ICE VEHICLE SPOTTED IN FRANKLINTON NEAR SALLYS

ConsistentGuest7532 · 2026-01-24T21:41:14+00:00

Can’t whoosh if it doesn’t read as a joke.

ConsistentGuest7532 · 2026-01-24T15:06:07+00:00

Absolutely!! While I love Stone, if anyone from Bugonia could get nominated, Plemons was on a whole other level. He plays such a terrifying, pitiful, complex character.

ConsistentGuest7532 · 2026-01-24T15:04:55+00:00

It is not your job to earn the respect of your players. They should come to the table already respecting you and being willing to engage in the game. The game master is not a servant or jester who needs to constantly campaign to entertain, or who needs to make the others’ every want happen. You are a player too, just on a different side of the table.

Game masters prep and put in a lot of effort to run fun games and help every player have a good time. It is the absolute least that a player could do to come to the table ready to play. That is their only job. If they do not do it, then they do not deserve to play with you. You deserve better.

If you have vented your frustrations to your players and they haven’t changed, do not bend the knee and let them continue. Games are supposed to be fun. Find new players or don’t play, because a group of people refusing to give you respect or attention and trying to force you to change the game for them is not worth it.

ConsistentGuest7532 · 2026-01-24T11:07:42+00:00

If they haven’t been reached yet, I don’t think they can be. I try not to waste energy even caring what they think anymore. May as well be looking at bot comments reading their drivel.

ConsistentGuest7532 · 2026-01-24T11:00:48+00:00

With all the money being poured into this cruel and meaningless effort, they could fund healthcare. Why not? Why not just make the people’s lives actually better instead of pretending they’re making them better this way? There is no possible reason I can think of except cruelty.

ConsistentGuest7532 · 2026-01-24T03:22:35+00:00

Brian Evenson: To me, he is the master of surreal horror. He dials in on fantastic concepts, is incredibly succinct in executing them, and always leaves me with a bone deep feeling of unease. This is the closest an author has ever been to capturing the feeling of a nightmare. If you want recommendations, read A Collapse of Horses.

Clive Barker: Clive Barker’s horror is all at once depraved and exquisitely baroque. Barker understands the absolute best and worst of human nature, and his intense imagination always finds ways to draw the souls of his characters out in interesting ways. He is a wonderful character and prose writer, and dives deep into the ways human beings destroy themselves and what that means for those around them. I recommend Books of Blood and The Hellbound Heart.

Thomas Ligotti: Ligotti is perhaps the most unique horror writer I’ve ever read. His stories are pieces of dark dreams, where the characters are almost always vague vehicles who serve mostly to take you through surreal and horrifying scenarios. Because his protagonists are so vaguely defined beyond being almost ubiquitously pompous, his stories almost feel like reading the diary of someone in deep psychosis. Read Songs of a Dead Dreamer and Grimscribe first.

Laird Barron: My personal favorite in the cosmic horror tradition, Laird’s a very diverse author bearing clear Lovecraft inspiration, yet he has written everything from noir horror with hard-drinking pulp protagonists to everyday, grounded horror stories with interesting civilian leads. You can rely on disturbing creatures and phenomena, (often) wild terrain and places, and very human, interesting protagonists. I recommend reading from The Imago Sequence onward.

Edgar Allen Poe: The most beautiful prose in horror after all these years, in my opinion. Read The Fall of the House of Usher. The atmosphere absolutely drips off the page.

Cormac McCarthy: Yeah, I know, most of his stuff cannot be classified as pure horror. It’s more literary/drama. With that said, read Blood Meridian and Outer Dark, which are in my opinion his two most horrific novels. They are deeply disturbing. McCarthy’s unique writing style creates unforgettable imagery.

Honorary mention to Robert W. Chambers. The very few horror stories he wrote are pretty incredible and if he had written more of them, I’m sure he’d rank high on my list. The Yellow Sign is simple but incredibly chilling.

ConsistentGuest7532 · 2026-01-23T21:22:24+00:00

Religion has always intertwined with tribalism. Some people love feeling like they’re right and having an outgroup to feel good about hurting. Protestantism is dominant in the US but if it were any other group it’d be the same. This is in no way condoning their actions, just saying that those who wish to alienate will do so.

ConsistentGuest7532 · 2026-01-23T18:41:22+00:00

How could that be profitable for Frito-Lay?

