- Welcome to Soulriders 5.0: Legend of the Unending Games.
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#81
Balmuria Mini Games / Re: Loot (Skaya)
Last post by Nephrite - July 09, 2025, 02:33:59 PMQuote from: Anastasia on July 09, 2025, 01:47:17 PMThere's one or two you all can get. Turns out some fame helps open doors as well.
Do you mean Spellcraft boosting items, a Rod of Bodily Restoration, or 'anything else interesting'?
#82
Balmuria Mini Games / Re: Loot (Skaya)
Last post by Corwin - July 09, 2025, 02:11:11 PMQuote from: Anastasia on June 28, 2025, 01:48:35 PMShip Adventure Loot
A small quantity of gold and silver bars.
Was this tallied in the big loot post below?
#83
Balmuria Mini Games / Re: Loot (Skaya)
Last post by Anastasia - July 09, 2025, 01:47:17 PMThere's one or two you all can get. Turns out some fame helps open doors as well.
#84
Balmuria Mini Games / Re: Loot (Skaya)
Last post by Nephrite - July 09, 2025, 01:41:14 PM[12:40] <Devar> roll 1d100
[12:40] <Pixiebot> Devar rolled 1d100 --> [ 1d100=65 ]{65}
not even really good OR really bad!
[12:40] <Pixiebot> Devar rolled 1d100 --> [ 1d100=65 ]{65}
not even really good OR really bad!
#85
Balmuria Mini Games / Re: Loot (Skaya)
Last post by Anastasia - July 09, 2025, 01:18:42 PMGive me a d100 real quick, Neph. We'll call it downtime stuff.
#86
Balmuria Mini Games / Re: Loot (Skaya)
Last post by Nephrite - July 09, 2025, 12:29:13 PMTallying the gold and items worth gold (I assume we're just keeping the potions and everything) we get a total of 59449 gold in total - dividing it equally gives 11889.9 gold per person.
Unfortunately there's still no Rod of Bodily Restoration but Devar will keep looking! Are there any +5 Spellcraft items available in Rockgate, or anything else interesting he can spend some moneys on?
Unfortunately there's still no Rod of Bodily Restoration but Devar will keep looking! Are there any +5 Spellcraft items available in Rockgate, or anything else interesting he can spend some moneys on?
#87
Writing Section / Re: [VRMMORPG] Le Monde Online
Last post by Jason_Miao - July 09, 2025, 07:42:03 AMTabby-
I read through chapter 11.
How would you class the underlying conflict in this story? If you have arcs planned, what's the conflict for this arc? Keeping your attention to the conflict and planning around it can help identify gaps in plot and characterization, and drilling down to fill in the details can sometimes help against getting stuck.
The four classic conflicts are Man vs. Man, Nature, Society, or Self. For example:
vs. Man: Revenge, rivalry, romance.
vs. Nature: Survival, exploration.
vs. Society: Racism, classic fictional travelogues.
vs. Self: Bildungsroman.
It's a good idea to identify the conflict when planning a story, because conflict gives rise to tension. Tension makes stories interesting. Most fiction and a good deal of non-fiction is interesting primarily because of conflict-driven tension.[1]
Once you've identified the conflict in the story or arc, then ask yourself how each of your chapters (and scenes, and character interactions if you really want to put in that level of detail) advances the conflict or lays a foundation to advance the conflict. That careful examination of the story sometimes reveals places where you can write more, or have written too much.
[1] Counterpoint: I can't discern an underlying conflict in Yokohama Shopping Diary. So if you're trying to write a story like that, then what I've posted might be invalid for you.
I read through chapter 11.
How would you class the underlying conflict in this story? If you have arcs planned, what's the conflict for this arc? Keeping your attention to the conflict and planning around it can help identify gaps in plot and characterization, and drilling down to fill in the details can sometimes help against getting stuck.
The four classic conflicts are Man vs. Man, Nature, Society, or Self. For example:
vs. Man: Revenge, rivalry, romance.
vs. Nature: Survival, exploration.
vs. Society: Racism, classic fictional travelogues.
vs. Self: Bildungsroman.
It's a good idea to identify the conflict when planning a story, because conflict gives rise to tension. Tension makes stories interesting. Most fiction and a good deal of non-fiction is interesting primarily because of conflict-driven tension.[1]
Once you've identified the conflict in the story or arc, then ask yourself how each of your chapters (and scenes, and character interactions if you really want to put in that level of detail) advances the conflict or lays a foundation to advance the conflict. That careful examination of the story sometimes reveals places where you can write more, or have written too much.
[1] Counterpoint: I can't discern an underlying conflict in Yokohama Shopping Diary. So if you're trying to write a story like that, then what I've posted might be invalid for you.
#88
Balmuria Mini Games / Re: Mini naggings
Last post by Anastasia - July 08, 2025, 04:39:19 PMGave Rina stuff a few more tries but it's not happening, so let's do the normal level up.
Rina reaches level 7.
- Half-Fire Elemental 2 and Scout 7.
- 6 on a d8 for a total of 12 hit points and a grand total of 85 hit points.
- +1 BAB for a total of +7.
- Skirmish's AC bonus rises by 1.
- Gets wall of fire as an SLA. A utility pickup doesn't hurt.
- All saves rise by 1.
- Skills go up as normal.
Not an exciting level for her, PrC wasn't working out.
Rina reaches level 7.
- Half-Fire Elemental 2 and Scout 7.
