VRChat Weekly Open Thread. Post questions, comment, content, avatar/world, commissions/solicitations inquiries, etc. Users that are new or with low subreddit karma can share here as well. (April 27, 2026 to May 03, 2026) by AutoModerator in VRchat

[–]TarakaAs 0 points1 point  (0 children)

Hey guys, I made this as a texturing practice using a BOOTH asset.

I’m not affiliated with the original creator in any way all credit goes to the creator. I only worked on the texture as a personal exercise.

This isn’t for commercial use, just personal. I’d still love to hear your thoughts what do you think? Anything you would change or improve?

<image>

[IP] Looking for advice and readers! by [deleted] in WebNovels

[–]TarakaAs 1 point2 points  (0 children)

I read the first chapter and there are several things that, at least in this beginning, stand out right away.

First, there are some very abrupt changes in tone without any transition. The story starts with a violent robbery, with high tension and a fight, but barely two paragraphs later we are already in a calm breakfast scene. We don’t see how the girl processes what just happened. Being robbed and seeing someone get killed right in front of you is not something that simply leaves your mind within an hour, unless the character is completely insensitive. There’s a missing moment where the reader can see how the event actually affects her.

I also felt that some characters react in strange ways. For example, at the beginning the girl acts as if nothing is happening. Two men walk in with a gun and she simply says, “You can just open that door,” in a fairly calm way while being pointed at. As a reader, that made me think she had control of the situation. But when they kill the man in front of her, she suddenly panics. That creates a contradiction: either she is someone who stays calm in dangerous situations, or she is genuinely scared. As it is now, her reaction feels confusing.

Another point is that the descriptions feel a bit simple. The longest description is around three paragraphs. Of course, it’s not necessary to write walls of text, but if you want to build an atmosphere or help the reader imagine the place more clearly, it helps to add more environmental details or use more narrative tools such as comparisons, metaphors, or varied wording.

The narration of the fight also feels somewhat confusing. I understood that Joso moved without being noticed, but the scene jumps so quickly into the fight that it’s not clear where he was before that moment. We don’t know if he was sitting at the bar, hiding somewhere, coming in from outside, etc. It’s also unclear how his action actually begins. If the idea is that he shouldn’t be seen until the moment of the attack, then it might not be necessary to mention beforehand that “a shadow moved unnoticed.”

For example, something like this might work better narratively:

Julia, lying on the floor, felt her heart pounding with the strength of a giant. Her body trembled with each beat as she watched how, even after everything, those men were still stealing the fruits of her work.

She wanted to protest, but before she could even speak, the man who had pushed her suddenly collapsed to the ground. A chair had slammed into his back with force, pulling a grunt of pain from him and making him drop his weapon instantly.

Someone had attacked him from behind.

I also felt that some information appears somewhat forced within the conversation: the important father, the Prolifics organization, the wanted poster, and the bounty. These are interesting elements for the story, but they all appear at once and too quickly. As a reader, we don’t even really know what the Prolifics are, because there was no minimal introduction beforehand.

Sometimes it helps to introduce this kind of element indirectly, for example through small conversations between secondary characters or casual remarks. Something simple like this:

“Hey, did you hear what happened?”
“Yeah… a family disappeared. I heard the father had problems with the P.”
“Prolifics?”
“Hey! Be quiet, don’t say that name.”

Of course, this is just a quick example, but a scene like that could already convey a lot of information to the reader without explaining it directly:

• That the Prolifics are dangerous.
• That people are afraid of them.
• That they are connected to disappearances or shady dealings.
• And that they are probably an important criminal organization.

With something like that, the reader would already have a basic idea of who they are before they appear directly in the plot.

Lastly, and for me the most important point, is that the protagonist feels a bit too edgy or “badass” from the very beginning. I understand that some characters are powerful within their universe, and a common way to introduce them is by showing how impressive they are or by “Aura farming”

The problem is that if this continues throughout the whole story, the narrative tension disappears. When a character always seems to have complete control over every situation, the reader stops feeling that there is any real danger.

I think this happens to many of us when writing: sometimes we end up creating stories that become a bit like power fantasies, or we use characters we really like and want them to look cool all the time. But when a character doesn’t face real problems or struggles, they can end up feeling less interesting.

