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Everything posted by Himoto

  1. Oh wow Ree is back, and with a strong offering. I'm not prepared to say it's the best, but it's certainly a good opening for the Unicorn ; they might actually make it into my favorites now. (One thing to keep in mind about Ree's time as story lead - my understanding of that era is that she was handed a pretty tangled mess of plot notions for Jade already in place when she took over. How much of that plot, particularly the initial element, was hers is an open question). Also, glad to see the sharp reminder that *honorable* and *not a jerk* are two very, very different thing. A lot of the time, acting honorably means being a jerk.
  2. Hotaru killed Ujimitsu then had her harriers sabotage the ceremony so the whole place would go up in smoke. This fiction is proof the harriers are in the new canon.
  3. Yes, because "I don,t like the game type" and "Never have anyone else to play with" is exactly what I said. Oh, wait, except it's not. I said there are better game types, and that the game would be occasional for me. But hey, don't let that get in the way of twisting what I say into a parody. And just to be clear, "No background, no story" is your perception of those characters. Not an objective, uncontroversial fact that should color everyone's perception of those characters. So it would be nice if you stopped rephrasing our argument just so you can add "with no background" at the end. To me, art (especially if that art then reappears on other cards), flavor text (which many of these personalities had) and a name together do form a background. But hey, yes, obviously. It's FFG I'm annoyed with. We'll go with that. llamaman - the problem is, one man's meaningless name (yours) is another man's meaningful name (mine). And vice-versa. I don't think I could even name you a single follower past...oh, Gold or so. And even then it's only a handful I actually remember. I can, however, tell you that soul of Gohei was Matsu Aoiko. Soul of Daini,...wasn,t that Mirumoto Gonkuro? I don't remember every card, obviously (then again, I don't even remember what every Crab preview does, and we saw those two days ago), but I do remember a lot more of them than followers :-p
  4. L5R would be an occasional game for me (at most). I don't have the playgroup or people interested in card game to look at a more regular playing aspect - my friends tend not to be into card games, period (rightly, for that matter : LCGs and CCGs are just too inherently random compared with the elegance modern board games are capable of). So it comes down to whether there are enough cards I actually care to own in the set to be worth the purchase. With Old5R, that remained the case for a long time into the game history (hell, I still have a complete set of Crane personalities from Imperial to Stronger than Steel, and close to complete collection for a few of the later eras). These cards represented people, who, even if they never appeared in fiction, had stories. But I never collected follower cards, with very rare exceptions (ie, unique followers who had stories of their own). Because followers were nobodies, people without stories, without faces. Unimportant. So what it comes down for me is this. I have only a small handful of cards in the base set that I actually have any reason to get at all. They're nowhere near enough to make the price tag a rational buying decision. So it's gonna be a pass. Perhaps later there'll; be enough uniques floating around to make a core set (to complement my uniques collection) a rational buying decision. But that's later, not now.
  5. Perhaps. Hopefully. And certainly, if and when we do, I may change my view on buying the sets or not. But right now? I'd like to try the game, and to play it with friends if they buy it. But right now, the base set isn't worth my money (and that makes it rather hard to get into the game later).
  6. Shiba Tsukune is a person. Shiba Yojimbo is nobody. Someone who's so unimportant they don't deserve a name. A trivial pawn on a chessboard, cannon fodder, red shirts. Nothing. Which means I have zero interest in them, and frankly fairly low interest in actually buying the game. It's not a bad design, it sounds fun to play, but a large part of why I bought Old 5R is for the storytelling aspect of the cards, which mostly came down to personality and a few other cards. That's down to a handful of unique personality each set now, which frankly doesn't begin to be worth the money. So yes, while it's a good game and I'll be happy to play it with friends if they happen to buy the set and have decks, it does mean FFG is not getting my money. And meanwhile you're thinking it's good because you don't have to worry about how to pronounce foreign names anymore. Excuse me if I'm not impressed. Yes, but that largely comes down to the brand team deciding "We should let players decide which characters get what story prize when they win!" (instead of sticking to the old "the winner's clan determines which clan gets the story prize and THAT'S IT"), and the playerbase running with it in the most idiotic way possible.
