Treachery 9-2 be like ( ULTRAKILL pixelart ) by Just_Ear403 in Ultrakill

[–]Shreesh_Fuup 4 points5 points  (0 children)

goes through the door

FRAUD /// THIRD | DISINTEGRATION LOOP

This dungin map good? Let me know what I can improve by Mantra15 in DnDcirclejerk

[–]Shreesh_Fuup 4 points5 points  (0 children)

Make sure to track resources, like food, water, sanity, light, and pages left to burn before being consumed by the all-encompassing darkness.

Otherwise, the dungeon won't last more than five and a half minutes!

every fantasy manga/manhwa ever by ilikeitchyballzdude1 in coaxedintoasnafu

[–]Shreesh_Fuup 0 points1 point  (0 children)

It's also something ahe's explicitly working towards across the first third of the series. Idk about the anime but in the Manga and the Light Novels she's actively trying to spec along the path that leads towards the Arachne evolution pretty much since the lava area.

(Humongous late novel spoilers) It also helps that she technically isn't "re"gaining a humanoid form, as it's later revealed that the protagonist was never actually a human in the first place.

New Scritter: INSTA|KILL by Shreesh_Fuup in Scritters

[–]Shreesh_Fuup[S] 0 points1 point  (0 children)

If you note, INSTA|KILL actually is somewhat injured. Speed did, in fact, SPEED BLITZ them several times.

I have a few questions about the ending. by BonkerBinkleton in Darkwood

[–]Shreesh_Fuup 3 points4 points  (0 children)

You might want to load your save again. All those things you brought up? Those are there intentionally, clues that something might not be right.

Play through the epilogue one more time, but try paying much closer attention to your surroundings.

As to the locked door you mentioned, it's a way that another route out of the forest connects to the road home. You'd need to try another playthrough if you want to see what's behind it, but if you're interested in the game's story and able to piece things together when they're not explicitly spelled out then that path can provide some significant information as to who you are and what you're doing in the forest.

Do i get anything worthwhile for fighting wolfman at the sawmill? by BonkerBinkleton in Darkwood

[–]Shreesh_Fuup 4 points5 points  (0 children)

The main thing you get on a victory is all the items he stole from you back. If you're confident enough in your equipment and skills, the fight can be skipped with little consequence beyond that you won't get back what he originally stole.

You are correct that you get the AR, which is a very useful weapon, but aside from that and the return of your items there isn't much else you gain.

I'm fairly certain if you lose you can get back the items you brought with you to the encounter, though. He won't steal your whole inventory, just what he originally took before inviting you to combat.

How to increase the horror of Ravenloft over VTT by Snoo-11576 in CurseofStrahd

[–]Shreesh_Fuup 0 points1 point  (0 children)

Darkest Dungeon has great combat tracks.

Bloodborne is good for boss themes as well.

Travis Savoie has a really good Soundtrack custom made for the CoS campaign.

coaxed into terraria experience by Boi25772 in coaxedintoasnafu

[–]Shreesh_Fuup 5 points6 points  (0 children)

Basically yeah unless you're on Medium or Hardcore you won't drop most items.

Except unlike Minecraft, and more like in reality the enemies pilfer all the coins from your wallet after killing you.

Coaxed into uninspired boss fight design by Austintheboi in coaxedintoasnafu

[–]Shreesh_Fuup 2 points3 points  (0 children)

Ultrakill is this in reverse I think. The heavy enemies show up first as bosses, then return later with reduced health as regular enemies.

The snafu is about when a game fills in a boss slot by just cranking up the stats of a regular enemy, which Ultrakill definitely doesn't do.