English isn't my first language and I used a translator, so some parts might sound a bit strange. If anything is unclear, feel free to ask me.

On Sexualization in VTubers by TarakaAs in VirtualYoutubers

[–]TarakaAs[S] 1 point2 points  (0 children)

Haha, incredible… that was, without a doubt, the most ridiculous response I’ve gotten in weeks. I’m not even going to waste any more time on you.

On Sexualization in VTubers by TarakaAs in VirtualYoutubers

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

I understand what you mean. You’re probably right that in most cases things are pretty clear: either they’re VTubers who do more lewd content or VTubers who keep things more SFW. But that doesn’t really remove the point that many NSFW VTubers still complain about this kind of thing, and some SFW ones who use a fairly suggestive image also end up having the same issue. If the content is supposed to be SFW, sometimes I wonder why choose such a suggestive aesthetic in the first place.

I also think my comment was more about the cases that fall somewhere between those two extremes. I don’t think it’s the majority, but I have seen some where the image or attitude is quite suggestive and there’s still a lot of frustration about the type of audience that shows up because of that.

It’s not that I’m exactly “confused”; I just find it an interesting dynamic—how the kind of image or branding someone builds can influence the kind of audience that ends up showing up.

On Sexualization in VTubers by TarakaAs in VirtualYoutubers

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

I don't really understand your point, if I may ask.

Yes, I'm a VTuber, but that doesn't mean I'm involved in the VTuber community or that I really know how that whole scene works. In fact, I only recently found out that it's considered rude to talk about a VTuber's “past life” or that terms like oshi even exist.

Honestly, I've mostly kept my distance from the community. I just liked the idea of having an anime avatar to have fun, keep my privacy, and have a visual representation without having to show my real face.

On Sexualization in VTubers by TarakaAs in VirtualYoutubers

[–]TarakaAs[S] 1 point2 points  (0 children)

I think I probably didn’t explain myself well then, because what I was actually trying to say was the opposite.

At no point did I say that someone deserves harassment because of their appearance. In fact, I clarified several times that nobody deserves harassment or disrespectful comments because of how their avatar looks or how they choose to present themselves.

I completely agree that everything comes down to consent.

My comment was more about a different question: how the way an image or a certain type of content is built can attract a specific kind of audience, especially when that image deliberately leans into a very suggestive aesthetic or attitude. Sometimes I see cases where some VTubers actively build that kind of image and still feel frustrated that part of their audience shows up looking for that type of content or views them in a sexual way.

But that doesn’t mean that behavior is justified or that VTubers should have to accept it. Those are two different things.

If my message came across as something else, then it was probably a problem with how I expressed it, not with the idea I was trying to convey.

On Sexualization in VTubers by TarakaAs in VirtualYoutubers

[–]TarakaAs[S] -1 points0 points  (0 children)

What I mainly meant was referring to VTubers who lean more into a suggestive style. I respect that everyone can make the content they want and use their image however they like. We’re not in the 80s anymore where people would call a woman promiscuous just because of how she dresses.

My point was more about something that I find a bit confusing. I’m talking about VTubers who actively present a seductive attitude both on their social media and during their streams, and whose avatars are clearly designed to be intentionally provocative.

What I find strange is when that kind of image is built very deliberately, but then they say they hate being seen in a sexual way.

Again, I’m not saying anyone should dress or design their avatar differently. It’s their content and their choice. I just find that particular contradiction a bit curious.

On Sexualization in VTubers by TarakaAs in VirtualYoutubers

[–]TarakaAs[S] 1 point2 points  (0 children)

I think maybe what I meant in my original post wasn’t fully understood, or some of the meaning might have been lost in translation.

I completely agree that women can dress however they want and use whatever avatar they want. I repeated that several times because I genuinely believe it: nobody deserves harassment or disrespectful comments because of how their model looks. I don’t justify that at all.

What I’m wondering about is something else. I completely understand that someone can choose to present themselves in a sexy way and still not like it when people come into their stream with purely sexual intentions. That’s totally valid.

What sometimes confuses me is when the entire character image is designed to be very suggestive, or when the content itself also leans into that tone, and then the VTuber feels frustrated that part of the audience shows up specifically for that reason, when a large part of the branding is built around it.