  7. Eager scout may sound easy to remember, but once we have "Eager Scout" and "Naive Scout" and "Cadet Scout" and "Scout Trainee", it,s going to be as confusing as any names ever were, if not worse.
  8. Again, what's wrong with introducing the character as a card THEN later once people are familiar with the name having it show up in fiction? Insisting that it must be the other way around is just...so needlessly limiting.
  9. Wedge is a minor character in the context of the movies, comparable with Fett or Ackbar. Mace Windu became a little less minor as the story progressed, but even he remained a secondary character. Of course, all of them got promoted to major cast members of the expanded universe. In the context of Star Wars, pretty much everyone we see onscreen is a named character. That's kind of the thing with Star Wars. The only exception are literal faceless mooks (stormtroopers, battle droids) and the occasional rank-and-file soldier - and even them, some of them do have names and stories, though in some cases they got them later. (And the point remain valid considering how few unique characters we see in the initial release. There just aren't enough "unique" slots to showcase the characters of L5R in an introductory set.
  10. Please. To REALLY know Boba Feet, you had to be at the San Anselmo county fair parade on September 24, 1978. Those who only discovered him in the Holiday Special two months later are just wannabes :-p. That said, Star Wars - as far back as Boba Fett and Empire - is just about the heavy weight world champion and most stellar demonstration of the value of naming your characters. Aside from literal mooks (stormtroopers, the most basic soldiers, battle droids and the ilk), the overwhelming majority of characters in Star Wars received a name the instant an action figure got released. And, in some case, they received those names ahead of the movie. Fett's a bit of an oddball case (was he identified as Fett at the San Anselmo fair, or did the name first appear in the Holiday Special?), but Ackbar and Mace Windu most notably got revealed via action figures months ahead of their respective movie's release. And Fett, Ackbar and Windu is practically a who's who of the most popular minor characters in Star Wars (missing Wedge, but Wedge first appeared in Hope). These days, it's far beyond that. Who didn't know about Rey, Finn, Captain Phasma (who's effectively the Boba Fett/Mace Windu of TFA - awesome look, and, like Windu, name actress; really popular with the fans; but ultimately minor role), Kylo Ren, General Hux, Maz Kanata, or even Unkar Plugg and the rest before they walked in into their first showing of TFA? They weren't generic aliens or generic stormtroopers or what have you. The moment we saw them in the story, we could connect them with what we had found out in earlier materials. The same in Rogue One - Baz Malbus, Cassian Andor, Jyn Erso, Director Krennic et al were all introduced in teaser shots and merchandising long before the movies were out. In this case, revealing the characters ahead of their stories, even the one who just have minor roles, effectively serve as another way to preview and tease the actual story - another powerful advertising tool.
  11. Whatever happens to them, these characters have all already been introduced in the story, and most of them were underlined as important people. Yori may not go bad and nail Sukune to a standard, but he's still the Kuni daimyo and chief Shadowlands researcher of the Crab. Yak may not grow a claw, but he's still Kisada's angry-stompy son who likes to apply a tetsubo to all of life's problems, and so on, and so forth. Their future might not be the same as it was in Old5R, but the characters are (with some adjustment) roughly the same as they were a little before the start of the Clan Wars. JJ48, that's because at the time pretty much all cards' stories came in the form of flavor text and art. L5R wasn't just about interactive storytelling ; it was also (and perhaps even more so) about telling a story with cards. Not using cards as pretty bits of cardboard that represent stuff that happens in a story. The cards themselves were the primary mean of communicating the story to us, and it was fun. Daidoji Uji had art that told us a bit about who he was (a Crane samurai who wear a mask). Flavor text that told us something about it too (obviously, a man of action who doesn't want to waste time on words). Who got quoted on which other cards told us something of how the characters related to one another (Shiba Tsukune, for example, admires Isawa Tomo's sense of strategy). In comparison, we knew, even without any fiction to spell it out, that Kakita Yoshi was a well-placed man in the courts who knew many secrets about the other clans. You can still, of course, create a character in flavor. But this time, there just isn't a card. Sure, we can have quotes on random cards refering to Daidoji Uji. But we don't have a Daidoji Uji card (for now) to tie it all together, and give us a glimpse into a)what the man looks like and b)what kind of person he is (via flavor text). The card, back in Imperial Edition,. was what tied all the disparate bits of flavor together. That was enough to create characters right there. Unfortunately, between long lead time between story and card printing ; and entitled fans demanding pre-chewed story bits all conveniently stacked in one place rather than having to (GASP) hunt it down, and "Card design and story can't have anything to do with each other" became an ironclad rule, and in the end storytelling eventually became all about online fiction, and L5R lost its "telling stories with cards" angle, which made it a far lesser game than it had been. The mechanism remained unique, but the fundamental nature of the game became far more "generic card game".
