Tabletop Roleplaying Games (D&D, Pathfinder, CoC, ETC.)

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Headpattr was one of the most cringe-inducing things I have ever, ever seen. I know my weebery is showing but god damn, it is one of the most out-of-touch things I have ever seen, from the name to how it operates. A name change and treating it as a serious maid service that uses cat ears as a marketing gimmick would massively improve things.
You know what my big problem with that is? That it's played completely straight. Cyberpunk settings are supposed to be cynical as fuck, so a service like that would be absolutely rife with trafficked women, people being augmented unwillingly, and a whole lot of prostitution. Nothing should be as it presents itself to be in a setting like that. And yet everybody is clean and nice and the authority allows everybody to do whatever they want despite being supposedly an oppressive entity.

It's like that Meatpunks PbtA crock of shit. The fascists only exist to be punched by the punks, they don't even get to do anything bad. Why do these people keep trying to write dystopias that still somehow cater to their every whim? Rhetorical question. I know the answer already.
 
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I genuinely appreciate that one of the three playable troons got into HRT because of jerking off while pretending to be a girl on the internet. It helps sell the setting as an exploration of the future.
 
I genuinely appreciate that one of the three playable troons got into HRT because of jerking off while pretending to be a girl on the internet. It helps sell the setting as an exploration of the future.
Once again, all of the would-be protagonists are in dire financial straights due to their own dumb choices, yet this is somehow capitalisms fault for not giving them free money to troon out self-actualize.

It's like that Meatpunks PbtA crock of shit. The fascists only exist to be punched by the punks, they don't even get to do anything bad. Why do these people keep trying to write dystopias that still somehow cater to their every whim? Rhetorical question. I know the answer already.
Speaking of, the next eighty or so pages of Hard Wired Island describe some of the various neighborhoods of Grand Cross in a few paragraphs of detail. While superficially they aren't all that different from, say, Night City or any other cyberpunk city, a few things stood out. First, there's an awful lot of video game arcades and anime stores up here.

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Second, all of the focus is on fairly upper and middle class things to do. Grittier places like abandoned subway platforms and hideout slums are only mentioned in passing. The sorts of things that tend to be relevant in a cyberpunk game. It's barely even explained as to why such places would exist at all in a planned city. Instead we get pages and pages full of law firms, museums, tourist traps, and even parks; things that cater to upper-middle class sensibilities.

Which brings me to my main gripe: why does this city exist? How could a massive, self-sufficient metropolis be constructed 250,000 miles in space in ten years by a world still reeling from a massive ecological disaster that killed millions? (Maybe Ettin goes to the AOC school of urban planning.)

And even if you could do such a thing, to what purpose? Where is all the scientific equipment? Where are the factories? How you do get power/air/water? Where are the resource-processing plants? What resources are there at all at the L5 point? What does this city do that couldn't be done many times cheaper back on Earth? Ettin says that corporations are pouring money in to control Grand Cross, but again, to what end? What is there worth controlling?

I know Ettin designed Space Portland as some kind of playground for the rich so the oppressed underclasses could rebel against it, but keep in mind that it was designed and built by the UN. The corps didn't come until later. How are they getting a return on their investment on this place, besides maybe housing speculation? There's gotta be an easier way to make money.

The rest of the section is full of people who you might meet in Space Portland, and have very little to do with any sort of self-respecting cyberpunk protagonist.

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The rest of the book describes the more practical aspects of playing. I sure hope it comes through, because right now I have no idea what the PCs are supposed to do.
 
Once again, all of the would-be protagonists are in dire financial straights due to their own dumb choices, yet this is somehow capitalisms fault for not giving them free money to troon out self-actualize.


Speaking of, the next eighty or so pages of Hard Wired Island describe some of the various neighborhoods of Grand Cross in a few paragraphs of detail. While superficially they aren't all that different from, say, Night City or any other cyberpunk city, a few things stood out. First, there's an awful lot of video game arcades and anime stores up here.

View attachment 3630084
View attachment 3630085

Second, all of the focus is on fairly upper and middle class things to do. Grittier places like abandoned subway platforms and hideout slums are only mentioned in passing. The sorts of things that tend to be relevant in a cyberpunk game. It's barely even explained as to why such places would exist at all in a planned city. Instead we get pages and pages full of law firms, museums, tourist traps, and even parks; things that cater to upper-middle class sensibilities.

Which brings me to my main gripe: why does this city exist? How could a massive, self-sufficient metropolis be constructed 250,000 miles in space in ten years by a world still reeling from a massive ecological disaster that killed millions? (Maybe Ettin goes to the AOC school of urban planning.)

And even if you could do such a thing, to what purpose? Where is all the scientific equipment? Where are the factories? How you do get power/air/water? Where are the resource-processing plants? What resources are there at all at the L5 point? What does this city do that couldn't be done many times cheaper back on Earth? Ettin says that corporations are pouring money in to control Grand Cross, but again, to what end? What is there worth controlling?