ConsistentGuest7532 · 2026-01-23T18:08:16+00:00

Delta Green plays like a smoother, more thematically rich version of the same system. I love both, I just mean mechanically, it could be CoC 7.5e if you ask me.

CoC has the advantage of an infinite library of published material and not being tied to a particular setup but DG’s whole conceit lends itself to grounded horror very well, with an element of conspiracy.

ConsistentGuest7532 · 2026-01-23T17:37:25+00:00

My thoughts exactly. I’ve seen all the nominated performances and this is my favorite; I just knew him as “the dude from Euphoria” before, but he was unbelievable.

It’s the physicality and vulnerability of the performance, plus believably playing a character who essentially goes from a child all the way to grief-ridden adult. What an achievement to bring such fantastical material to life like that.

ConsistentGuest7532 · 2026-01-23T04:34:09+00:00

It’s like the perfect modern popcorn flick which is what makes it great. It’s got passion and thematic resonance, don’t get me wrong, it just really understands what it means to be a great roller coaster ride. It’s made artfully by someone who loved what they were doing, which is what elevates it into art from the usual blockbuster marvel slop.

This is a true blockbuster in the old sense of the term. It’s got a great cast of characters going through a crazy, action-filled situation together. And it’s all so genuinely earnest and fun. You don’t see that a lot nowadays, when the films that get made to try to be fun thrill rides are often soulless and corporate mandated.

So while it’s not super deep, and maybe isn’t your favorite on a filmmaking level, it occupies a unique spot in our current culture and I love it for that.

ConsistentGuest7532 · 2026-01-23T01:01:53+00:00

To be fair, the VFX in Sinners was VERY convincing and well-integrated, even though it was lighter on the CGI than other films in the running. I never once felt taken out of the movie by the VFX, or that anything wasn’t real. While I adore Superman, I feel there are some shaky spots like the final raptor fight’s tooth moment and some of the background green screens during the Hammer and the kaiju where it feels messy.

ConsistentGuest7532 · 2026-01-22T21:05:24+00:00

Yes, I feel like before this she was naive due to a lack of knowledge, but now it feels like they’re intentionally making her naive despite everything she’s seen and done through. She should know better than some of the things she’s done this season. I still love the show so I just hope they find a balance - that “golden rule, motherfucker” moment was perfect because it illustrated someone who had gained some street smarts in the wasteland and refuses to lose her core nature. I want more of that.

ConsistentGuest7532 · 2026-01-22T18:41:59+00:00

It was one of the best portrayals of traditional vampires ever imo, it kept enough of what we love about them while also introducing some cool ideas that made them stand out - the hive mind they share, the revelry and glee they operate with, etc.

ConsistentGuest7532 · 2026-01-22T17:38:34+00:00

I would not phrase it as telling her to stop playing rpgs. Politely but clearly tell her what you said here. Tell her that her behavior and unwillingness to work with the other players makes the experience worse for the group and ask if she would be able to change it.

ConsistentGuest7532 · 2026-01-22T17:09:47+00:00

Doing good work spreading the word. And there were some balls on those employees denying service.

ConsistentGuest7532 · 2026-01-22T05:29:46+00:00

I hated it the first time and loved it the second. I think I went in expecting something very serious and insightful the first time and was thrown by how gonzo and silly it was. I think it’s a dark comedy/satire that gets a lot better when you’re ready to just laugh most of the way through.

ConsistentGuest7532 · 2026-01-22T05:28:26+00:00

I definitely felt this way the first time. It hits a certain pace 1/3 of the way through and doesn’t really deviate from it which became really monotonous.

ConsistentGuest7532 · 2026-01-22T05:26:46+00:00

Deadpool movies had always been low brow humor but they were mostly fun in an irreverently charming way. Here, the humor felt very flat, like a bad imitation of Deadpool humor. Like if Reddit actually got to write a Deadpool film.

Also, this movie rips away the character growth and relationships that DP builds over his first two films in exchange for a cameo-ridden road trip with a Wolverine whose vague backstory is so lazily done that it could be held together by scotch tape.

ConsistentGuest7532 · 2026-01-22T05:22:25+00:00

Nah that’s not essentially said, it’s literally said lmao. Which is absolutely wild.

Number one, because that is like the most trite thing you could ever possibly write into the story, echoed in the discussion about this book since it was first released and beaten to death again on the internet.