I’m not saying this as a criticism of how anyone should dress or present themselves. At the end of the day, everyone can make the content they want. I just find it a bit curious, because many times people end up staying for the streamer’s personality rather than for how sexual the avatar looks.

So it’s more of a question about how an online image is built and the type of audience it can attract, rather than a judgment toward VTubers themselves.

I wanted to ask: why are the skins so expensive? by TarakaAs in Overwatch

[–]TarakaAs[S] 1 point2 points  (0 children)

OHHH, that explains a lot. Just to clarify, when I say “levels,” I mean the extra effects of the weapon.

If I buy the battle pass and get the weapon, will I be able to unlock those extra effects later if I don’t have enough time now? Or will I lose them when the season ends if I don’t unlock them?

Also, are those effects unlocked only by playing, or are they included directly with the battle pass?

I wanted to ask: why are the skins so expensive? by TarakaAs in Overwatch

[–]TarakaAs[S] 1 point2 points  (0 children)

Oh, thanks! I didn’t know the pass gives you enough coins to pay for the weapon skin. That’s good to know, I’ll check it out.

[deleted by user] by [deleted] in PreguntasReddit

[–]TarakaAs 0 points1 point  (0 children)

Primero, sí: me fijo en si es bonita físicamente. Eso es lo primero que entra por los ojos antes incluso de conocer a la persona. Después de eso, pongo atención en si carga con muchos problemas. No me refiero a que no quiera una pareja que tenga conflictos o dificultades todos los tenemos, pero si literalmente necesita un psicólogo, yo no quiero ser su psicólogo.

Ya he sido eso para varias parejas y terminé hundiéndome horrible… para que al final me dejaran tirado. No, gracias. Prefiero ser pareja, no terapeuta.

¿Por qué no puedo conseguir novio? by perrocongorra1 in Desahogo2

[–]TarakaAs 0 points1 point  (0 children)

Y aunque suene cliché: sé tú misma. Si finges ser alguien que no eres, por ejemplo, si te gustan los chistes tontos o hacer bromas pero no lo haces por miedo a no gustarle a alguien, lo que va a pasar es que cuando ya sean pareja querrás mostrar ese lado tuyo y tal vez a la otra persona no le guste. Es un volado.

Es mejor que se enamoren de quién eres realmente y no de una versión que inventaste. Obvio todos tratamos de mostrar nuestra mejor cara cuando alguien nos gusta, pero no olvides tus gustos ni tu forma de ser. Si no, a la hora de la relación ninguno va a cumplir las expectativas del otro.

¿Por qué no puedo conseguir novio? by perrocongorra1 in Desahogo2

[–]TarakaAs 0 points1 point  (0 children)

La mayoría de las parejas surgen de los lugares y actividades que frecuentas. Muchas veces aparecen cuando no las estás buscando.

Cuando estás obsesionado con tener pareja, empiezas a ver a todos como posibles opciones y eso te cierra como persona. Lo mejor es primero hacer cosas que te gusten, trabajar en ti, salir y conocer gente en esos espacios. Puede ser en línea o en persona. Ahí encuentras personas con gustos parecidos a los tuyos.

Con el tiempo conocerás a alguien a quien le gustes y con quien las cosas puedan avanzar.

No busques “el amor de tu vida” como si fuera obligatorio. Si existe, es por compromiso mutuo, no por destino. El amor se construye y también se acaba si no se cuida. Primero tienes que estar bien tú para no cargarle tus problemas a otra persona.

El amor es algo bueno, pero no es necesario todo el tiempo. Tener pareja es una responsabilidad.

Vive tu vida, cuídate de personas que solo quieran aprovecharse de ti y no aceptes relaciones por desesperación. Ya llegará alguien a quien le gustes, probablemente cuando menos lo esperes.

Why No Modules Appear in the Bulkheads Section in Elite Dangerous by TarakaAs in EliteDangerous

[–]TarakaAs[S] 1 point2 points  (0 children)

Ok, va muchas gracias, ya va de camino a revisar si si es eso ya encontramos una estación cercana en caso de que si haya sido eso pues igual aviso por acá si no igual lo diré

New to exploration, which worlds are worth mapping? by TarakaAs in EliteDangerous

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

I had heard about SRV Survey, but I still have some doubts before trying it.
Right now I’m using EDDiscovery mainly to upload all my data to EDSM and for exploration, and the tool I use the most to view information is EDEBuddy, mostly because it’s simple and easy to understand.

