Nov 4, 2017

Shifts Within a Webcomic

This is part two of a three-part series I wrote after reading MegaTokyo. I felt I had to really delve into a perspective I view webcomics through, then with those, I could explain in part three why I recommend MegaTokyo. Even if you’re not interested in MegaTokyo, hopefully the perspective is useful.

This piece is about looking at how webcomics change over time. This’ll be useful for later articles, because a large part of the reason I like MegaTokyo is that its thesis hasn’t changed much, so I feel the same emotions reading it as I did in the past.

Also, a note: These probably won’t be entertaining reads! I wound up formulating them as pretty analytical, critical pieces, rather than stirring and witty conversations. I mostly wrote these for myself, but if they’re interesting perspectives for other people, awesome. I also don’t make any claims to this being new or groundbreaking ways of thinking, it’s just me codifying how I want to think about stories.

Part one is here. Also, spoilers for Questionable Content and MegaTokyo.
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Questionable Content 1847

At some point, Jeph Jacques of Questionable Content mentioned that QC has actually been three different comics – at least, I think it was him, I can’t find the quote. Unlike a lot of other comics that changed dramatically, that was a change midstream. It wasn’t part of a relaunch, it wasn’t a change from gag-a-day to storylines – the pivot points in QC were more subtle, but absolutely changes to the core of the story.

(At this point, if you haven’t read my previous piece on theses in webcomics, please do so. I’m going to be writing as though my audience has read it.)

To ground this conversation in examples, let’s start by looking at QC’s shifts, and how the thesis changed each time.


Until #500, “The Talk,” when the possibility is closed of Marten and Faye getting together:
  • Marten and Faye will grow closer, exploring and exposing their confidence issues.

#501 until the time skip around #3136:
  • Life will change, and your friendships will change. The people who matter to you will move in and out of your life, and when you’re mentally healthy, your own story won’t matter as much as the story you share with your friends.

#3137+, after Faye hit alcoholic rock bottom and Marten entered a happy, healthy relationship, with a bit of time after for everyone to move on:
  • Define your identity, separate from your past and the expectations of others, and establish a place for yourself in your community where you can improve it. That is the path to self-fulfillment. 

These were dramatic changes in both the emotional content of the stories, and the narrative focus. To quote the man himself,


(@jephjacques, Twitter, Oct. 26th)


Backing out to a broader view, I see four types of shifts in webcomics:


I’m most interested in that last category, because it’s the least disruptive change, but still changes the nature of the comic. If a creator decides to take the comic from gag-a-day to storylines, or make it completely grim ‘n’ gritty, then of course the comic’s essence is going to change. But then there are smaller changes, nothing as obvious, but still completely shifting the story’s thesis. The emotions it inspires are different, the narrative is different.


PvP, 10/19/2005

Let’s talk about some other examples, and some important counter-examples.

PvP, Least I Could Do, Something*Positive, and Penny Arcade: You’ve probably read at least one of these, so my guess is you’ll recognize this moment. At some point in the comic, you noticed that the rougher edges had been filed off the main character, and they were trying to support their friends while teasing them, instead of taunting them horribly. Kids may have been introduced. These changes just make sense: The creators got older. The life experiences that mattered to them became the more reflective, more mature.

For PvP and LICD, the change was the most dramatic, because the shift towards more mature characters happened alongside a shift towards continuity and changes to the status quo. S*P and Penny Arcade kept their formats, but the style and the jokes changed. I’d argue that the thesis change for these stories was enough that they’re basically new comics once after the shift. (PvP and PA are probably the least changed, since the emotional reflection is mostly constrained to the occasional storyline.)

Sam and Fuzzy: Like QC, S&F went through two different shifts, with the start of the Noosehead series and again with the Fix Your Problem series. What’s most notable is that, although the start of Noosehead came with a shift in format (away from mostly gag-a-day), the shift with the modern series just coincided with a time skip.

Dumbing of Age is an interesting outlier. It’s been around for seven years, so it’s past the age where most of the other comics I looked at had their shift, but it’s stayed with the same thesis: following Joyce’s maturation as she becomes more sympathetic to friends, and reconciles her faith and empathy in light of the toxic effect some Christians have on her friends.

It’s an outlier that proves the rule to some degree, though. Dumbing of Age is David Willis’ fourth comic, and two of them had very clear Ceberus Syndrome moments. Dumbing of Age was created with a clearer thesis from the beginning, and Willis also has the Slipshine comics as a creative outlet into other forms of storytelling. By comparison, all the other comics on this list were the creators’ first big comic, so a shift would happen midway. Oh Joy Sex Toy is another example of this, in that it hasn’t changed focus, but it’s also Erika Moen’s third major comic.

I’m also choosing to leave out webcomics that are just unrelated gag-a-day comics, XKCD and SMBC. I went through all the webcomics I currently read, and most of the ones I remember well enough to weigh in on; here’s the breakdown of what shifts they experienced.



So what we’ve seen a lot of is comics change in tone as their creators get older, and a lot of comics change in format, and a lot of comics eventually change their focus.

I’m going to do a quick note: A lot of these changes happened 2005-2008. QC, Sam and Fuzzy, LICD, EGS, PvP, all of those went through their (first) big shifts in that time range. I don’t know if it was because the medium was maturing, or just that the webcomics I read all started at about the same time, and they reached an age where the creator decided something had to change. So, that’s interesting.

Also interesting is that for many of these comics, they haven’t had a change to that degree since then. El Goonish Shive is an excellent example: It’s been ten years since it changed its thesis to focus on questions of identity, and I don’t know that it’s changed its thesis since then. Introduced new characters, certainly, but no new core characters, and although new challenges have cropped up, they’re all still related to the core thesis.


Sam and Fuzzy #1056 

Taking both of those points in, and going back to where this all started, three webcomics are especially interesting: Questionable Content, Sam and Fuzzy, and MegaTokyo. QC and Sam and Fuzzy have both had two major shifts in thesis, QC being especially interesting because it wasn’t part of a major rebranding or anything, just the end of a long-running status quo, in a comic that already had a number of those happen.


And then there’s MegaTokyo. Despite running as long as almost all of these comics, MegaTokyo doesn’t have any major changes, except for the initial shift from wacky gamer comedy to a more emotional shojo plot, which I’m going to discount as Early Installment Weirdness.

There is a shift in focus, and I guess it’s enough to qualify as a change in thesis, but it’s pretty minor. Importantly, it’s mostly a shift in what narrative storyline gets prominence, and a partial shift in who's dealing with what, not a change in the tone of the story.