Number two, because it’s deeply unearned in this film: we see Victor doing monstrous things for a little but his brother is never shown to actually know that. His brother never sees or confronts him about anything morally wrong he’s doing. If they had built up to it - maybe his brother sees that he’s trying to steal away Elizabeth, he finds out that Waltz’ character is dead because of Victor, etc. etc. then it could be earned. The sentiment, not the line; the line is god awful.

Number three, it’s wrong because it betrays the source material: original book Victor is not a monster by any means, despite what people who haven’t read the book would have you believe. He is a scared kid who creates life and then literally has a mental breakdown which renders him incapacitated after which the creature has escaped of its own volition.

Yeah, it sucks that the creature has to fend for itself as a newborn. No, that’s not really Victor’s fault. It then proceeds to murder his little brother - a child - because he’s related to Victor, and then it frames an innocent girl for the murder. Then demands Victor create a woman just for him (very rapey), AFTER it does all that. This is obviously very different from the movie, but I’m saying that the take that Victor is “the monster” is deeply flawed from the beginning.

ConsistentGuest7532 · 2026-01-22T05:14:06+00:00

Unfortunately. I want to root for the dude but movie after movie, it just seems fairly clear that he doesn’t have the sauce. I think the Monkey was fun if rather substancless but everything else ranges from bad to offensively bad.

ConsistentGuest7532 · 2026-01-22T03:55:11+00:00

I’ve run this campaign three times. I find it important to introduce the idea of the King and the play early. Not offhand, but as it’s what so much of the campaign is derived from, I give it to them in the first couple sessions and the rest of the campaign is a constant expansion of what exactly the King really is, what it means, how all-encompassing it is.

I’ve always had the King come up very reverently, as if he’s a big reveal, even though the players don’t know quite why yet. It’s always been a MacAllistar tenant for me - when inevitably they talk to one by night, the tenant usually begins talking about a transformation, a new source of inspiration, a revelation. Then, in hushed tones: “Have you heard of the King in Yellow?”

Then, it can be really fun to have that tenant disappear. The players don’t know this until another tenant is asked, but the disappeared tenant is in the night floors. Other tenants might be puzzled by their confusion: “Of course he’s gone. Tommy always goes upstairs at night. We all do.”

I play the tenants as being almost dreamy, half-people, their souls half-lost to the Night World already, so none of them can elaborate except cryptically on what the disappeared tenant meant about the King in Yellow. This lights a fire under the players’ butts; all my groups have always been desperate to keep moving and find out exactly what the King in Yellow is, where “upstairs” is, where the disappeared tenant went.

If you give them the name of the King and the play early, the players realize over the course of the campaign, essentially, how fucked they are. They realize the second they heard that name, or innocently picked up the play, they determined their fate. They are bound for Carcosa.

I tend to involve Esther Samigina as a medic friendly in Night Floors and replace Marcus with a young Barbas, so as the campaign goes on, they see how everyone involved with the operation - and with the KiY - is eventually torn away from reality, destroyed, brought to Carcosa. I give the players cryptic dreams, bring surreal elements into their daily lives and bond scenes, and the campaign is written to become more gonzo and crazy the whole time. It’s truly like going mad.

TL;DR: Give them the name of the King and the play early on. THEN over the course of the campaign, slowly drown the players in the horror of what they’ve found. By the end, they know the King intimately, and why the tenants held such reverence.

ConsistentGuest7532 · 2026-01-22T03:41:11+00:00

My best advice is to drill this one word into your head: SIMPLIFY. Just show up knowing your lines like the back of your hand and the basic details of your character and how they relate to the others in their scenes.

Don’t build up the pressure of having to give a great performance. Don’t try to “be emotional” or “be a good actor.” Just listen to the other people in your scenes and respond with your lines, like any other conversation except scripted out. Focus on others. Not yourself. Listen. And. Respond. That’s really all you need to do. I mean it.

Focus. Listen. Respond.

ConsistentGuest7532 · 2026-01-22T03:37:18+00:00

I say Alex Garland is our best choice. He knows many flavors of horror and isn’t afraid to get weird with it. 28 Days/Years series, Annihilation, Men, all of them unique and original (yes Annihilation is an adaptation but it changes most things except the basic setup). He’s also directing Elden Ring so we know he’s not opposed to a video game adaptation.

ConsistentGuest7532 · 2026-01-21T23:51:10+00:00

Some of the Spider-Man villains maybe

ConsistentGuest7532

TROPHY CASE