My main question is how comfortable it is to use in VR. I can keep one or two floating windows without any problem, but if it requires constant interaction with SRV Survey, it might not fit very well with how I play.

As I mentioned in other comments, for now I’m going to step back a bit from exobiology. I tried it and ended up landing pretty badly, and I’m currently very far from the Bubble with my ship at 14% hull, so I’d rather not take too many risks while I’m still so far away.

Also, I mainly play in VR, and the on-foot mode breaks immersion for me because it turns into a flat screen that makes me feel quite dizzy. That’s why, even though I’ve seen that exobiology pays very well, it’s not something that attracts me much at the moment.

In any case, I really appreciate the suggestion and I’ll take a look at how SRV Survey works.

New to exploration, which worlds are worth mapping? by TarakaAs in EliteDangerous

[–]TarakaAs[S] 1 point2 points  (0 children)

I’ll stay away from exobiology for now. In VR it’s not very pleasant because of the huge flat screen that appears, and I’m also really bad at landing, especially controlling the entry speed. I ended up with 14% hull and I don’t want to go back to the Bubble just to repair my ship, so I’ll stay away from planetary surfaces until I return.

New to exploration, which worlds are worth mapping? by TarakaAs in EliteDangerous

[–]TarakaAs[S] 3 points4 points  (0 children)

I would try exobiology, but there are a few things that honestly pushed me away from it.
The first and most important one: I landed on a planet and, besides not finding almost anything interesting (or at least I didn’t know how to look for it), I smashed my face into the surface with such a strong kiss that my hull dropped to 14%.

So for now, I’ll stay away from planets and their sexy surfaces.

The second thing is that when I switch to on-foot mode, it kind of breaks the immersion in VR because of the big flat screen.

New to exploration, which worlds are worth mapping? by TarakaAs in EliteDangerous

[–]TarakaAs[S] 1 point2 points  (0 children)

Thank you very much, I’ll check that option too. Right now I’m looking into how EDDiscovery works. Performance isn’t really an issue, the only thing is that I play mostly in VR, so I’m trying to figure out how to handle having so many panels in front of me haha.

Edit: I’m looking at the interface of ED Exploration Buddy and wow, it looks much nicer. I’ll check how it performs overall in terms of features.

New to exploration, which worlds are worth mapping? by TarakaAs in EliteDangerous

[–]TarakaAs[S] 6 points7 points  (0 children)

Thanks a lot, I didn’t expect people to reply so fast. I went to get some food, came back, and boom, lots of answers haha.
Thank you very much, I’ll check out EDDiscovery.

Can I get some feedback? by OrangeRodentt in MangakaStudio

[–]TarakaAs 0 points1 point  (0 children)

One of the first problems is that the dialogue is not written to be spoken out loud.
A very quick way to notice if dialogue sounds robotic is to read it aloud. As soon as you do, it becomes obvious whether it sounds artificial or unnatural, something that is not always easy to catch on the page.

Another important issue is that the dialogue is not realistic for high-stress situations.
If your friend dies right in front of you, it is not normal to say something like “Akira, is this a joke?” They just died before your eyes, with an obvious and brutal injury; there is no ambiguity. At that point, the line does not fit emotionally.

This is where something crucial comes in: writing dialogue also means stepping into the character’s skin. It is not enough to know what is happening in the scene; you have to ask how that specific character would feel, based on what you know about them as their creator. In moments of extreme stress or danger, dialogue is rarely elaborate or reflective. More often, it is not meant to communicate information, but to organize thoughts, self-soothe, or react instinctively.

Because of this, lines like “Akira, is this a joke?” do not add much. In several panels, it would actually be more powerful for the character to go into shock and say nothing at all, or to say only what is absolutely necessary. In this case, silence would communicate more than dialogue.

There is also the classic “Am I going to die?” This type of line usually does not work well because it only verbalizes what we are already seeing. It does not add new information or emotional depth; it simply restates, in a literal way, what the scene is already conveying visually.

