//Could you also include a section concerning the fair application of card effects that rely on chance during a thread? Cards like Barrel Dragon or Graceful Dice that require the usage of dice or coins for example, or Exodia who simply needs all of its pieces in a duelists hand for an instant win. I mean, how would you use those card effects fairly in an RP-Duel?
In the case of Barrel Dragon, Graceful Dice and any other card which uses dice or coins you can have a real dice or coin (
and trust your partner’s honesty), or go to this site to have a random number generated.
Also sometimes for storytelling it’s more interesting to lose a gamble a couple times before winning, but those works better when you talk with your partner who should be winning - for example, one of you is playing a bad guy and the other is one of the protagonists. But for OCs or minor characters, you guys can just ignore that.
Exodia is a…hard example to give. The chances of having all the 5 parts in hand in the first turn are abyssal. Somebody actually did the math and just to assembly it without having supporting cards helping is 1 in 658 008. Other cards, like Destiny Board, allow you get the other parts straight from your deck if the conditions are met.
Another thing about Exodia is that in canon there are only three copies of this card (like the Blue Eyes White Dragon): one used to belong to Sugoroku Mutou until Haga threw the deck into the ocean, one was last seen with Amon Garan in GX (after being hidden in the Duel Academy island for years) and the third one nobody knows. All other Exodias deck are made of counterfeit cards that probably can’t be acquired in a legal way or at a reasonable price.
Alternatively you may want to build your deck in one of the games and use it (enter a duel, have the game randomize your deck and pick the top cards, whatever) or have it physically and really draw the cards; or you can to assign a number to each of your cards and then go to Random Number Generator once again.
//Maybe I'm over looking it, but I noticed that under your Dueling Classes you don't have a section concerning the rules of Tag Dueling or Turbo Dueling, nor how they apply to roleplaying. Could you maybe rectify this at your earliest convenience?
In the Tag Force games there isn’t any specific set of rules in tag duel: Tag partners shares both the same field and life points, and they also take turns alternately.
For example, one person of team A takes the initiative, so they can’t attack on the duel’s first turn (as usual). Next up is one member of team B, followed by the other person on team A, then the second member of team B. And it goes back to the first person of team A and everything continues on. Nothing out of the ordinary here.
The anime, in other hand, can be very inconsistent in terms of rulings but one might assume it’s to make things more interesting for the audience.
You can also have battle royal, in which is everybody against everyone, each got their own fields and life points and can attack any player. It’s usually done when there’s an odd number of people.
I think I have a tutorial on Turbo Duel stashed away somewhere, I’m going to see if I find it and upload it as soon as I review it.
Breaking news: The D.C. Appeals Court just killed Net Neutrality.
This could be the end of the Internet as we know it. But it doesn’t have to be.
Tell the FCC to restore Net Neutrality: http://bit.ly/1iOOjoe
they want to make the internet like tv. with channels and paying to get to specific websites and things. net neutrality = not doing that
This impacts every internet user. Please signal boost the hell out of this and sign the petition if you are American
I do not reblog things like this very often, but this affects me both personally and my business as a freelance artist.
In the economy here; cash is already strapped as it is. You bet your ass companies would suck the ever living life out of misc. art sites.
I don’t want it to ever come down to me choosing between groceries or purchasing a new tier package via comcast to be able to access tumblr or DeviantArt (let alone not guaranteeing I’ll even be seen by my customer base since they may not want to pay out their asses either). It doesn’t seem important to most, but I do 90% of my business online entirely.
Please sign up, fight for this and share it with your followers/friends/family and urge them to give them hell as well.
Not writing related, but this is incredibly important. While we pay for service via ISPs, the internet has been a relatively free space where everyone, no matter their income level, is able to connect, access a wealth of information, and express themselves. The Internet has become a major part of our culture as human beings and the notion that ISPs might be able to limit what sites I can access unless I pay them more is utterly sickening. A lot of us are cash strapped as is, and I’d rather not be limited even more by someone else’s greed. Net Neutrality is essential and I hope you guys will understand why it needs to remain.
P.S. Signal boost this if you’re able.
I can’t believe I have to write this…
Okay, so I’ve been out of it for the past week or so due to severe anxiety bullshit and being sick AGAIN, but I’ve seen two or three posts on Mary Sues drop by my dash in the past two days and it keeps making my writer’s soul rage like nobody’s business.
