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( 私の名前はナファです )

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great news, one of the books I was looking for arrived today and it has a whole section on pre french revolution book piracy and the thriving trade in hiding and trafficking banned literature.

Things Terry Pratchett Did

Made fun of the “unnecessarily naked/scantily clad woman,” “sacrificial virgin,” and “sexy heroine” tropes in his first two novels.  The first was described as being the most powerful of her clan of dragon-riders and the nakedness was properly treated as unnecessary in a clear parody.  The second turned out to be one of the more level-headed (while not well-educated) members of the party after her initial introduction, and also had a spine and knew (and got) what she wanted.  The third was described as wearing sensible clothes, was pretty but not sexualized at all, and was practical and smart.

Wrote an entire novel to critique the unequal treatment of “men’s magic” versus “women’s magic” in the fantasy genre.  Portrayed witches as just as if not more capable than wizards (when it comes to actually helping people, in particular), and also generally having more common sense than them.  Nevertheless created a little girl character with wizard powers, and had her decide neither wizard nor witch magic was sufficient and develop a new kind of magic all her own.

Included sex workers in his worldbuilding.  Made jokes about them the same way he did every other kind of person of any profession, but was also highly respectful and never critical of these jobs.  Described the head of the ‘Seamstresses’ Guild as one of the most influential people in the biggest city in the world.  Never showed or described in detail any sexual violence, including against these workers.  In fact, made sure to say that anyone in the city who harmed a sex worker would be dealt with painfully, embarrassingly, and/or lethally by two fearsome elderly ladies.  Even his more ditzy stripper character quickly smartened up and learned some true self-respect–not by quitting her job but by realizing she didn’t have to take any shit from men.

Included strong female friendships aplenty.  Included female enemies who were enemies over things other than men.  In general constantly passed the Bechdel Test and not only that, left it in the dust and had way more meaningful and realistic representation.

Five words: Dwarf Women Are All Trans.  More words: And there’s no way to know if some of them were trans in the way we Earth humans would understand it, too, and he clearly didn’t think that sort of genitalia-based gender labeling mattered.  Did not turn his trans dwarfs into a joke, but treated them simply as people–including a scientist/forensics officer in a police department, a prominent fashion designer, and the literal King of all dwarfs (who subsequently came out as Queen).  Portrayed transmisogynists as unequivocally wrong, and had protagonist characters stand up for and protect their trans colleagues and friends.  See also: had genderfluid characters in two of his books and at least one trans man, as well as confirming canonically that there are gay wizards, one of whom is really good at football.

One of his mainest of main characters was a blunt, bad-tempered, prideful old woman who is also good to her core.  Didn’t gloss over her unfriendliness or excuse it, but made her complex and interesting and overall likeable despite all that.  Also had a very amiable old lady character who also had a temper and would throw hands with anyone who’d mess with her family or best friend.  In general, steel-souled old ladies, wow.  Also steel-souled young girls.  

Said he was incapable of writing a weak, wilting female character, and honestly I can’t think of a single one in any of his books.

Please feel free to add to this list with other Things Terry Pratchett Did because I definitely didn’t say them all!

i'm a complete slut for when ttrpgs mechanics inherently throw any preconceived notions of a "story" out of whack. i think ttrpgs are good role-playing games and not just 'narrative' games where a grand narrative is followed by a group of people. don't get me wrong: those are perfectly valid playstyles, but it's been the default and, even, the subject of snobbery ("my game is roleplay heavy with a great story" as if that makes any ttrpg tautologically better than any other ttrpg). i think ttrpgs are at their best when everyone at the table is surprised by how the fiction is moving along.

i think the "storygame" distinction isn't entirely needed, but it's become something that I've always gone back to as a category when looking at all these rpgs. to me, a storygame is something that prescribes a particular narrative or story and all of its mechanics are to facilitate that kind of story only. to me, all storygames have this, while some ttrpgs have this. some ttrpgs are storygames too, and that's fine. they're both.

too many rpgs think role-playing games = storygames when i don't actually think so! personally, i think role-playing games are games wherein you play a role in. sometimes that leads to a story, other times it leads to just a slog through a dungeon, which honestly can be just as fun. i think ttrpgs can be storygames, but not all storygames are ttrpgs. some storygames are made for creating a narrative, while i think ttrpgs should be there to create a role.

not to say this invalidates in my perspective the various ttrpgs that tend to not have this, such as things like Microscope and whatnot wherein all assumptions of a ttrpg are subverted. i think those are ttrpgs all the same! but i think it'd be bad to assume that role-playing games are "better off as storygames" or that "combat is not part of role-playing". those are all role-playing, they have to be, because that's the medium. choosing to use your Level 1 Fighter Power Cleave to strike at two kobolds at the same time is role-playing!

anyway that's why i like it when ttrpg facilitate mechanics for emergent storylines. ttrpgs are probably bar none the best medium for creating emergent narratives: play is all emergence, even. the narrative doesn't even come until after everything is done! it embraces the medium. you don't need a rigid, critical role dimension 20-esque narrative for a good game to be had. sometimes you can just enjoy the game for what it is, and find out later on that there was a huge story to be had from it. this is why a lot of my design now tends toward the simulation-y instead of the prescriptive-y, almost OSR even

enough toxic masculinity I'm ready for salubrious masculinity. I'm ready for a social movement that encourages (esp straight, cis) men to indulge in things that make them more joyful, emotionally healthy, and help them strengthen not core muscles but core compassionate communication skills.

Coming up with puzzles for my players has gotta be one of the hardest parts of TTRPG prep. Either the answer will be so glaringly obvious that they'll figure it out immediately or they're going to spend 5 hours talking about it and still get it completely wrong and there's literally no way to know beforehand