  12. Hah, I suppose it is that, yes. I honestly don't like having such a small pool of characters to like to begin with. The named non-uniques in Imperial Edition breathed so much life in Rokugan and gave every clan a bunch of characters to identify with, many of whom went on to become classics (Amoro, Sukune, Yori, Taka ; Uji and Yoshi ; Daini, Hitomi and Mitsu ; Kage, Agetoki and Gohei ; Wakiza ; Matsu Hiroru ; Kaede, Tadaka, Tomo, Uona, Tsukune ; Ginawa, Toku ; Kamoko and Yasamura...). In comparison, the LCG starts with very few *people* you can get attached to. It will grow, but it's going to be a hard time before it gets there.
  13. It will help, but even then there'll be a fairly significant backlog of named characters to work through, and it might be a long while (even after the game is actually out) before we get to actually play our favorites. Depending on what kind of ratio of unique to non unique the packs go with.
  14. As blah blah blah... I'm not a fan of the new naming convention, and I frankly just can't see how people are finding it confusing (not saying you guys aren't, just that I have a hard time following your way of thinking). But my lack of comprehension doesn't make your opinion less valid, and things are as they are, so... In my opinion, the old naming convention was the right choice for a young game - a game that was trying to build its own world and populate it. If the original L5R had limited itself to named uniques, it would have taken forever and a day to populate the world (remember, these were the days before regular fiction - you got a story or two every Imperial Herald, a rulebook fiction, and that was it). The cards were how the story was told, and the only good way to introduce characters. Going for generic name for the non-unique would have slowed down the introduction of characters to the point where we wouldn't have been able to know who the actors of the game were until several expansions in (hell, half the seven thunders, the protagonists, would have only showed up in Shadowlands). Later on in the game's lifetime, when the clans were well fleshed out with dozens of characters, and regular fictions and RPG books had become the main vector for fleshing out the world, and "Name a character to get a prize" idiocy was all the rage, then yes, all the named non-uniques became a problem more so than a solution. The current incarnation is in a bit of an oddball position, because in one sense the world is already well established (for returning players) and isn't (for new players). As is, it might take a long time before we see the key players of the clans all carded, given the non-unique:unique ratio. Agetoki, Gohei, Motso (and maybe Tsuko? Did the Lion get Tsuko? I forgot) ; Yoshi, Toshimoko, Shizue and Kuwanan ; Mirumoto Daimyo dude and Hitomi ; O-Ushi, Sukune, Yakamo and Yori, and probably a good part of the elemental council (though that remains to be seen) - these are all major figures who are confirmed to be around and who just don't exist in the card world right now due to the necessity of printing sufficient non-uniques (and the fact that these cards can't be non-uniques). The existence of online fiction in a key role alleviate the problem somewhat, but it's definitely a downside of the New naming scheme when trying to restart Rokugan. Once we get past that initial hurdle of all the characters in need of being (re)introduced, things should become considerably easier.