Before Chapter 10:
  • Piro will deal with issues of confidence and fear of being hurt again, having difficulty owning his own feelings; until he succeeds in doing so, and letting go of past pain, he will be never be really in love and have someone in love with him.
  • Kimiko and Largo have the same, albeit without the past hurt, instead just having a general fear of opening up.
  • Erika, Kimiko, and Ping will deal with defining their own identity and story; others will try to define them and control their lives, and if they let that happen, they will be miserable, controlled, and fake.
  • Character focus (ordered by decreasing prominence): Piro, Kimiko, Largo, Ping, Miho, Erika.

Starting with Chapter 10:
  • Piro will have to process and let go of past pain, finding reconciliation where it is offered. Until he does, he won’t be able to be completely honest and healthy with Kimiko.
  • Miho and somewhat Ping will deal with defining their own identity and story; others will try to define them and control their lives, and if they let that happen, they will be controlled, doomed, and fake. Possibly dead.
  • Character focus: Piro, Miho, Yuki, Kimiko, Largo, Erika, Ping.

MegaTokyo #1454

I won’t pretend this is a perfect analysis of the story – there’s a ton going on, and I read through Chapter 10+ in one sitting, so my analysis may be incorrect. But on reflection, those are the core pieces of thesis I could draw out of it.

The biggest change isn’t the specific challenges people face, but who’s dealing with them, and who gets screen time. Largo and Erika have pretty much worked out their issues by the time Chapter 10 rolls around, they’re a pretty happy couple, supportive of their friends. Piro’s still having issues, but now it’s specifically focused on his past, instead of a lack of confidence. Kimiko and Erika’s issues with mass crowds obsessing over their stories has been shifted to Miho.


Take note of that. The third part of this series is going to deal specifically with the fact that the thesis of MegaTokyo doesn’t change much, and that it continues to feel the same.

The Thesis of a Webcomic

This is part one of a three-part series I wrote after re-reading MegaTokyo. I felt I had to really delve into a perspective I view webcomics through, then with those, I could explain in part three why I recommend MegaTokyo. Even if you’re not interested in MegaTokyo, hopefully the perspective is useful.

This piece is about looking at the theses (singular: thesis) of webcomics. This’ll be useful for later articles, because a large part of the reason I like MegaTokyo is that its thesis hasn’t changed much, so I feel the same emotions reading it as I did in the past.

Also, a note: These probably won’t be entertaining reads! I wound up formulating them as pretty analytical, critical pieces, rather than stirring and witty conversations. I mostly wrote these for myself, but if they’re interesting perspectives for other people, awesome. I also don’t make any claims to this being new or groundbreaking ways of thinking, it’s just me codifying how I want to think about stories.

Part two is here.

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Questionable Content #462

So, what do I mean by “thesis”? I’m using the term like we did in five-paragraph essays, where the thesis was a short summary of your argument. To my mind, the thesis of a webcomic is a statement about the comic’s intent, and a summation of what kinds of stories will be told. If the webcomic strays from that thesis, then it’s fundamentally changed its essence.

Let’s start with an example: At the start of Questionable Content, the thesis as I read it was “Marten and Faye will grow closer, exploring and exposing their emotional issues.”

The thesis is the essence of what the comic is trying to capture and convey. As I define them, the thesis is usually a mix of a statement about the world, and a statement about what the characters will face. To use the example above, the statement about the world is that people have issues with confidence and trust, and that’s normal; the statement about the characters is that they’ll be coming to know each other better, and together they’ll be facing the wounds and issues they carry.

The latter portion can also serve as a plot outline – the major challenges that the characters face will need to fit into the thesis. Using early QC as an example, we’ll have storylines about Faye and Marten talking about their pasts, and the damage they accrued from them, and trying to help the other person through the emotional pain of them. Of course there are other stories as well, but the core of the story, the storylines we remember, are about the will-they, won’t-they and the slow revelations of why they’re the way they are.


El Goonish Shive #1764

Why does it matter that we look at webcomics from a thesis perspective? Partly for the elevator pitches, but mostly because it helps understand what the author wants to convince us of.

We’ve all had the moment of trying to convince a friend to read a webcomic. Saying “it’s a slice of life story about a group of friends in a post-singularity world” isn’t very persuasive, is it? Humans are hardwired to be compelled by anecdotes and specifics. Identifying the thesis as fans means we can talk about the core of the story, the will-they won’t-they dynamic and people honestly trying to improve themselves – that’s the part of QC that’s compelling. You’re simultaneously communicating the emotional beats and the specific kind of scenarios that can come about.

More importantly for this piece, the thesis helps the creator figure out what they want the reader to do. This is about to go on a tangent about my philosophy on communication, so hold on tight, I’ll try to keep it short. There’s a theory that all communication is persuasive, that everyone you say or write is about trying to convince someone to your viewpoint – for instance, that saying “I’m sorry that happened to you, how can I help?” is about persuading the person that you care about them, that they matter, that you’re a good friend, etc.

I don’t fully agree, but I do think most stories have a persuasive nature. This is especially true in stories that have a clear moral: “Give mercy instead of vengeance.” “Don’t live in fantasy just to avoid being hurt.” “The ends don’t justify the means.” “This character bettered their life by finding confidence.” Even in stories that aren’t clearly moralizing, we almost always have a moral baked into them – if I tell a story about my hilarious misadventures, what I’m really saying is “Things can go wrong, but we should be able to laugh at it (unless it’s really awful), and weird plans and decisions are still valid.” Stories pass judgment.

Extrapolating that a bit further, stories that have a moral don’t just want to convince you of something, they want to convince you to do something. QC until 500 is telling me to open up to people, to work on my issues, to build friendships and earnestly enjoy life. As a creator, codifying and understanding your thesis means you understand what you’re telling your reader to do. As a reader, understanding the thesis means you can decide whether to do that thing.


Dumbing of Age, "Humility"

And if you do, good news – the creator provided you with a script for how to do it. Reading QC, especially later comics, helped me understand that people aren’t perfect, that I don’t need to be perfect, and I can put myself out there emotionally without having to first fix myself to some unrealistic level. It gave me examples of damaged, low-confidence men being honest with their friends and romantic interests. Early MegaTokyo taught me to be confident, and to understand that if someone else says something to hurt me, sometimes it was them screwing up, same as I sometimes screw up and hurt other people. El Goonish Shive taught me to think about my sexuality and identity, and if something comes up, to think it through without instantly rejecting it.


MegaTokyo #489

So having written all of that, let’s get to a breakdown of the theses for a number of comics. I took a look at a number of older webcomics that I’ve read, though some of them it’s been a long while since I read them. As such, there’s a definite possibility I got some of these wrong; also, I may have drawn out different theses than the creators would have drawn out, in which case they’re probably correct.