The gist of each of these posts has been that Mary Sues are a good thing, because a Mary Sue isn’t a poorly written character, but a way to break a female character out of her misogynist-created cisgendered patriarchal box, and that people who don’t like Mary Sues really just hate women and are part of the problematic system that our society uses to keep women down.
As a writer, and as a woman, I have a huge, huge problem with this.
I have a problem with this as a writer because this definition of a Mary Sue is simply wrong. Mary Sues are not ‘liberated’ or ‘special’ or ‘refreshing’ or ‘battling the patriarchy’. They are poorly written characters, unbalanced within the confines of the story and unrealistic within the confines of the narrative. Their perfection (or imperfection) is so extreme that it violates any sort of structure or rule-set of the story the character exists in. If someone did create a Mary Sue that was meant as a way to promote feminism/equality, it would never be taken seriously because the character itself would be an absolute abomination of literature. If we keep perpetuating the idea that horribly written characters are good for women, we’re going to start having a whole different sort of issue with the way women are represented in stories.
Let me try to make this as clear as possible. We do not want Mary Sues. We want strong, well-rounded, well-developed female characters.
Mary Sues are perfect in every way. Sweet, intelligent, lovely, desired by every man and hated by every woman. They have all the power, all the beauty, and all the skill. They are also completely imperfect in every way. Stupid, hated, loathed, and completely sympathetic to the point where the reader is not meant to blame them for any of their mistakes, because poor them, right? They negate the importance and relevance of anything or anyone else within the story. The way they are constructed, the power and influence they have within the story, is completely disproportionate to everything else within the narrative. They are not equal, they are above. Kind of like the patriarchy, hmm? Can you see how this becomes part of the problem?
What we need are real female characters. We need heroes. We need villains. We need mothers. We need women who hate children. We need intelligent women. We need superficial moronic women. We need housewives. We need female CEOs. We need saviors. We need murderers. We need women of every color, every race, size, shape, sexual orientation, and gender identity. We need every kind of female character, but those characters must be well-written, balanced, and realistic for them to make a mark on the reader and on our society.
So the next time you see one of those posts, rethink the idea that Mary Sues are female empowerment, because what they really are are a horribly written plot device that undermines the integrity of the piece it’s involved in.
As an aside, some points that I know are going to come up because of dat good ol’ Tumblr social justice machine:
- Men have their own versions of Mary Sues. It’s called a Gary Stu, and yes, they are just as detrimental to feminism, equality, and literature as Mary Sues are.
- I fully believe in the idea that you can write whatever you want. If you want to write a Mary Sue, go ahead! Just be aware of the damage it causes to your writing and how poorly it reflects on what the Mary Sue represents, and understand that writers WILL call you out on it. It’s like free speech: you can say what you want, but you still have to deal with the repercussions!
I look forward the hate inevitably hurtling towards my ask box :)
It’s come to my attention now, nearly a year after the things I’ve had to deal with (and anyone who follows me or is friends with me knows the story) in the Resident Evil fandom, the amount of absolute childish nonsense I’ve seen. Hate anons can’t even be compared to the atrocities in this fandom – anyone knows the Resident Evil fandom’s reputation is absolutely in the gutter, and it’s a shame because it’s not the fandom’s fault, but a few little rats that happen to muck up everything they touch. I’m not a vengeful person, I’m not an angry person and I can’t hold grudges forever, but for the things these two individuals in specific have done – absolutely d i s g u s t i n g .
Let me begin by stating that never once have I personally done anything against these two individuals. In fact, never once have we actually even had an in character thread, let alone an out of character thread. But, as they say, reputation can be a monster and lies are spread about in this fandom like it’s a pathetic, middle school clique – and these two seem to be at the heart of it all, among others I won’t name. But this post will just focus on these two horrible excuses for humans, let alone roleplayers.
I am ashamed to even share the same fandom as them, and the two in question are:
The-director-is-in & encrypted-seraphim, formerly hunnigancanhelp.
They run both badformroleplay (self explanatory: a hate blog) & rprhapsody, a drama-creating, gossip allowing & vitriol spouting blog posing as a roleplay confessions blog. Take one look at both blogs, and you’ll see what I mean.