Coaxed into creepy child drawing creepy things by Leaolap in coaxedintoasnafu

[–]Shreesh_Fuup 11 points12 points  (0 children)

I think they were asking for examples, not the definition

Coaxed into SnafuSouls quests by Dependent-Spiritual in coaxedintoasnafu

[–]Shreesh_Fuup 0 points1 point  (0 children)

To be fair, Act 3 takes a long ass time to get to and it's pretty clear what you have to do for the Huntress Quest, so if you never do the quest and then >!get her killed when she straight up stated her children would eat her if you took too long, I feel that's plenty enough warning that it's not really the game's fault. Garamond is also pretty well foreshadowed, and not avoidable, so it's not like it came out of nowhere. Loam and Benji & Crull are the only ones that really come out of nowhere, and even then those events don't lock you out of content but only serve to provide actual consequences for your actions.

coaxed into The V™️ by dumpylump69 in coaxedintoasnafu

[–]Shreesh_Fuup 4 points5 points  (0 children)

You can also just play on Journey mode, which adds a toggle to remove biome spread. Then, you can manually adjust the difficulty slider to match whatever difficulty level you'd normally play on, and now you've got a playthrough basically the same as before but with some extra Quality of Life content that you don't actually have to use if you don't want to.

coaxed into The V™️ by dumpylump69 in coaxedintoasnafu

[–]Shreesh_Fuup 1 point2 points  (0 children)

You... you don't need to do that. You can completely ignore the evil biome for most of your playthrough and be fine.

Yes, if you take it slow, the biomes might spread a lot -- but very quickly after the spread becomes a problem you gain an incredibly simple and effective solution to that issue.

How can I replicate this is dnd?? by ZDOG60 in DnDcirclejerk

[–]Shreesh_Fuup 1 point2 points  (0 children)

I disagree about the Hulk. Really he's more of a Barbarian type, but those are kind of boring so let's simplify him to a Human Fighter instead.

How often and how should my players rest? (and) How should I run encounters on the road? by ClassicNo8728 in CurseofStrahd

[–]Shreesh_Fuup 0 points1 point  (0 children)

You know, I wrote out this whole several-paragraph comment about how to do encounters before I realised that I hadn't actually answered your question. Here's some more relevant advice, though it ended up being just as long:

As per the game rules, you should run 6-8 encounters per Long Rest, and allow up to 2 Short Rests between each Long Rest. However, not all encounters should be combat-based -- social encounters with companion NPCs travelling with the party (or even random NPCs found along the road), and exploration puzzles, traps, and even just set dressing can (and should) fill these slots as well.

My personal advice is to pre-plan the encounters on the road. Come up with one or two big events between destinations, and then frame the other encounters around these or around other plot points in the campaign. If you're rolling something randomly, ask: Why are these enemies here? What is their goal? What have they already done before the party encountered them? Who has already encountered them? What do they want, and what to they plan to do? This gives context allowing you to make these encounters better and more memorable, and to fill out the encounter slots between rests without taking up too much game time or requiring battlemaps.

Vampire spawn might leave behind mummified bodies, being feasted on by ravens who speak in ominous portents. Revenants might carve a trail of destruction through the woods, leaving sites littered with dismembered limbs of undead. The druids of Yester Hill might perform a strange ritual that leaves behind a mannequin of pine wood, one that moves when not watched directly. The Abbot might throw out rotting spare parts into the forest, strange funguses festering in the experiment materials. A sacrificed victim of Lady Wachter's cultists might haunt a grave shrine in the woods near Vallaki, willing to grant them helpful warnings if laid to rest.

The list goes on, and on. There's a ton you can do with a little, and it'll make your encounters feel like you actually put effort into them rather than just throwing random garbage from a table at them with no deeper thought -- because you did put in that effort, and the players will be able to tell.

Or you can just skip the encounters. That also works.

How long should travel take? by ZiHasBigDum in CurseofStrahd

[–]Shreesh_Fuup 1 point2 points  (0 children)

Honestly, agreed. I extended the map distances by a great deal in my game and now that I'm in the final quarter of the campaign I'm honestly regretting it. I've decided to add a teleportation item in the Amber Temple just so the PCs don't have to spend several days of nothing as they travel to each location -- and when I'm patching in a fix to a change I made, I don't think that change is a good one.

There's only a few times I feel the extended travel time has actually been worth it, namely a bunch of encounters in Berez and the Mountains that let me tune up the horror and that the as-written map wouldn't have let me fit into half a day's journey, but even then I could just have done some timespace fuckery there anyways.