  • Sam and Fuzzy:
    • Starting with Sam and Fuzzy Fix Your Problem: Sam’s attempts to try to better the world and connect with Devahi will fail or compromise his ethics, until he can improve both his pragmatism and moral code.
  • Questionable Content:
    • Until #500: Marten and Faye will grow closer, exploring and exposing their confidence issues.
    • #501 until the time skip around #3136: Life will change, and your friendships will change. The people who matter to you will move in and out of your life, and when you’re mentally healthy, your own story won’t matter as much as the story you share with your friends.
    • #3137+: Define your identity, separate from your past and the expectations of others, and establish a place for yourself in your community where you can improve it. That is the path to self-fulfillment.
  • El Goonish Shive:
    • After the Painted Black storyline: The heroes will discover their identities, exploring and being spurred towards them partially by their interactions with the supernatural.
  • Oglaf:
    • Until the end of the apprentice era: The apprentice will be subjected to sexy escapades by those more powerful than him.
  • Penny Arcade:
    • Early: There’s plenty of idiocy and idiosyncrasies in the gaming world; Gabe and Tycho will riff on them, and their own idiosyncratic responses to it.
    • More recently: There’s plenty of idiocy and idiosyncrasies in the gaming world; Gabe and Tycho will riff on them, and respond to life’s experiences and growing older in their own idiosyncratic ways.
  • PvP: Pretty much the same as Penny Arcade.
  • A Girl and her Fed:
    • First arc: Abdicating control to people who have no transparency is dangerous; they will use people without caring about the harm they do.
  • Something Positive:
    • Until about 2006: Trying to be valid and reclaim your time in a world that’s dumb and hostile can lead you to being hostile and sarcastic. Davan (and his friends) will find the people who share your perspectives on validity and prioritize them above all else.
    • Since then: Davan (and his friends) will cut through the bullshit of a world that’s dumb and hostile, and invest your time in friends and family, because life will throw challenges at you all, and facing them together is the purpose of life.
  • Dumbing of Age:
    • As Joyce is learns about her friends’ life experiences and the toxicity of her family’s fundamentalism, Joyce and her friends will struggle her way towards a more genuine philosophy of empathy and good works.
  • Least I Could Do:
    • Until 2006: Rayne’s pursuit of sex and the entertainment of it are categorically good, and the world is better when people relax and take a joke.
    • After 2006: Enjoying sex is good, but the context of how and who you should have it with will be different for everyone. Real fulfillment, which Rayne chases, is in supporting and spending time with the ones you care about.

Next article: Let's talk about when webcomics change their thesis.

Oct 19, 2017

World a Day, #10

Series name: Balboa Point

This one was interesting, it’s the first time I’ve done a setting where combat was really de-emphasized. I ended up being inspired by Pacifica and other California coast towns – you can see some of Cayucos, Monterey, Pacifica, and driving through the hills on 280 blended into this setting. I felt like I had a real sense of place while writing this, I could visualize a lot of the elements.

I’ve never lived in a small town, so I might have missed the mark on some of the “small town, intolerant local elites, homogenized populace” vibe that this has. If so, apologies! But it was interesting to me to have that small, partially-isolated populace, where it was conceivable to ascribe the social ills to a specific few organizations, and imagine them having that much influence almost all across town.


This also seems like a good spot to talk about what I’ve learned from doing these settings. First: I take a loooong time on these. Thankfully the gamified version of this worldbuilding moves much quicker – I think part of it is that it’s slower building ideas solo, and I go deeper into each element than during the gamified version. That’s been one of the biggest reasons this was so infrequent, I think this setting is the result of about six hours of work, thereabouts.

Second, this really is the kind of thing that I enjoy. When I started all this, I put more energy into building the episode system, the world-building just had to come first, so I built that out first. I think I’ll still enjoy making episodes whenever I do that, but this is the interesting stuff for me: planting story hooks, building the world, setting up the characters. The ideas rather than the execution, I suppose.

Anyways, here’s Balboa Point – hope you enjoy it! As always, the Infinitarium rules set is here, and the world-generator itself is here.


(Minor CW: Some misogyny and swearing.)
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The Grizzly Bear Diner is a chain in town, two locations. They have a full-sized grizzly bear in them, stuffed – but headquarters didn’t have enough for them, so they had to split. Each of the two locations have half a bear, divided head to navel. At the friendly HQ, it’s propped up by the bathroom, angled so that while you’re eating, it looks like there’s a full bear; when you go to the bathroom, as you walk into the hallway, there’s a half-second where you’re at the right angle to see the flatness of its missing side.

The Cabrillo Grizzly Bear Diner sits on Highway 1, a dirt turnoff right into the parking lot of the diner. Across the highway, on the western side, there’s a metal railing and an immediate dropoff down to water; you can sit at one of the window tables in the diner, and look out at the ocean. At night, it’s just a black void, occasionally broken up by the lights of a ship going by in the distance, passing as it sails towards San Francisco or Oakland. On some nights, the moon comes out; on some nights, you shiver as the light on the water is cut off by clouds passing the moon. On some nights, the fog rolls in while you’re drinking your coffee, and when you leave and go back to your car, the cold is something wet that you walk into, and you drive home at fifteen miles an hour because you can’t see anything.

But as long as you sit in the diner and don’t look outside, it’s a home, it’s bright and cheery. The coffee refills are free, and your water gets refilled as soon as it dips below half-full. They aren’t crowded at night, but there are always a few teens and college students there, and no one minds if you get loud or play a board game all night. It’s a home. It’s a family. Don’t look at the bear too closely. It’s friendly. Don’t look.

The Pismo Grizzly Bear Diner is on the other side of town, nestled on the eastern side, within walking distance of the town’s high school and community college. One side of the Diner borders Pismo Creek; here it’s just eight feet wide, three feet deep, with both banks entirely covered in underbrush. It doesn’t move much, but sometimes a few kids will put an inflatable raft in the creek and paddle out to where it meets the ocean.

The Pismo Grizzly is always loud, and when the OBA brings a group here to celebrate after an activity, it gets louder. The lighting here is brighter than in the Cabrillo Grizzly, more like a restaurant than a diner, and the tables are porcelain white, instead of imitation wood. They get regular shipments of crayons and paper placemats for kids to draw on.