—No one accuses without proper proof, and therefore, I’ve managed to get in contact with Tumblr user bsaachambers, Taylor — formerly best friends with encrypted-seraphim, Chelsea. Taylor came clean and did the right thing and confessed to an entire group of individuals on skype, including myself and others who have been harassed by these two people just who the culprits behind those two blogs are.
These two are no better than defelina. I know they’ve sent death threats, both on and off anon to multiple users, as well as posted not-so-passive threats both about me, and about other tumblr users who, out of respect, will not have their names posted here. They’ve broken apart whole groups of friends, manipulated them against one another and It appalls me, how they continue to remain here on Tumblr. It appalls me, how a roleplayer can be so absolutely disgusting.
I’m not afraid of the backlash that will come my way from these two and the people who they’ve manipulated — and when it comes, I know you’ll all have my side. You all know the truth. I’ve confessed publicly and apologized for the mistakes I made nigh a year ago. I’ve changed for the better. But these two? They’ve bullied people off Tumblr with not only these hate blogs but past ones, as well, which I couldn’t expose due to not having enough proof before all was said and done.
Now, it’s time to take a stand. Signal boost this, PLEASE. It just takes a moment out of your day. While I realize many of you are not a part of the Resident Evil fandom, this is still a huge problem and in the end, the roleplayers of Tumblr are a united community, and we will NOT allow such wretched things to occur here in said community. Everyone should feel safe in their own fandom, and on the entire site.
Thank you so much in advance.
HTML editing tips for roleplayers:
<sub> makes things small and go down
<sup> makes things small and go up
<small> makes things small in general (but usually won’t combine)
<pre> makes these cute lil boxes
ＡＮＤ ＹＯＵ ＣＡＮ ＡＬＷＡＹＳ ＧＯ ＨＥＲＥ ＦＯＲ ＣＯＯＬ ＴＥＸＴ
Anonymous whispered :
Advice: How do you "center" text on a thread? I've seen some people do it for poetry or letter/diary entries and I just don't know how to do it.
I’m actually not entirely sure. I know it’s done on the HTML source section of a post, and that it’s one of the & codes, (like the way you can do the Greek alphabet by writing &[greekletter]; ) but I don’t recall what the exact code is…
Next time you ever want to see how something is done with HTML, though, the simple trick is to reblog it and on the edit menu switch over to the HTML source and take a peak at the coding.
Hope that helps. Sorry it’s not an exact answer.
EDIT: Just saw a post with what was described here on my dashboard for one of my roleplay blogs.
The tag to make a space tumblr won’t just delete is
To have a bunch of spaces to make it look “centered” just have a bunch of them in a row.
Here are a few words you can replace walk with.
- AMBLE: WALK EASILY AND/OR AIMLESSLY
- BOUNCE: WALK ENERGETICALLY
- CAREEN: PITCH DANGEROUSLY TO ONE SIDE WHILE WALKING OR RUNNING
- CLUMP: WALK HEAVILY AND/OR CLUMSILY
- FALTER: WALK UNSTEADILY
- FLOUNDER: WALK WITH GREAT DIFFICULTY
- FOOT IT: (SLANG) DEPART OR SET OFF BY WALKING
- FOOTSLOG: WALK HEAVILY AND FIRMLY, AS WHEN WEARY, OR THROUGH MUD
- GIMP: LIMP; HOBBLE
- HIKE: TAKE A LONG WALK, ESPECIALLY IN A PARK OR A WILDERNESS AREA
- HOBBLE: WALK UNSTEADILY OR WITH DIFFICULTY; SEE ALSO LIMP
- HOOF IT: (SLANG) WALK; SEE FOOT IT
- LEG IT: (SLANG) SEE FOOT IT