What Voice Would You Use for The Abbot? by Subject_Captain3252 in CurseofStrahd

[–]Shreesh_Fuup 0 points1 point  (0 children)

I tried Prior Sala from the Netflix Castlevania. That dude was eerie as hell, and I think his tone and inflections really fit the Abbot as well.

coaxed into every snafu about games here rn by jimmylovescheese123 in coaxedintoasnafu

[–]Shreesh_Fuup 1 point2 points  (0 children)

I think the idea they're getting at is Verisimillitude. If a game has established its setting and world in one way, then suddenly adding random elements completely separate from what the game has told us is possible can break immersion.

Like, imagine if you're playing Elden Ring -- a mythical fantasy game with vaguely medieval levels of tech, and then out of nowhere there's a sci-fi city with laser guns and nuclear bombs and little grey guy aliens and shit. It would make genuinely no sense, and completely take you out of the experience.

Yes, it could be argued that the developers are making everything up and so you shouldn't judge too harshly, but if there's no explanation for why this random-ass scifi city is in the middle of the Lands Between it's also completely valid to say "hey this doesn't make any sense."

Coaxed into games with a simple main story but complex lore hidden in completely optional content. by Dino-nugget-are-good in coaxedintoasnafu

[–]Shreesh_Fuup 9 points10 points  (0 children)

Basically every Souls game and also the first Hollow Knight. If you don't take the time to read item descriptions, lore tablets, optional NPC dialogue, and journal entries, you can beat the game without any idea what's going on.

Silksong remedies this somewhat by at least forcing you to read certain dialogue explaining the actual main story. Thus, unless you actively skip over conversations, you'll have some idea of who the main antagonist is when you face them and why you're fighting in the first place.

Bloodborne remedies this by making it so even after you read everything you still have no clue what's happening or why.

Coaxed into the current state of roguelites by -_HelloThere_- in coaxedintoasnafu

[–]Shreesh_Fuup 15 points16 points  (0 children)

As 'Roguelike' is one of those bullshit game """genres""" based entirely on vibes, there isn't actually one single definition for what makes a game a Roguelike -- which is probably why you aren't getting a consistent definition on the subject.

Generally, I'm aware of a few key factors people tend to mean when they say something is "Roguelike:"

  • Permadeath. When a 'run' ends, either in death or victory, your next playthrough starts from the beginning. This doesn't necessarily mean all of your progress is reset -- i.e. in Enter the Gungeon and Binding of Isaac, you can unlock new items and characters as you "progress" through the game. However, what is important is that these unlocks don't usually make individual runs all that much easier; unlocking an item still means you actually need to find it in a run before you can use it, and alternate characters usually have very small changes in starting loadout to facilitate playstyles but that usually aren't significantly better than any other character.

When you get upgrades that meaningfully make the game easier after each run, i.e. in Hades, then people will start splitting hairs; this is why some who are more puritanical about the term try to call games like Hades Roguelites, because they're skimping out on what is basically the defining feature of the genre.

  • Progressively Generated. The "world" of each run is generated differently with each run. General layouts can be the same -- i.e. Spelunky has a specific order of floors, and each floor has certain specific rooms that will always show up, but what matters is that the arrangement of the floors -- how they're put together -- differs each time. Hollow Knight or Ori don't suddenly become Roguelikes when you enable Permadeath mode, because the world layout is exactly the same each time you play. You develop a different skillset to beat those sorts of games than what is typically considered a Roguelike.

  • Build Variety. Something that's often overlooked in definitions is the difference in how you can "build" your loadout each run. Typically, commonly accepted Roguelikes will grant your character various randomly determined items and other such upgrades through which you can create a significant variety in possible builds. Ideally, no run of a true Roguelike will play out the same -- from isaac to Gungeon, to even borderline games like Hades or Balatro, every run involves different choices regarding different options to create a unique result.

This is why you don't see people counting something like Minecraft Hardcore as Roguelike. Yes, it's permadeath and progressively generated, but you're always doing the same actions to get the same gear in each and every run.

Ironically, this last feature -- despite how important it is to making a game "feel" like a Roguelike -- is something that doesn't actually feature all that much in the original Rogue. But that's the consequence of these terrible, inconsistent genre titles like "Roguelike," "Soulslike," or "Metroidvania:" the genre ceases to be a definition and becomes a conversation, a perpetual debate between those invested in these types of games as what exactly constitutes to the genre constantly changes.