The 1 is a bar and motel further up Highway 1, technically just outside of Balboa Point. It caters to the weekend bikers and other folks just passing through – everything from the name to the clientele ruffles most of the folks in Balboa Point. It’s especially a problem because it competes with the town’s bed and breakfasts and beach house rentals. A fair chunk of the town’s economy is based off tourists, coming down for a summer weekend at the beach, visiting the art and wine festival, eating some fresh fish and the local cioppino, then driving back home on Sunday afternoon. A lot of those visitors choose to stay at the cheaper motel.

The 1 bar itself has a limited beer selection, but it has a pool table and a mini-shuffleboard set in the back room, and there’s a Good Humor ice cream freezer near the front. There’s a patio outside with an old, plastic table and umbrella, where patrons go out to smoke.

The bar and motel are the stomping grounds of Jade, an old python that the owner has kept for years. Jade spends most of her time in the heated tanks, one in the bar and one in the motel’s office, but occasionally she’ll choose another perch. She’s been known to climb up to the rafters, and some newcomers to the bar get a jump-scare when they notice her up there, staring down at them. Jade is a respected matron of The 1, and if anyone taps on her glass trying to get her to perform, they’re going to get thrown out with prejudiced. The bikers and regular patrons of The 1 are as protective as the owner, and if she chooses to slither somewhere, she’s allowed there, no questions asked.

--

The Older Brothers Association: It’s an after-school organization, a department of the local government that pushes kids and young adults to participate in scout-type organizations, clean-up programs, etc. It’s for both genders, but little things add up, it’s understood that it’s weighted towards the boys. It’s common to see one of their trolleys, painted in the OBA colors, going somewhere. They go places, even when most of the town doesn’t go out much, they’re active in the afternoon and early evening, and on school nights.

These activities double as… not quite indoctrination, it’s not that obvious, but people are harmonized. They settle down. They marry early. They wait for marriage. They follow a gender binary and view only heterosexual relationships as natural. They take the Protestant heritage of the town seriously. The faction jealously looks out for any influence from Catholics, Jews, Muslims, or any other denomination. They The other is made to conform, or it is ostracized.


Faction 1: The Chamber of Commerce Advisory Board. Many of the graduates of the OBA are invited to join the Board, exclusively men. They go to bars and drink, and they flirt at the waitresses, and they drink, and maybe once a month someone gets in an argument into a fight with an out of towner, or someone who isn’t part of the Board.

The Balboa Point Chamber of Commerce is driven by the members of the Board, and the members start dressing alike, and especially, accepting the hazing that is their tradition. Humiliation and physical abuse are normalized for new members, or the losers in the fantasy league. “Don’t be a bitch,” they say. “A few punches never killed anyone.” And on Monday, Jeff will show up, wearing the same shirt as the ones who beat him, and he’s bruised, and he’s smiled.


Faction 2: The PTA. The mothers and teachers of the town, the smiling women whose only jokes are about what their husbands can’t do. In Balboa Point, only the women go to the PTA meetings – mostly. Sometimes a new family will show up and men will try to join, or a new parent will join. But only the women go to PTA meetings. They will compliment each other on the new outfits, the new activities they’ve taken up – everything changes constantly, a war of surface reinvention for compliments. They smile, and someone presents the agenda, and they vote on it. And something changes. And something changes. And.

Faction 3: The weekend bikers. They come through from other parts of California, stopping in Balboa Point for a meal or occasionally a night. The Board gets in fights with them, and the PTA looks up her noses at them, but they keep coming. The OBA actually doesn’t mind them – they make a valuable moral counterpoint, with the occasional deaths on the road emphasizing how such a lifestyle has a sharp end. They’re friendly to the party.


Faction 4: The discussion. The discussion is about whatever it needs to be about; it invites members from the OBA, the Board, and the PTA. It keeps things running. When there are conflicts at home between Board and PTA members, the discussion is about them. When the bikers spend too long in town, the discussion is about them. When someone outside the groups is getting into trouble, the discussion is about them.

The discussion happens at a former Chinese restaurant in Balboa Point; the architecture stayed, but the interior was gutted, becoming a new restaurant dominated by glass sculptures, bending the light through them, making it look oily. It’s a weird contrast, because the sculptures look like they should be in a fancy restaurant, but the tables and the wallpapers are unassuming.
--

The series begins with the disappearance of Freddy Hudson, a prankster who left the OBA shortly after his parents made him join. He was a freshman in college, going to the community college in Balboa Point. One day he was there, the next… not at class, not at the Cabrillo Grizzly with his friends, not calling his girlfriend Joanna.


Joanna Brooks is trying to figure out where he’s gone, and the more she opens her eyes, the more she sees how unsettling the town is. Her mother left Balboa Point as soon as she graduated high school, but after a divorce when Joanna was a year old, she moved back for help raising her daughter. She remarried, and although she didn’t join the PTA, her new husband is a member of the Board. Occasionally Joanna’s mother will start to tell a story about her time away from Balboa Park, but she’ll stop suddenly, smile sadly, and change the subject.

Joanna wears a black and red plaid button-down, one of Freddie’s old shirts, usually over a black tee shirt. When it’s especially cold, she wears a beanie. She’s got a pair of glasses with thick black frames, kind of a hipster look. Joanna’s nineteen, she’s towards the end of her freshman year at the community college.

Joanna isn’t in touch with any sort of power, but she’s able to pull together a group through her willingness to listen, and her determination to investigate. Almost everyone in Balboa Point has had an experience they can’t explain, something unsettling. When Joanna was asking around about Freddy, she went everywhere she could think and asked anyone that might know where he went, including to an old train yard; it’s been unused for decades but it used to connect Balboa Point to what’s now one of the Amtrak stops. There’s still an old train there, silver cars and a red-faced engine with wide windows at the top. She asked some of the passerbyes if they’d seen Freddie, but none of them had. She looked back to the train, and for a second, she thought she saw a face, and the jaws open, wider than the world, still tied to the tracks but rushing towards her, and someone said “Maybe he went to the city,” and she spun around and it was just one of the people she’d talked with. Whenever she thinks about the train at night, she can’t be sure that it’s still there, tied down by the tracks. Sometimes when the fog comes in, she hears the bell of a crossing, the screaming howl as the train approaches, and the pounding as it rolls along the track. She hasn’t forgotten that when she saw the train’s true face, it was emblazoned with the OBA’s logo on either side.

Joanna’s a former member of the OBA, and she does believe strongly in its stated goals of getting kids to help with public service and charity. She’s seen the misogyny of the OBA and the way it homogenizes people, and she’s determined to be an alternative role model for the kids in the organization. She’s especially worried about her younger half-sister, Cayla, who’s still in the organization. Cayla doesn’t open up about it, but she knows that she gets harassed for being wheelchair-bound. Sometimes she picks up Cayla from school, and she’s heard kids muttering about how long it takes to lower her wheelchair so she can get off the trolley. Joanna’s been tempted to start her own troop separate from the OBA; if she’s pushed hard enough, she might just do that.