- LIMP: WALK UNSTEADILY BECAUSE OF INJURY, ESPECIALLY FAVORING ONE LEG; SEE ALSO FALTER
- LUMBER: WALK SLOWLY AND HEAVILY
- LURCH: WALK SLOWLY BUT WITH SUDDEN MOVEMENTS, OR FURTIVELY
- MARCH: WALK RHYTHMICALLY ALONE OR IN A GROUP, ESPECIALLY ACCORDING TO A SPECIFIED PROCEDURE
- MEANDER: WALK OR MOVE AIMLESSLY AND IDLY WITHOUT FIXED DIRECTION
- MINCE: WALK DELICATELY
- MOSEY: SEE AMBLE; ALSO, USED COLLOQUIALLY IN THE PHRASE “MOSEY ALONG”
- NIP: WALK BRISKLY OR LIGHTLY; ALSO USED COLLOQUIALLY IN THE PHRASE “NIP (ON) OVER” TO REFER TO A BRIEF WALK TO A CERTAIN DESTINATION, AS IF ON AN ERRAND
- PACE: WALK PRECISELY TO MARK OFF A DISTANCE, OR WALK INTENTLY OR NERVOUSLY, ESPECIALLY BACK AND FORTH
- PAD: WALK WITH STEADY STEPS MAKING A SOFT DULL SOUND
- PARADE: WALK OSTENTATIOUSLY, AS IF TO SHOW OFF
- PERAMBULATE: SEE STROLL; TRAVEL ON FOOT, OR WALK TO INSPECT OR MEASURE A BOUNDARY
- PEREGRINATE: WALK, ESPECIALLY TO TRAVEL
- PLOD: WALK SLOWLY AND HEAVILY, AS IF RELUCTANT OR WEARY
- POUND: WALK OR GO WITH HEAVY STEPS; MOVE ALONG WITH FORCE OR VIGOR; SEE LUMBER
- POWER WALK: WALK BRISKLY FOR FITNESS
- PRANCE: WALK JOYFULLY, AS IF DANCING OR SKIPPING
- PROMENADE: GO ON A LEISURELY WALK, ESPECIALLY IN A PUBLIC PLACE AS A SOCIAL ACTIVITY; SEEPARADE
- PROWL: WALK NOISELESSLY AND CAREFULLY IN A PREDATORY MANNER
- PUSSYFOOT: WALK STEALTHILY OR WARILY
- RAMBLE: WALK OR TRAVEL AIMLESSLY
- ROAM: GO WITHOUT FIXED DIRECTION AND WITHOUT ANY PARTICULAR DESTINATION, OFTEN FOR PLEASURE; SEE RAMBLE
- ROVE: TRAVEL CONSTANTLY OVER A RELATIVELY LENGTHY TIME PERIOD WITHOUT A FIXED DESTINATION; WANDER
- SASHAY: GLIDE, MOVE, OR PROCEED EASILY OR NONCHALANTLY; SEE PARADE
- SAUNTER: WALK ABOUT EASILY
- SCUFF: WALK WITHOUT LIFTING ONE’S FEET
- SHAMBLE: WALK OR GO AWKWARDLY; SHUFFLE; SEE SCUFF
- SHUFFLE: WALK WITHOUT LIFTING THE FEET OR WITH CLUMSY STEPS AND A SHAMBLING GAIT; SEESCUFF
- SKULK: MOVE IN A STEALTHY OR FURTIVE MANNER
- SOMNAMBULATE: WALK IN ONE’S SLEEP
- STAGGER: WALK UNSTEADILY
- STALK: WALK STEALTHILY, AS IN PURSUIT
- STEP: WALK, OR PLACE ONE’S FOOT OR FEET IN A NEW POSITION
- STOMP: WALK HEAVILY, AS IF IN ANGER
- STRIDE: WALK PURPOSEFULLY, WITH LONG STEPS
- STROLL: WALK IN A LEISURELY WAY; SEE SAUNTER
- STRUT: WALK WITH A STIFF, ERECT, AND APPARENTLY ARROGANT OR CONCEITED GAIT; SEE PARADE
- STUMBLE: WALK CLUMSILY OR UNSTEADILY, OR TRIP
- STUMP: WALK HEAVILY, AS WITH A LIMP; SEE LUMBER
- SWAGGER: WALK WITH AGGRESSIVE SELF-CONFIDENCE
- TIPTOE: WALK CAREFULLY ON THE TOES OR ON THE BALLS OF THE FOOT, AS IF IN STEALTH
- TODDLE: MOVE WITH SHORT, UNSTEADY STEPS, AS A YOUNG CHILD; SEE SAUNTER AND STAGGER
- TOTTER: WALK OR GO WITH FALTERING STEPS, AS IF FROM EXTREME WEAKNESS; SEE STAGGER(ALSO, SWAY OR BECOME UNSTABLE)
- TRAIPSE: WALK LIGHTLY AND/OR AIMLESSLY
- TRAMP: WALK HEAVILY OR NOISILY; SEE LUMBER AND HIKE
- TRAMPLE: WALK SO AS TO CRUSH SOMETHING UNDERFOOT
- TRAVERSE: WALK ACROSS OR OVER A DISTANCE
- TREAD: WALK SLOWLY AND STEADILY
- TRIP: WALK LIGHTLY; SEE ALSO STUMBLE
- TROMP: TREAD HEAVILY, ESPECIALLY TO CRUSH UNDERFOOT; SEE LUMBER
- TROOP: WALK IN UNISON, OR COLLECTIVELY
- TROT: PROCEED AT A PACE FASTER THAN A WALK; SEE NIP
- TRUDGE: WALK SLOWLY AND WITH HEAVY STEPS, TYPICALLY BECAUSE OF EXHAUSTION OR HARSH CONDITIONS; SEE PLOD
- WADDLE: WALK CLUMSILY OR AS IF BURDENED, SWINGING THE BODY
- WADE: WALK THROUGH WATER OR WITH DIFFICULTY, AS IF IMPEDED
- WANDER: TO MOVE FROM PLACE TO PLACE WITHOUT A FIXED ROUTE; SEE RAMBLE
RESOURCES: (X) (X) (X) (X) (X)
Avoid problems created by these words or phrases:
- And also This is often redundant.
- And/or Outside of the legal world, most of the time this construction is used, it is neither necessary nor logical. Try using one word or the other.
- As to whether The single word whether will suffice.
- Basically, essentially, totally These words seldom add anything useful to a sentence. Try the sentence without them and, almost always, you will see the sentence improve.
- Being that or being as These words are a non-standard substitute for because. Being that Because I was the youngest child, I always wore hand-me-downs.
- Considered to be Eliminate the to be and, unless it’s important who’s doing the considering, try to eliminate the entire phrase.
- Due to the fact that Using this phrase is a sure sign that your sentence is in trouble. Did you mean because? Due to is acceptable after a linking verb (The team’s failure was due to illness among the stars.); otherwise, avoid it.
- Each and every One or the other, but not both.
- Equally as Something can be equally important or as important as, but not equally as important.
- Etc. This abbreviation often suggests a kind of laziness. It might be better to provide one more example, thereby suggesting that you could have written more, but chose not to.
- He/she is a convention created to avoid gender bias in writing, but it doesn’t work very well and it becomes downright obtrusive if it appears often. Use he or she or pluralize (where appropriate) so you can avoid the problem of the gender-specific pronoun altogether.
- Firstly, secondly, thirdly, etc. Number things with first, second, third, etc. and not with these adverbial forms.
- Got Many writers regard got as an ugly word, and they have a point. If you can avoid it in writing, do so. I have got to must begin studying right away. I have got two pairs of sneakers.
- Had ought or hadn’t ought. Eliminate the auxiliary had. You hadn’t ought not to pester your sister that way.
- Interesting One of the least interesting words in English, the word you use to describe an ugly baby. If you show us why something is interesting, you’re doing your job.
- In terms of See if you can eliminate this phrase.
- Irregardless No one word will get you in trouble with the boss faster than this one.
- Kind of or sort of. These are OK in informal situations, but in formal academic prose, substitute somewhat, rather or slightly. We were kind of rather pleased with the results.
- Literally This word might be confused with literarily, a seldom used adverb relating to authors or scholars and their various professions. Usually, though, if you say it’s “literally a jungle out there,” you probably mean figuratively, but you’re probably better off without either word.
- Lots or lots of In academic prose, avoid these colloquialisms when you can use many or much. Remember, when you do use these words, that lots of something countable are plural. Remember, too, that a lot of requires three words: “He spent a lot of money” (not alot of).
- Just Use only when you need it, as in just the right amount.
- Nature See if you can get rid of this word. Movies of a violent nature are probably just violent movies.
- Necessitate It’s hard to imagine a situation that would necessitate the use of this word.
- Of Don’t write would of, should of, could of when you mean would have, should have, could have.
- On account of Use because instead.
- Only Look out for placement. Don’t write "He only kicked that ball ten yards" when you mean "He kicked that ball only ten yards."