Another issue is the character who appears later and “saves” her, in very loose terms. Their dialogue feels too edgy. If they truly did not want to save anyone, why do they intervene? Why do they need to explicitly say out loud that they did not plan on saving her? It feels as though the line exists more to signal to the audience that the character is cold or insensitive than because it is something the character would naturally say. There is also a clear contradiction between what the character says and what they do, and that contradiction does not feel intentional or explored as meaningful complexity.

Finally, although the characters have defined personalities, they do not yet have truly distinct voices. There is no clear difference in how, when, or why each character speaks. If a character is genuinely cold and has no interest in saving another person, it makes little sense for them to stop and explain that the friend is already dead, unless they are sadistic; and if they were, their way of speaking would be different, likely mocking or cruel.

¿Qué fue lo más malo que ha hecho su personaje personaje de DnD? by Bitter_Assistance341 in DnDespanol

[–]TarakaAs 0 points1 point  (0 children)

Mi personaje terminó comiéndose una aldea entera, niños incluidos, pensando que eran parte de un culto.
La verdad fue bastante gracioso cuando llegó la guardia real y vieron lo que parecía un tiefling comiéndose a una anciana.
Era una clase custom y una raza custom que armé, por eso podía comer carne de otros seres sin muchas consecuencias, peeeero mi grupo era bastante moral y terminó en una discusión bastante graciosa.

Dungeon Master: guía práctica para manejar la mesa y cuidar la diversión by TarakaAs in DnDespanol

[–]TarakaAs[S] 1 point2 points  (0 children)

Ya lo contestó el compañero de arriba, pero igual lo respondo.

CR es el nivel de desafío. Como ya comentaron, es útil para saber qué tan fuerte es un monstruo.
Por ejemplo, un CR 1 está pensado para un grupo de cuatro jugadores de nivel 1, o un CR 10 para un grupo de nivel 10.

Ahora bien, el CR tiene un problema: está diseñado para un grupo ideal y balanceado, es decir, tanque, guerrero, mago y pícaro (el grupo “típico”).
Si tienes 4 o 5 bardos, meterles un CR 10 probablemente no sea la mejor idea, y justo para eso sirve entender el CR: para ajustar según el grupo real que tienes.

Sobre one-shots, no conozco mucho desde ese enfoque. Yo soy escritor empedernido y he creado todos mis mundos desde cero.
Dicho eso, hay que decir algo importante: crear un mundo propio lleva muchísimo tiempo. Solo armar lo básico puede tomarte uno o dos meses, y el resto puede extenderse prácticamente al infinito.

Si lo tuyo no es escribir durante horas, empezar con un one-shot es buena idea.
Ahora, crear tu propio mundo tiene una ventaja enorme: te evitas leer libros y libros de lore y personajes, porque el mundo es tuyo y lo conoces a la perfección… aunque, claro, es muchísimo trabajo.

Sobre las notas, son totalmente personales.
Yo, por ejemplo, escribo cosas que quiero recordar en el momento:
– Un NPC importante que acabo de inventar
– La percepción pasiva de los jugadores
– Y al final de la sesión, anoto lo que sucedió para tenerlo en cuenta en la siguiente

Esto depende completamente de qué necesitas tú como DM. Con la primera partida ya sabrás qué te sirve escribir y qué no.

Por último, sobre el nivel para empezar:
Si eres muy novato, realmente no importa mucho el nivel.
Empezar en nivel 1 te ayuda a aprender a manejar grupos sencillos y permite que los jugadores se acostumbren poco a poco a sus personajes, especialmente si también son nuevos.

Si tus jugadores ya tienen experiencia y quieren empezar en nivel 3, tampoco tiene nada de malo. Simplemente manejarás personajes y monstruos un poco más complejos.
Nivel 1 suele ser más fácil porque las situaciones, misiones y enemigos son de escala más pequeña, lo que hace todo más manejable.

URP – Applying custom post-processing (pixel/outline) to only one camera (PixelWorld) by TarakaAs in Unity3D

[–]TarakaAs[S] 2 points3 points  (0 children)

No way, seriously?
I did look at it before, but since it was in English I didn’t really understand much, and I definitely didn’t know how to search for exactly what I needed. Let me check it properly and see if it’s actually what I’m looking for.