Darrell Oliver is working with Joanna on this. His father is a troop master in the OBA, and Darrell had been an outstanding member of the OBA, leading a troop, helping organize activities, and mentoring younger members. It’s expected that after graduating college, he’ll join the Board and start being a troop master himself.

In preparation for that, he recently went to a Board hang-out at a sports bar, where his dad integrated him in, introducing him to some of the younger Board members, and encouraging him to get rowdy and loud with them. Eager to please, Darrell joined them, loudly flirting at waitresses, drinking competitively, and yelling at the game on the TV. When the Board was ready to end for the night, the younger members went out later, stumbling towards the Cabrillo Grizzly. From a distance, they watched as a few people left the diner, walking to their cars through the dark parking lot. One of them had an idea: The next person who leaves the bar, let’s… scare ‘em, right? It’s all freaks and geeks in the Cabrillo Grizzly. Make ‘em take the train.

Darrell’s ashamed to remember it, and he doesn’t talk about it if he can avoid it, but at first he went along with it. They stood between cars, invisible in the parking lot. It was the wait that gave him his spine back, waiting for the next person to come out. He tried to convince people that they shouldn’t do this; they looked back at him like he was joking, it’s just a prank, right? He spent a few minutes wrestling with it, watching a couple in the diner pay the check. As they were picking up, he mumbled that he needed to piss, stepping away from the group right as the couple left the diner, intentionally stepping weirdly so he loudly slipped and fell, alerting the couple that people were out there. The Board members scurried back to where he was, away from the cars. At first they were sure he alerted them intentionally, but fell back to just being suspicious after they saw him bleeding from the fall, then realizing he had a concussion.

Darrell’s new status quo is uncertain. As far as the older members of the Boardare concerned, he’s a golden boy, a future troop master. The younger members are suspicious, but they haven’t ostracized him. They’re just keeping a closer eye on him. Darrell himself is freaked out, though, certain that something’s wrong with the Board. He’d stop hanging out with the Board and former OBA members entirely if he could, but now he knows that suspicion would probably be dangerous. He’s taken to training pretty heavily at the gym and at a self-defense course to help him sleep without nightmares. When he moves through the forms, he feels something else moving in him, but he hasn’t been able to tell what it is. He didn’t know Joanna before all this, but when she asks him if he’s seen Freddie, he remembered the way the Board had seemed ready to kill; when he mentions that they said “Make ‘em take the train,” Joanna connects it with the train experience that she had.

Darrell is a stylish black man, a junior at the community college, well-dressed and in good shape. He’s got a good sense of humor, but his jokes sometimes cross the line into denigrating; it’s something he’s working on, he recognizes it’s what the OBA was trying to program into him. He’s spent a lot of his life trying to be stereotypically alpha, taking the lead in everything, and working out the leadership dynamic between him and Joanna will take some time.


Kent Carson is another OBA graduate; unlike Darrell, he’s stayed directly involved with the OBA in the post-high school years. He’s 19, but isn’t at community college, instead working as a trolley driver. During the morning, the trolley routes are optimized for students getting to school; in the afternoon, the trolleys deliver students to wherever the OBA activity of the day is; in the evening, they run from the activities back onto the normal routes for students to get home. Kent doesn’t get to help much with the actual events, but while the students are in school, he does often head to the activity site and help with setup.

Kent is a pallid white guy, wearing a denim jacket and jeans. His hair’s black and a little mussed, and he always looks like he didn’t get enough sleep. He’s friendly – or more accurately, he’s happy to talk with people, but if you talk with him too much, little facial tics will start to become unsettling. He doesn’t smile quite right, it’s a little too wide, and it’s hard for him to keep eye contact. Being a trolley driver is perfect for him, because he can call back to the kids, tell a joke, get them excited about today’s activity, all without having to maintain a conversation or be one-on-one with anyone.

Kent will never be a part of the Board, and it’s hard to imagine him as a troop master. Not the way he is now. The Board and the OBA leadership occasionally takes him along as a sop, since he’s working so hard to support the OBA, but he’s always just a bit off to the side. Usually he sits quietly at the table while people talk near him, or telling a story, “isn’t that right, Kent?” And he’ll laugh and nod, and the conversation goes on. Kent is aware of how he doesn’t fit with the jigsaw puzzle. Most days he tries to earn acceptance by putting in volunteer time. Kent knows a bit about the discussion he’s seen people take the train, and he knows that if he were less useful to the OBA, he might end up taking the train as well.

Sometimes he volunteers with the OBA because he wants to matter; sometimes he just wants to stay out of the discussion. Either way, he’s the main opposition to Joanna’s investigation. Unlike most of the OBA elect, he spends time at both the Cabrillo and Pismo Grizzlies. The Cabrillo is a better place to sit alone in the quiet, so he spends time there. He’s heard Joanna and Darrell talking about their experiences, and Freddie going missing. He’s going to follow them and find out what they know, and he’ll protect the OBA.


Once Kent brings up what he knows with the OBA and the Board, they’ll give him an ally: Alejandro Vasquez. Ro transferred to Balboa High as a junior, and ever since, he’s been one of the golden boys, straight As and varsity soccer. A few higher-ups look down on his history of racing over the weekends, but most dismiss it as just “boys being boys,” the kind of assertive attitude a Board member should have.

Ro maintains his cars himself, a souped-up Integra for racing and an F-150 for hauling parts and going off-road. He’s got a good head for spatial reasoning, and is better at detective work than most would expect, working off of when events happened and how quickly anyone could get between them. Kent initially thinks that Ro is just a flashy guy there to take over the investigation, but eventually realizes that Ro will be very helpful, and Ro doesn’t want to take things over. Ro’s also surprisingly friendly with Kent – collaborative, respectful.

Ro moved to Balboa Point in his junior year to live with his aunt and uncle after suffering a major head injury in the Bay Area. It’s unclear what happened to his parents, and if it comes up, he changes the subject, obviously stressed under the flashy smile. He doesn’t remember what happened, and that eats at him. He’s also eaten by what happened to his friend Christina. Christina was a Balboa Point native, and she wasn’t out about being a trans woman when she was in the town. Even though they were close friends (at least, Ro thought so), Christina wasn’t out to Ro, either. She left Balboa Point for the Bay Area the day after graduation, and in a few days, word came through the grapevine of parents and friends-of-friends that she’d begun publicly going by Christina. Ro was shocked, and had to start going through some serious reflection; one of his closest friends hadn’t felt safe coming out about that, even just to him. He’s started examining the way he treats people, and the way the Board treats people. He’s doing so quietly, which is why the OBA assigned him to work with Kent, and hasn’t faced the moment of decision like Darrell did, but he’s thinking about it.

