nuns of the Underground Monastery feed and take care of them as a part of their sacred duties.

It takes exactly two layers to create an illusion that every question has an answer - that it's just turtles all the way down. And if you're lucky, you might even find that the second question's answer loops right back into the first one, filling up the plot hole entirely:

Plot hole 3: Who the fuck are the sewer nuns and what's their point and purpose?
Solution 3: The sewer nuns live underground in order to feed the alligators, in order to make sure that the vampires don't try to move around via the sewer system.

When you're just making things up, you don't need to have an answer for everything - just two layers is enough to create the illusion of infinite depth. Answer the question that looms behind the answer of the first question, and a normal reader won't bother to dig around for a 3rd question.

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bfleuter

This is good advice on worldbuilding.

And also. 

I would really like to play a vampire-hunting sewer-nun and her pet alligator in a ttrpg.

Woops uh oh oops woops.

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