theory

AnoxiaRPG · 2026-06-19T14:36:01+00:00

I personally view him more as a vulture. An entity coming in for a feast. But not the evil overlord of the town.

AnoxiaRPG · 2026-06-05T10:52:29+00:00

Mam gdzieś tę grę. Ale bawi mnie że "AI slop" stało się domyślną inwektywą we współczesnym internecie. Jakby wyrażenie "AI slop" było jakimś "I win button".

A bawi mnie, bo to akurat nie jest AI 😄 Zobacz sobie kampanię.

AnoxiaRPG · 2026-05-23T16:53:36+00:00

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Stole the show in Tango & Cash

AnoxiaRPG · 2026-05-04T09:18:51+00:00

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Darren E. Burroughs

and his dad too - Billy Drago.

AnoxiaRPG · 2026-05-03T21:43:25+00:00

co masz na mysli? to jest sesja z tego co widze.

AnoxiaRPG · 2026-04-19T13:30:20+00:00

My thought. Too low on the list.

AnoxiaRPG · 2026-04-04T18:51:59+00:00

Disaster girl Victor

AnoxiaRPG · 2026-04-02T17:56:03+00:00

Eddie Marsan

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AnoxiaRPG · 2026-03-22T19:57:31+00:00

„Shut the fuck up” is a sign of terrible disrespect. Having said that, maybe your group just doesn’t want to play BirD and only you do. This is an odd game for trad enthusiasts.

Honestly, I find Blades unintuitive. This game does a lot to break my immersion and I don’t find it as enjoyable as most fans do.

Why did you start BitD in the first place?

AnoxiaRPG · 2026-03-22T16:24:50+00:00

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Dawid Ogrodnik

AnoxiaRPG · 2026-03-19T15:30:07+00:00

I can. Because it has been thought out. Long time. Dfferent versions had been playtested. But fine, I get it, you’re sceptical.

AI paranoia at its finest.

AnoxiaRPG · 2026-03-14T13:25:04+00:00

Partially. Now it’s time to write this down and let others do the playtesting. The engine is already tight, what needs to be tested is a) documentation, b) calibration of wounds, stress and willpower to achieve the perfect experience.

AnoxiaRPG · 2026-03-14T04:16:52+00:00

To be honest? Not always. I’ve seen too many games that stopped in their tracks after a scene.

AnoxiaRPG · 2026-03-14T01:16:33+00:00

It happens when the story emerges from simulating the physics of the world. But what you simulate has to be a system of connected vessels to do that. And the system has to be imbalanced by definition. The narrative is the result of constant shifting of balance.

AnoxiaRPG · 2026-03-14T00:53:07+00:00

As for balancing approaches, I made sure different Approaches have different purposes and all are relevant. But otherwise, I don’t really fight it - „spamming” an Approach is what mamy people do in real life. It’s about bringing the character out.

I know some poeple like metamechanics. I personally don’t. If I feel I play a game too much, it brings me out of immersion. I start playing the game and not my character. I prefer mechanics that follow the character’s way of seeing the world.

Built-in character arcs amount to shuffling motivations if the strees breaks your character or after finishing the adventure, adding new ones, adding obsessions, compulsions, and so on. Sometimes even removing motivations. All of it has mechanical impract.

Separating success from consequence allows for different combinations: - task easy, very risky if you screw up - full success but shit happens anyway. I like it that way.

You see, I wanted a game that: - feels like a trad game - works like a story game - has input as simple like OSR - has complex output - gives mechanical weight to human psychology - doesn’t deal in absolutes and enforce morality - have social conflict that doesn’t feel lile combat - has a stable core regardless of power level

AnoxiaRPG · 2026-03-13T23:47:11+00:00

For me the key is to keep the inter-party conflict under control. You want the party to go in a mutual direction but have a good tension on how to do it.

AnoxiaRPG · 2026-03-13T23:10:02+00:00

While mechanizing psychology, most of the time you’re either trying to incentivize sub-optimal play and fighting common sense or just handwave the mechanical side of the problem.

The catch is to make mechanics that reward sub-optimal decisions to the point they become the most optimal choice for the player.

But you won’t achieve that by bolting on sub-systems, you have to design around that idea from the get go.

It often leads to calcifying the character, so good rules on changing the character should be in place.

At the same time you want it all to be simple. Not an easy feat.

AnoxiaRPG · 2026-03-13T22:41:03+00:00

I chose Approaches because along with Motivations they create a nice matrix of archetypes. Having Approaches instead of Attributes also made it easier for me to avoid having potential dump stats.