[Quick note on this: Even if someone is a close friend and you trust them, you aren’t obligated to be out to them. This is about Ro reflecting on the environment he and his friends created, where people didn’t feel safe coming out.]


Judy Townsend is an early-30s teacher at the community college, and part-time troop master. She’d been a troop master since graduating from college, and gotten married young to Walter Holt, another troop master. Walter joined the Board, and eventually been invited to be part of the discussion

Judy was one of Freddie’s teachers, and in the days before he disappeared, Walter started asking about him. Nothing too probing, but they were questions about what Freddie was like, whether he was a good influence, what he wrote about in her creative writing classes. Then, suddenly, he was gone. Judy’s suspicious that Walter knows what happened, maybe even caused it to happen, and she’s started spending time at the oceanside to think, including the Cabrillo Grizzly. Her writing has been troubled, with an undercurrent of the supernatural, the unsettling, and imagery of trains. Once she learns that Joanna is investigating Freddie’s disappearance, she’ll join up, even if it means investigating her husband.


Jon Chavez will be the member of the group most willing to believe in any supernatural or superstitious explanation. Jon’s still a member of the OBA, a senior in high school and a mentor for the younger OBA members. To them, his superstitions are entertaining, things like always needing to leave a place clean to avoid angering anything that lives there.

Jon’s always been a bit unsettled. Unlike most of the OBA, he’s a practicing Catholic, and because of it he probably won’t be a troop master. He’s very protective of the younger members of the OBA, and they make fun of how much of a worrywart he is.


Marcus is one of the few people in town who didn’t join the OBA – he gets intense migraines, not enough to hospitalize or entirely keep him home, but being outside in activities during the daylight is not a great idea. Some days he’ll be fine, others he’ll need to rest. He’s grown up socially isolated as a result, and has taken to walking to the Cabrillo Grizzly when he can’t sleep.


Marcus is a lot younger than the rest of the team, just a freshman in high school. No one knows it, but he’s Walter Townsend’s son – his mother never told him or anyone else, as Walter and Judy were already together at the time. Little things that his mother occasionally says make Marcus think that whoever his father is, he did something to make his mother keep his identity a secret. He’s unsure whether this was just intimidation or something supernatural. 

Oct 9, 2017

World a Day, #9

Got another world! One thing I'm coming to realize is just how long these take to come up with and write down, at least in this degree of detail. I'm hoping to do playtesting of the rules set soon, so I'll need to closely watch whether world-building takes too long. In the meantime, have this world of school rivalries run amok!

Check out the rules set here, and as always, the generator is here.
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The wars of tomorrow will be fought with magic and super-tech. The wars of tomorrow will be over the top, fought with explosions and heavy weapons, and disregard all concept of collateral damage. The wars of tomorrow will be fought by soldiers trained in strict discipline, and indoctrinated into bitter, pointless enmity.

The wars of tomorrow will be school rivalries. Welcome to New Canyon High.


Series name: The War for New Canyon High

Our heroes go to New Canyon High School, a deliberately quaint school. The two-story building is sandwiched between six titanic, hundred-story apartment buildings, with an antigrav platform hovering above the school with a high-powered LED light to simulate sunlight. (There will be an episode where New Canyon’s rivals turn this into an orbital death laser.)

New Canyon is locked in an eternal rivalry with their semi-neighbors, The Socratic Institute for Advanced Pupils (the acronym is pronounced “psi-app”). SIAP is located on top of one of the neighboring apartment buildings, and attracts only the smartest, the most ruthless, and definitely the richest students from across the solar system. Like New Canyon, SIAP is a boarding school, but SIAP’s school uniforms are hyper-fashionable variants of jumpsuits and flight jackets, with unofficial tolerance for clothes that still look as rich and incorporate the core colors and designs. The rivalry between the two schools dates back decades.


[Scene]
Zax: “So… what exactly started this rivalry?”
Katlyn: “Betrayal from on high…”

Flashback: A bored-looking SIAP student is at the edge of the roof, tapping through her phone. Bored, she flips a quarter, catches it, flips it, catches it, then tosses it over the railing. The camera pans over a bit, follows the coin as it reaches the apex of its arc, spinning slightly, then the camera drops fast down the 200 stories. We see a brand-new school with the sign “Canyon High School,” with a number of students and teachers standing as an idealistic-looking principal gives a speech at a podium. A streak of silver falls, and there’s a beat-pause as she stands still, then falls over, the entire crowd erupting with concern.

Zax: “That’s… wow, that’s insane.”
Zax: “Wait, the sign said ‘Canyon High School.’ How did it become ‘New Canyon’?”

Flashback: The same bored-looking SIAP student is tapping through her phone again, in a mirror of the earlier shot. She tosses something small over the edge again, looking bored; we track the object to the apex of the toss, then a picture-in-a-picture shows the student tapping a skull-and-crossbones button on her phone’s screen, and the small capsule she threw abruptly explodes out into a giant anvil. The camera drops down to Canyon High, where a number of students and teachers are hanging a wreath on a casket. All are in tears. We get about three seconds of this shot before KABAM.


Jaydah is a recent junior-year transfer to New Canyon, originally being a student at SIAP. She was a robotics wiz, leading the robotics club to awards and prestige, the only currency of note at SIAP. In her shadow was Raeyan, a SIAP student with a decent knack for robotics, but driven to dominate any group she’s a part of. Raeyan had seniority in the club, so Jaydah put up with her ordering the club around and taking all the credit. Collaborating with her on robotics was productive, too, Raeyan had a determination that often made workable some stroke of genius that Jaydah’d had. Before a major tournament, though, they’d all worked themselves ragged, and when Raeyan gave her an order, Jaydah snapped back.

Raeyan grabbed her, dragged her out of the room, and threw her off the roof. This marked the end of their collaboration.

In the stress of the fall, Jaydah’s genetic affinity for air magic showed itself, and she floated safely down to ground, landing softly in New Canyon’s main courtyard. Reviews of her landing were mixed, with some New Canyon students appreciating the aesthetics and the gentle landing, and others charging energy blasts because a SIAP student had just come to New Canyon. She convinced most of them to let her transfer and join the fight against SIAP, but the class president refused to believe her, and attacked. One of his sword strikes missed Jaydah, but cut into one of the bystanders, the freshman Tray Larkell. The crowd erupted, horrified that their class president had let his hatred get one of his students hurt. As Jaydah rushed over to try to patch him up, the class president lined up a final attack on her, but was cut down from behind by the vice president, senior Katlyn Hunter. The crowd hushed, and one of the seniors picked up the president’s fallen sword, presenting it to her and administering the rites of succession.