- 6 on a d8 for a total of 12 hit points and a grand total of 85 hit points.
- +1 BAB for a total of +7.
- Skirmish's AC bonus rises by 1.
- Gets wall of fire as an SLA. A utility pickup doesn't hurt.
- All saves rise by 1.
- Skills go up as normal.
Not an exciting level for her, PrC wasn't working out.
#89
Balmuria Mini Games / Re: Mini naggings
Last post by Anastasia - July 03, 2025, 07:44:28 PMRina will be tomorrow. I played with a custom PrC but I'm not feeling it under pressure.
#90
Writing Section / Re: [VRMMORPG] Le Monde Online
Last post by Jason_Miao - July 03, 2025, 06:56:51 AMI've read through chapter 4, and here's my quick takeaway: You're switching between present tense and past tense narration throughout.
I don't know why you're stuck, so I don't know if rewriting your chapters with a consistent narrative tense will help you or not. I do know that sticking to a consistent narrative style means that some scenes are easier to write well than others. Just switching the tense of words isn't enough; you have to think about how to present the setting and actions in a way that fits the style. For example, if you want to stick with first person present tense narration, you ought to present information in mostly chronological order as the character is perceiving the situation. So you could start chapter 2 like so:
I made up half those details on the fly because if you're writing as the character who is actively living the situation right now, the point is to relay the character's current perception. The "Japanese schoolgirl uniform" was just a moment of inspiration in spite of chapter 1 ("The fiber connection looks good, sir.") because it very much explains why the character is feeling cold. Of course, if you wanted to adopt this example, you could just change the starter kit to something more realistic.
Or you could explain it with an offhand comment by having the character grip about starting the same the same week that the game was promoting a Magical Girl Battle Royale anime...and hey, maybe that's the basis of a new plot hook 50 chapters later. Or the character is instead wearing a kilt because he picked a Scots-inspired race during character selection, and now you've got a different angle. That's two different foundations for a potential future plot twist (blatant commercialization raising hell with gameplay, or culture-setting mismatches), just based on an offhand joke about the starting kit that flows from having to narrate in a consistent tense.
But again, maybe having a foundation for future plot twists isn't why you're stuck. I just haven't read that far, so I can't say for sure whether this helps with your issue. It's just a possibility.
Quote from: ch1, present tense narrativeA faint hum, and then... nothing. I try to lift my arm and I don't think it's moving, but I can see my VR avatar lift its arm. It feels weird, but I've experienced it before at a center, so it isn't totally unexpected. Usually, the odd feeling kind of fades away after a few minutes, assuming the virtual environment is designed well.
I walk around the cabin a bit, pick a few things up and bang my arms and legs against a couple of things. Yep, I can feel the haptic feedback giving me that 'enough' sensation that my brain is mostly convinced it is real. I stretch, squat, and run in place for a moment. Yep, good enough.
Quote from: ch2, past tense narrativeI picked Manosque Village to start in mostly for the snow. I love snow, and it was the Southernmost starting town in the Southern continent. Basically, the closest to a pole that someone could start at within the game.
Quote from: also ch2, bothI'm being attacked?!!
Looking around I didn't see any hostile creatures. No arrows sticking out of me...
I don't know why you're stuck, so I don't know if rewriting your chapters with a consistent narrative tense will help you or not. I do know that sticking to a consistent narrative style means that some scenes are easier to write well than others. Just switching the tense of words isn't enough; you have to think about how to present the setting and actions in a way that fits the style. For example, if you want to stick with first person present tense narration, you ought to present information in mostly chronological order as the character is perceiving the situation. So you could start chapter 2 like so:
QuoteI'm logged in, and...OW! Am I being attacked?!! I can't see any monsters. I don't have any wounds. There's no blood. What was the -OW- command to pull up the combat log?
-1 LIFE [COLD]
Oh, that makes sense. I picked Manosque Village to start in for the snow. I love snow, and Manosque closest to a pole that someone could start at within the game. There's snow and wind and cold all over.
And I love it. The environmental effects are as realistic as they are amazing. The visuals of the snow reflecting the sunlight were [describe in a way that the reader can feel how the character feels. Probably an analogy.]. The sound of the wind [describe: Whispered? Roared? Murmured? Something else?]. The haptic feedback was doing something - I'm not sure what - that gave me goosebumps and a sensation of cold.
Given the realism, I should have guessed that the damage effects on someone wearing the starter kit of a Japanese schoolgirl uniform would be equally realistic.
I made up half those details on the fly because if you're writing as the character who is actively living the situation right now, the point is to relay the character's current perception. The "Japanese schoolgirl uniform" was just a moment of inspiration in spite of chapter 1 ("The fiber connection looks good, sir.") because it very much explains why the character is feeling cold. Of course, if you wanted to adopt this example, you could just change the starter kit to something more realistic.
Or you could explain it with an offhand comment by having the character grip about starting the same the same week that the game was promoting a Magical Girl Battle Royale anime...and hey, maybe that's the basis of a new plot hook 50 chapters later. Or the character is instead wearing a kilt because he picked a Scots-inspired race during character selection, and now you've got a different angle. That's two different foundations for a potential future plot twist (blatant commercialization raising hell with gameplay, or culture-setting mismatches), just based on an offhand joke about the starting kit that flows from having to narrate in a consistent tense.
But again, maybe having a foundation for future plot twists isn't why you're stuck. I just haven't read that far, so I can't say for sure whether this helps with your issue. It's just a possibility.