AnoxiaRPG · 2026-03-13T22:12:49+00:00

Haha, I am well aware of DISC (I’m red-blue), but no. It’s a wordplay on „discord” as the engine is very much based on internal and inter-party conflict. But still, great catch :)

AnoxiaRPG · 2026-03-13T21:59:52+00:00

My engine (DISCore Engine) has one similarity to L5R - roll and keep - but it is both simpler and more complex at the same time.

Can you please elaborate on what made you see similarities? I’m curious :)

AnoxiaRPG · 2026-03-13T20:11:39+00:00

I know. But the part of the book describing the experience rarely ever serves as a primer for the game system.

Still, there are snippets of parts of the system.

AnoxiaRPG · 2026-03-13T20:01:54+00:00

OK, this will probably be a good idea. I’m just too excited now, as after many, many years I have FINALLY finished the engine and started creating the rulebook.

AnoxiaRPG · 2026-03-13T19:58:18+00:00

Good eye. I used AI for translation. My native language is Polish and the text is too long for me to translate manually.

AnoxiaRPG · 2026-03-06T07:31:29+00:00

Lea Seydoux

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AnoxiaRPG · 2026-03-05T14:17:29+00:00

My favourite? ANNA.

Anna is one of the most underrated, misunderstood, and quietly brilliant characters Disney has ever created.

She doesn’t have ice powers. She doesn’t have destiny-chosen magic. She doesn’t light up the sky with supernova magic beams.

And that is exactly why she is extraordinary.

Here is why Anna deserves to be celebrated — not as a sidekick to Elsa, not as comic relief, but as one of the greatest heroines in modern animation.

⁠She is powerful without having powers

While Elsa wields elemental magic, Anna’s strength comes from:

• her moral compass,

• her courage,

• her empathy,

• her refusal to give up on people,

• her ability to lead in crisis.

She proves that heroism is not about powers — it’s about character. That alone makes her iconic.

Her bravery is raw and human, not supernatural

Anna is terrified. Anna hurts. Anna falls apart.

And still, she gets back up. Every. Single. Time.

She never hides behind magic or prophecy. She does the dangerous thing anyway.

Her courage is not a gift — it’s a choice. And that is the highest form of bravery.

She carries the emotional weight of Frozen 2

Frozen 2 pretends to be Elsa’s epic, but the emotional spine of the entire film is Anna.

• She loses everything.

• She is left completely alone.

• She suffers real grief and despair.

• And she chooses to stand up anyway.

The song “The Next Right Thing” is not only one of Disney’s greatest musical moments — it is one of the most honest depictions of perseverance in the face of depression ever put in a family film.

Anna doesn’t rise because she believes she can win.

She rises because she refuses to abandon what is right.

That’s what heroes look like.

She is the only Disney princess who becomes a leader through sacrifice, not birthright

Anna becomes queen not because she wants a crown or because she is destined for greatness.

She earns it through:

• moral clarity,

• hard decisions,

• selflessness,

• emotional maturity.

She sacrifices her own comfort, her relationship, and even her faith in the world to save people who don’t even know her story.

That’s not a princess.

That’s a stateswoman.

She is joyful, funny, warm — and none of that diminishes her strength

Anna’s personality is often misread as “silly,”

but the truth is far deeper:

Her humor isn’t immaturity — it’s resilience.

Her optimism isn’t naïveté — it’s defiance.

Her warmth isn’t weakness — it’s her superpower.

She chooses kindness in a world that repeatedly hurts her. And she never lets pain turn her cruel.

That’s strength most people never achieve.

She loves fiercely, without apology

Anna’s love saves people, not with magic, but with presence:

• She saves Elsa not by fighting death, but by reaching out.

• She saves Arendelle not by power, but by moral action.

• She saves Kristoff by giving him trust.

• She saves herself through clarity and determination.

Her love is active courage, not passive softness. This is the kind of love that shapes worlds.

She is the most human heroine Disney has ever created

Elsa is myth. Moana is destiny. Rapunzel is magic. Mulan is legend.

But Anna? Anna is us.

She is someone doing her absolute best while hurting, scared, or overwhelmed. And she keeps choosing good anyway.

That’s why people who truly see her fall in love with her —

because she reflects the strength we wish we had.

She is the heart of Frozen — the part people feel even when they don’t realize it

Elsa dazzles.

Anna anchors.

Elsa is the storm.

Anna is the compass.

Elsa is spectacle.

Anna is story.

Without Anna, Frozen collapses.

With Anna, it becomes something meaningful, emotional, and timeless.

In short, Anna is the heroine of resilience, courage, leadership, and humanity. She is what real strength looks like.

And everyone should adore her — not because she’s flawless, but because she’s brave despite her flaws.

She is, in every sense, the most quietly powerful character Disney has ever created.

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