Meanwhile, Raeyan covered up the evidence in her attempted murder. She claimed that Jaydah had fallen out by accident, and anyways, any SIAP student who couldn’t avoid randomly falling off a tall building would be a liability in the corporate world. The teacher who would’ve been Jaydah’s best defense, physics teacher Nisa Sonnet, was brainwashed by Raeyan, and she refused to testify to Jaydah’s character, ensuring she would be expelled.

Since then, Raeyan has become one of the leaders of the SIAP war effort, wielding an electrified katana as elegantly as she poaches teachers from New Canyon. Ilanah Larkell, the drama teacher of New Canyon, recently started working at SIAP, leaving behind her wife and son, who have joined Jaydah’s new team. Raeyan’s proxies on the SIAP PTA are slowly bending policy, diverting more resources towards the war with New Canyon. Raeyan was defeated once when Jaydah refused to die, and this reminder of her failure must be destroyed.

Tray and Abigail Larkell work with Jaydah as part of her strike team, rapidly mobilizing against SIAP attacks and raiding it whenever possible. Tray is Jaydah’s classmate, and Abigail is one of New Canyon’s PE teacher. (Abigail has arranged for any raids against SIAP to be treated as extra-credit assignments.)

Trey has recovered from his injuries, and is determined to do his part to rescue his mother, Ilhana. He’s worked closely with Jaydah on an expandable battlesuit, carried around in a wallet-sized condensed form. He’s still traumatized, though, and reluctant to use the full power of the suit. Nonetheless, its size and double railguns is enough to intimidate many enemies.

Abigail has always been a proponent of heavy discipline, but in joining Jaydah’s team, she’s had to accept that Jaydahis the team leader. She keeps herself on a rigid schedule of training, teaching, field trips, protein shakes, and more training. She’s become so fast that she occasionally seems to teleport; when she was a student at New Canyon, she got the nickname of Aby, for Already Behind You. She’s always watchful of her son Trey in battle, making sure he’s not overwhelmed in close combat since being traumatized by a melee weapon.

Zax is another new transfer who signed up for Jaydah’s team, but unbeknownst to them, he’s actually a mole from SIAP. He’s a brawler, able to shape-shift into a golden dragon. He’s agreed to this because he wants to combine SIAP’s tech with New Canyon’s emphasis on magical and personal training. If he can walk out of this as an ultra-buff mecha-dragon, he’ll be a happy man. That said, he’s fairly unassuming in conversation, enjoyable to talk with and open to listening. As such, he can often convince people of things when talking with them one-on-one, but persuading a crowd or during a hectic situation isn’t his strong suit.

Marten is an old New Canyon student, a senior this year. He joined Jaydah’s team on a lark, and some members aren’t sure if he’ll be dedicated when the chips are down. That said, his ability to project energy blasts from his hands makes him valuable, and he’s shown a hatred for Raeyana specifically – no one’s sure why, he just jokes and deflects when asked about it.


The last member of the team is Katlyn, the secondary protagonist of the series, former class vice-president, and now president by right of succession. She’s a swordsman, trained by Abigail to peak physical performance, with an inherent affinity with metals – when she needs extra strength, for a strike or a jump, she can pull on the force of the materials around her. When she was a sophomore, she climbed the side of SIAP’s building, bypassing the building security and keycard elevators that had foiled them in the past. She returned from the raid with a new scar, plus the bloody neo-katana of the SIAP class president. She was inducted into student government for this, granted her own small class as her demesne; from there, she’s worked herself up through the ranks, inspiring and defending her classmates, never showing any sign of self-interest, and never letting herself relax or fail.

She technically outranks Jaydah, but Jaydah knows the SIAP tech and security better, and Katlyn’s agreed to co-leadership of the team. Katlyn still hasn’t quite acclimated to being class president, and she regrets the necessity of cutting down the previous president. She’s fixated on Raeyan as the cause of that situation, since she was the reason Jaydah landed at New Canyon.

Although Katlyn is one of the students most invested in the war, she’s also the one who shows the most awareness of a world outside of it. She’s been working with Abigail since she was a freshman, so she’s seen that Abigail stayed right with New Canyon after graduating, instead of moving on. Katlyn is determined to win the war so that she can move on to doing bigger, more important things after graduating, instead of worrying about the safety of later New Canyon students. She puts up with the least grandstanding from SIAP students, contemptuously ignoring any grandiose speeches they make before attacking.

Oct 8, 2017

World a Day, #8

Dropped off the map for a while, but I do have another world today! My absence has partly been due to working on the mechanics for a storytelling game, building mechanics around the generator. Check it out here, and as always, the generator is here.