I know Ettin designed Space Portland as some kind of playground for the rich so the oppressed underclasses could rebel against it, but keep in mind that it was designed and built by the UN. The corps didn't come until later. How are they getting a return on their investment on this place, besides maybe housing speculation? There's gotta be an easier way to make money.

The rest of the section is full of people who you might meet in Space Portland, and have very little to do with any sort of self-respecting cyberpunk protagonist.


The rest of the book describes the more practical aspects of playing. I sure hope it comes through, because right now I have no idea what the PCs are supposed to do.
Jesus H christ are none of the people opposing the protags in anyway redeemable? Fuck Orcus and Asmodeus are more interesting and dare I say sympathetic villians than these clowns.
 
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I genuinely appreciate that one of the three playable troons got into HRT because of jerking off while pretending to be a girl on the internet. It helps sell the setting as an exploration of the future.
Just how fucking ugly must the women working for that company be that they picked a dude to play the Pretty Pretty Princess mascot?

I know Ettin designed Space Portland as some kind of playground for the rich so the oppressed underclasses could rebel against it, but keep in mind that it was designed and built by the UN. The corps didn't come until later. How are they getting a return on their investment on this place, besides maybe housing speculation? There's gotta be an easier way to make money.
What underclass? No one there looks even remotely poor. Or even just uncomfortable.
 
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this cyberlatina is gonna need something stronger than pepper spray if she wants to stay comfortable
See, that's what I mean. This bitch is clean-cut and fashionable. Legs aside she looks like a college freshman with a painfully unfortunate jaw line who's late for her Latin History 101 class.

Even the oppressed don't look oppressed in any way.

>mall katana
>big, hefty, sharp


Has Ettin ever picked up a mall katana before? Seriously?
Does any of this look like it was written by anyone who has touched any weapon ever? I bet this dude refused to even pick up a wiffleball bat in middle school.
 
See, that's what I mean. This bitch is clean-cut and fashionable. Legs aside she looks like a college freshman with a painfully unfortunate jaw line who's late for her Latin History 101 class.

Even the oppressed don't look oppressed in any way.
She's Latinx, therefore she's inherently oppressed. A homeless white male dying of exposure and starvation is more privileged than Jennifer Lopez.

Or perhaps they are suffering from the same horrifically unjust oppression that Ettin's r/antiwork kin suffer from: Not getting paid six figures to play vidya and pontificate about oppression on Twitter.

Her bio says she's a survivor/refugee of the station that got destroyed, so now she has to work as a courier in Space Portland to make ends meet. Maybe it's just Ettin's never met any actual poor people.
 
Once again, all of the would-be protagonists are in dire financial straights due to their own dumb choices, yet this is somehow capitalisms fault for not giving them free money to troon out self-actualize.


Speaking of, the next eighty or so pages of Hard Wired Island describe some of the various neighborhoods of Grand Cross in a few paragraphs of detail. While superficially they aren't all that different from, say, Night City or any other cyberpunk city, a few things stood out. First, there's an awful lot of video game arcades and anime stores up here.

View attachment 3630084
View attachment 3630085

Second, all of the focus is on fairly upper and middle class things to do. Grittier places like abandoned subway platforms and hideout slums are only mentioned in passing. The sorts of things that tend to be relevant in a cyberpunk game. It's barely even explained as to why such places would exist at all in a planned city. Instead we get pages and pages full of law firms, museums, tourist traps, and even parks; things that cater to upper-middle class sensibilities.

Which brings me to my main gripe: why does this city exist? How could a massive, self-sufficient metropolis be constructed 250,000 miles in space in ten years by a world still reeling from a massive ecological disaster that killed millions? (Maybe Ettin goes to the AOC school of urban planning.)

And even if you could do such a thing, to what purpose? Where is all the scientific equipment? Where are the factories? How you do get power/air/water? Where are the resource-processing plants? What resources are there at all at the L5 point? What does this city do that couldn't be done many times cheaper back on Earth? Ettin says that corporations are pouring money in to control Grand Cross, but again, to what end? What is there worth controlling?

I know Ettin designed Space Portland as some kind of playground for the rich so the oppressed underclasses could rebel against it, but keep in mind that it was designed and built by the UN. The corps didn't come until later. How are they getting a return on their investment on this place, besides maybe housing speculation? There's gotta be an easier way to make money.

The rest of the section is full of people who you might meet in Space Portland, and have very little to do with any sort of self-respecting cyberpunk protagonist.