- Orientate The new students become oriented, not orientated. The same thing applies to administrate — we administer a project.
- Per Use according to instead. We did it per your instructions? Naah. (This word is used frequently in legal language and in technical specifications, where it seems to be necessary and acceptable.)
- Plus Don’t use this word as a conjunction. Use and instead.
- Point in time Forget it! At this time or at this point or now will do the job.
- Previous as in “our previous discussion.” Use earlier or nothing at all.
- So as to Usually, a simple to will do.
- Suppose to, use to. The hard “d” sound in supposed to and used to disappears in pronunciation, but it shouldn’t disappear in spelling. “We used to do that” or “We were supposed to do it this way.”
- The reason why is because. Deja vu all over again!
- Thru This nonstandard spelling of through should not be used in academic prose.
- 'Til Don’t use this word instead of until or till, even in bad poetry.
- Try and Don’t try and do something. Try to do something.
- Thusly Use thus or therefore instead.
- Utilize Don’t use this word where use would suffice. (Same goes for utilization.)
- Very, really, quite (and other intensifiers) Like basically, these words seldom add anything useful. Try the sentence without them and see if it improves.
So you want to write a kissing scene, huh? Well, sit down children and allow me to inform you.
What’s the scene?
If you want this kiss to mean anything, it can’t just be thrown at the readers; it needs to be set up. The scene you set will also set the mood for the kiss. Consider the following:
Are they alone? Around others?
Depending on the previous question, what’s the importance of the number of surrounding people?
Are they standing or sitting?
What time of day is it?
Are they at an event?
Closing the distance
Alright, this is a biggie. How do these two get close enough to kiss? There are many ways to do this and each one has its benefits. If the closing is slow and steady, this usually indicates a soft/passionate/unsteady kiss. However, if the closing is fast or sudden, this usually means a hard/assertive kiss (possibly from months/years of romantic or sexual tension).
The five senses
Sight: Sight is probably the easiest of the senses; simply write what is seen. If you write from one character’s point of view, write what they see.
Sound: This could be either background noises or a character’s heart beating or anything else. If the kiss continues, you could possibly include soft moans or other noises if they seem appropriate to your character.
Smell: Describe what your character smells. It could be the way their perfume or cologne smells, or you could describe their natural scent.
Touch: This is an important aspect to describing the kiss. You could choose to describe how the character’s skin feels. Or you could describe how the character’s lips feel against the other character’s.
Taste: Taste has a very broad range and is generally not as easy as it sounds. There are many description words and tastes to use. It is important to the mood what description you choose.
Heads: Most people tilt their head when they kiss. Of course, your kiss does not have to happen this way. Usually when characters do not tilt their head it creates awkward bumping foreheads, which could be what you want if you want an awkward first kiss (these are effective for teen kisses).
Eyes: Eyes open or closed? Open creates either an awkward or tender kiss. While closed creates a passionate or pleasurable or just about anything kiss.
Noses: Noses are invading appendages that get in the way of perfect kissing. Henceforth, no kiss is perfect so don’t write them that way. Noses will always get in the way. Even when your characters tilt their heads, noses can still brush the side of their faces. Now, your characters will probably not notice them (unless they’re the type to notice everything) unless they have an awkward kiss.
Lips: LIPS! You’re writing a kissing scene, of course lips will be important to the description. Are they soft or hard, chapped or smooth, is your character even a good kisser? You could also include if maybe they taste like some kind of food, or if they are wearing chapstick. Lips are important.
Tongues: First kisses usually don’t include tongue; neither do quick kisses. Think about what type of kiss you’re trying to convey
Breathing: Your characters are human (unless they aren’t). They need to breathe. But how has the kiss affected their breathing?
Bodies: Bodies are stupid, messy things that bump and rub and bounce. How are your characters responding to the kiss? Are they pulling closer or pushing away? Are they clenched tight or flowing loosely?
Hands and Arms: During a kiss, hands could be floating in the air (awkward or surprise kiss), or they could be everywhere on the other character’s body at once. Possible places to put hands that are not on the other character’s body could be surfaces near the characters, the character’s own body, or they could just be in the air. But if you’re looking for contact, they could be running their fingers through the other character’s hair, holding the back of their head or neck to keep them close, rubbing their back (or further down), or just wrapping their arms around the other character.