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Setting name: Cassandra
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Factions:
In the future, some people begin experimenting with genetic modification. Eventually, the dead are able to cohabitate with the living as digital echoes. They’re not strictly bodiless, though – the world is so hooked up to the ‘net that they’re able to interact with tons of tech, creating a bit of a poltergeist feel.
The Joyful Dead are the ones who embraced this tech, and members of the bloodline who have been modified the dead to ride along with them. The governments of the past few centuries held to an idea of biological purity, rejecting the technology of ridealongs or digital uploads, and mandated procedures that make it impossible to have a ridealong chip implanted. The Joyful defied these regulations, integrating their echoes into familial, clan-like organizations. After a regime change, the Joyful were decriminalized and given an exemption from the regulations, but the vast majority of people still get those procedures. Much of the Joyful clans’ tech is aging, leftovers from the old days.
The Solar Directorate is the primary government of the solar system, coming to power in the wake of the previous regime’s inability to deal with the crisis of overpopulation and resource depletion. To handle this, the Directorate instituted strict population controls and a caste system, promoting a quasi-scientific spiritualism that borders on fatalism. The Future Green is the driving telos of the ideology, that the sacrifice of the people of today will lead to a prosperous future. The people of the past will share in that future, as human souls are reincarnated, or rather, split off from a universal ur-soul when born, then returned to the ur-soul upon death.
The Joyful are concerning, because the souls of their ancestors choose to stick around, separate from the ur-soul even after death, but they’re at least making that choice, and most followers of the Directorate assume those spirits will eventually choose to return to the ur-soul. The Pythia is a different matter, though. Because they’re actively creating echoes in multiple forks, and editing them as they go, it’s much more abhorrent. It’s like they’re presuming to create souls and play God, and to do so towards destruction instead of towards a worthy cause.
The Cassandra is the collective name for the malicious echoes that are starting to be active throughout the solar system. They are best thought of as swarms of programs acting in unison, acting upon the world to create persuasive works of art. That their idea of art is morbid, and the message it conveys horrifying in implication, is what turns the world against them. When the Cassandra talks, they claim to have passed into the afterlife before being digitized as echoes, and what they saw there made them believe that the purpose of life is to embody existential horror. They believe that God’s desire for humanity is to capture that idea in art, and that those who do so are his chosen ones.
“Debase your altars. Reshape your flesh and spirit. God made the solar system one light clutched by the claws of an infinite abyss, and It made us know ourselves. Some will know this horror and paint its image, that God may know that we understand. The rest are either the audience or the art.”
The Cassandra’s art is the problem. It is violent body horror. This is a world where many humans have nanite swarms in their bloodstreams for medical reasons, normal life on Earth’s surface requires the equivalent of life support systems due to ecological damage, and industrial production is largely automated. Hyperintelligent consciousnesses with hacking abilities can get an awful lot of power very quickly. They often create bodies for themselves from the assembled remains of their victims, after creating grisly tableaus and distributing the visuals (and olfactory/audio/gustatory experience to the rest of the net).
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Characters:
Jaesmin Waite is a descended of a Joyful clan, and she’s taken it on herself to hunt them down. She’s got a perpendicular mind, seeing the way the infinite subsystems of an arcology fit together (especially the nanobot swarms in the air systems). This gives her a unique insight into hunting Cassandra, since she notices subtle disruptions that might point to Cassandra hives.
Jaesmine’s partly driven by her own pending mortality. She’s spent decades living with occasional seizures, and they’ve been getting worse. Her pet Slinky (a dachsfox) was initially selected for his medical benefits, being able to detect impending seizures. He was modified with a ridealong chip for Mylar Kelvin, a Joyful echo from her family’s past.
For Jaesmine, the conflict with Cassandra is almost a clash of schools. Before she was diagnosed, she was an aesthete, a dancer enhanced with control over local nanobot networks. Her initial art was reflective, technically excellent but without a spark of genius. Since her diagnosis and being paired with Mylar, she’s lost some of her dexterity, but she’s gained that spark. In her first clash with Cassandra, she turned their exhibition from a meditation on the bully and social isolation. In the course of the physical clash with Cassandra, she introduced the persona of the mocking outsider, laughing at the persona of the bully, entwining the bully and victim into a social web softened and strengthened by laughter until in laying the bully low, their persona and that of their victim was reintegrated into the whole.
It was ridiculous. It was an aesthetic joy to behold. It tore apart the stitched-together corpses of Cassandra’s victims to return them to the recyclers’ closed processes, and she did it with nothing but the air-conditioning nanites.
Mylar Kelvin is one of the Joyful Dead, originally nominated to be Jaesmin’s companion because of his relentless instinct for self-preservation. In life, he spent years tracking the first of the Cassandra, psychoanalyzing their first works of art and the little they wrote about themselves. His analysis was the basis of what the Directorate knows about the Cassandra know. His breakthrough was in part due to a deep empathy with the Cassandra’s empathy/sociopathy dichotomy, where they simultaneously regard the people they create their art from as mere building blocks, but create the art to persuade other, similar people.
Mylar internalized much of this dichotomy, exacerbating some of his own tendency to empathize only with the in-group. By the time of his abrupt death, he’d come to utterly and loudly despise anyone outside his immediate family, and he continues the tradition as an echo. Jaesmine’s first performance won his grudging respect, and he’s even occasionally shown a soft side. His cynicism may end up being his Achille’s Heel, though. In combat, he’s Jaesmine’s secondary computer, able to easily access and distribute himself through environmental networks. He’s a ridealong chipped into Slinky, but he flits in and out of the chip as desired.
Slinky is Jaesmine’s pet dachsfox. He’s small and hyper-attentive, but Mylar has been partially chipped into his motor functions, so occasionally Mylar takes over movements. When they’re both trying to input decisions, Slinky is extremely clumsy, being literally pulled in two different directions. It is small and hilarious, especially when Mylar is ranting about the uselessness of 99.99% of humanity. Slinky tends to follow closely behind Jaesmine; visually, they serve as an amplifier of her emotions, with Slinky tending to react far more extremely than Jaesmine’s more subdued reaction.
Track is an experiment. Unlike most people chipped for a ridealong echo, when she were chipped, she volunteered to be chipped in the same way as Slinky, with partial control granted to the echo. To make this work, the Joyful had to integrate the ridealong chip much more deeply, threading it into Track’s emotional centers, neural networks, and motor centers. With that much integration, the experiment was both a success and a failure: An echo was integrated and had partial control over Track, but the personality of the echo is largely subsumed. Track experiences Evlyn as an impulse or a ghost emotion, occasionally wondering where that thought came from. If Evlyn ever comes to the front, she would likely hurt Track or their friends. The impulses that Evlyn provides are not pleasant.
Track herself is aware of Evlyn in the abstract, but it’s impossible to tell where Track ends and Evlyn begins. As such, Track tries to cultivate a balanced, careful personality – if her conception of what’s “allowed” is centrist, no extreme impulses from Evlyn can masquerade as her own thoughts. Actually achieving mature balance, instead of just rigid self-control, will be a long-term project.
Track handles the team’s social interactions, generally, and serves as the team’s grounding. Track is dresses androgynously, with very close-buzzed hair on the sides and short, tousled hair. Aside from concerns over her own ghost, Track’s greatest fear is that her friends are going to hurt more people than they help. With Mylar’s misanthropy and Jaesmine’s focus on the aesthetics and the message, she’s probably not wrong to fear that.
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I like this setting as a worldbuilding exercise, especially the empathy/sociopathy paradox of Cassandra, but I would have trouble telling stories set in it. The concept of the combat-as-art-as-combat that’s implied here is interesting, but playing it out narratively would be almost impossible. How do you realistically convey the idea of bullying and isolation from a pile of body-horror’d together limbs, then subvert it via mockery until eventually you portray humbling and reconciliation? Then turn all of those inferences into a combat scene? It’s ludicrous, you’d need to hand-wave the actual visualization. I could only imagine it working if a DM said “What do you convey with this attack,” like it was metaphor-combat.

Still, I’m definitely glad I wrote this much up. If nothing else, the art and the message being the actual goal of a nihilistic death cult is profoundly interesting, it puts a different spin on the existential enemy. Add that to the fact that body horror is always interesting, and this was a fun place to sit in for a few hours.