The rest of the book describes the more practical aspects of playing. I sure hope it comes through, because right now I have no idea what the PCs are supposed to do.
So D&D 4th Edition exists in this world? Despite a massive, near-apocalyptic event that should have disrupted civilization enough to ensure that most entertainment brands probably died off?
God, this worldbuilding is fucking retarded. I actively dislike cyberpunk as a genera, and even I know this isn't cyberpunk. It's a collection of woke boogymen who exist to be cardboard cutouts for the PCs to knock down without effort. The setting is boring and clichéd, which is fucking criminal given how much inspiration CURRENT YEAR provides for making dystopias. But Ettin is a consoomer retard who would never question if his corporate god's platitudes about 'social responsibility' are just a cover for their own evil behaviors. So all he can do is regurgitate the '80s but WORSE' setting that all Cyberpunk media seems to become. He doesn't say anything of value, he doesn't make entertaining or cutting commentary about the direction modern society could head. This is a grift to bilk money out of retarded fake commies who want to get their five minutes of hate against the approved targets.
 
all he can do is regurgitate the '80s but WORSE' setting that all Cyberpunk media seems to become.
I think that's because 80s cyberpunk has an appeal all its own. It's difficult to make anything like that nowadays because it looks dated (it got a lot right, but the things it got wrong stick out) and people get really mad about it if you stray from cliche for even a moment. I remember that CP2077 trailer getting shit on for not being night time and raining 24/7.


On a completely unrelated topic. Today I learned that Dragonborn were redesigned for 5e. Apparently in 4e, feminists and DnD fans* hated that in official art female dragonborn had tits.

*I'm sceptical that DnD fans would bring up that complaint, but at the same time Dragonborn are one of the "freakshit" races that older fans hate so they'd take any reason to complain about them.
 
I think what kills me about this santising and dumbing down of the narrative and lore behind gods like Grummy etc. is that by making the entire game into a weird grey neutral sludge they can try and say, see it's all even now and you can make your own story free from our own writers' biases and hang-ups! Be free! But in reality, they're kicking the legs out from beneath the creative table that everyone sits around to build a fun story in the first place by erasing the basic creative beats that people can use as the basis for campaigns.

That's not to say in the hands of a naturally creative person or group you can't take that sludge and form it back into something great but it's fucking hard when you are essentially homebrewing right from the fuckin get-go thanks to feckless diversity hires sanding off every potentially rough edge to appease twitter niggers and trannys. It's like when they try and make Itchy and Scratchy violence free to appease Marge and end up with a bland and boring product that causes all the kids to turn off the TV and go outside.

Honestly, I don't think anyone will really care about the narrative choices and still make orcs and drow and illithids bad guys without giving a fuck and this is all some lame cover for WotC to just say, hey look we tried it's not our fault the CHUDs aren't playing pretend the way we told them to.
Don't tell them how they're forcing people into homebrews due to just how there's fucking nothing in their source books anymore.

I want the shocked pikachu faces when they've destroyed the very illusion that kept them from going out of business.
 
In this cyberpunk game the first scenario is about fighting against a robot company that has shit security and blackmailers who expose you while living in the gayest part of Space Portland
 
I think that's because 80s cyberpunk has an appeal all its own. It's difficult to make anything like that nowadays because it looks dated (it got a lot right, but the things it got wrong stick out) and people get really mad about it if you stray from cliche for even a moment. I remember that CP2077 trailer getting shit on for not being night time and raining 24/7.


On a completely unrelated topic. Today I learned that Dragonborn were redesigned for 5e. Apparently in 4e, feminists and DnD fans* hated that in official art female dragonborn had tits.

*I'm sceptical that DnD fans would bring up that complaint, but at the same time Dragonborn are one of the "freakshit" races that older fans hate so they'd take any reason to complain about them.

I hate freakshit but never had an issue with 4e/5e Dragonborn, I suspect because at the end of the day they are just Lizardmen with a breath weapon and advancement options that are sort of bullshit but by the time they're in play its hardly game breaking. I have some thoughts about Wizards changing the "Half-dragon" to the copyrightable Dragonborn. I know I hated thier 3.5 editon, I can't remember if that because of powergaming reason or because the number of "scalies" who always picked them.
 
I hate freakshit but never had an issue with 4e/5e Dragonborn, I suspect because at the end of the day they are just Lizardmen with a breath weapon and advancement options that are sort of bullshit but by the time they're in play its hardly game breaking. I have some thoughts about Wizards changing the "Half-dragon" to the copyrightable Dragonborn. I know I hated thier 3.5 editon, I can't remember if that because of powergaming reason or because the number of "scalies" who always picked them.
Dragonborn don't feel as egregious in 5e because the Tiefling nabbed most of the snowflake players and the Tabaxi got most of the furries. Plus their stat bonuses suck.
 
I have some thoughts about Wizards changing the "Half-dragon" to the copyrightable Dragonborn.
It's not even copyrightable, dragonborn only exist because people wanted to play a dragon dude without having to deal with the bullshit of a +3 level adjustment. Dragonborn were originally just a +0 level adjustment template you could add on any race, and didn't become their own thing until 4e. You could even stack templates and be a half-dragon dragonborn if you were willing to take the +3 level adjustment.
 
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