  15. That "original vision" of the Dragon was of the Dragon as a walking, talking plot device who did things without rhyme or reason "because we're mysterious and we have a millenia-long master plan". It doesn't make for very good storytelling, and it makes for a singularly bad faction in a competitive game.
  16. Yeah, uh, how about no? Bad enough that every form of supernatural problem in the setting turns into Shadowlands did it without the Shadowlands annexing one of the few not-actually-Shadowlands antagonist force in the Empire. This is probably the worst idea I've read in this thread, and it has a few fairly terrible ones.
  17. The problem with the taint, to me, is that there's no real intermediary step. It's an on/off switch ; you're tainted, or you're not. Once tainted, there are degrees from merely terrible ("sorry, you have to be secluded and drink jade petal tea for the rest of your life") to UTTERLY horrible ("sorry, you're now a flesh-eating monster"), but the big leap from okay to horrible has no gap. I'd redo it as a tiered system, where tainted, corrupted and lost are three separate levels of corruption (Spiritual, Physical and "Social") SPIRITUAL corruption represent Jigoku gaining a foothold in your mind. It is accrued by spending time in the Shadowlands without protection, or coming into contact with corrupted artifacts or blood, performing low-level maho, or being being born to tainted parents. It's a tarnish on your soul that offers great power, if you're willing to pay the price. Spiritual corruption is not detectable by magic or any technique known to Rokugan, and does not create Jade vulnerability - as far as anyone knows, the spiritually afflicted are undetectable. In addition; as this tier of taint is purely spiritual, it can be purified through certain rites, though this is difficult, and something few Rokugani are willing to do as even admiting you need that kind of purification is shameful (the Crab, of course, understand the need better than most), and potentially politically devastating. PHYSICAL corruption represent the taint seeping from your mind into your body. It is accrued either by giving in to your spiritual corruption (in which case the corruption becomes physical) in return for power ; or by being wounded by an Oni (as a creature out of Jigoku), or powerful corrupt Nemuranai (not : a pebble in the Shadowlands). Using, and being the victim of, particularly powerful Maho rituals could also lead to this level of corruption. This is detectable by Rokugani magic and wards, leaves you vulnerable to Jade, etc - all the things normally associated with taint. Physical corruption can only be limited, never cured ; if you give in to spiritual corruption even once and accept physical corruption, there is no going back. At this point, you can either embrace a life of seclusion, join the damned (or, in later years of another timeline, the Spider), or try to hide your taint as best as you can. SOCIAL corruption represents the taint affecting your mind and loyalties, and turning you on the empire. You will join the ranks of the Lost. It can only be reached when you give in to the temptation (of physical or spiritual corruption) of turning your back on the empire, Bushido and their rules Call it Tainted/Corrupted/Lost, if you will.
  18. I've answered several of your question, first. If there's a specific one you want me to address, feel free to point so. Second, as I pointed out multiple time, my argument isn't against using how the culture depict themselves as a basis for your own art. It's against using "that's how they depict themselves!" as a shield to deflect criticism. I'm not arguing against an artistic practice, I'm arguing against an argumentative practice. You can base your own art in how a people depict themselves, absolutely, yes. But when people point out that this may be problematic, you shouldn't act like this voids criticism of how you're representing that people. Shosuko...except "It might be offensive" is not the point I'm trying to make ; it's one particular possibility I raised in one particular post; the actual point of that post was "assumptions that something hold true across multiple languages are a terrible idea", which was a point I raised to support the core idea I've been defending from the start, namely that "It's how they portray themselves therefore it's automatically a good portrayal" is a terrible argument.
  19. I have not once shifted the goal posts of my particular argument. I came into this particular part of the thread (the one regarding the artistic representation of Asian characters in L5R) because someone argued that (roughly paraphrased) "If you interpret art by a Japanese person a certain way, you should interpret art by a western person the same way"; and, more generally, because people have been arguing that the use of fair skin is japanese art automatically prevent any criticism of the use of fair skin for Japanese people in western art. I disagreed with that particular argument then, and I still do. That was my initial point, and it still is my point. What you call "shifting the goalposts", I call "debunking strawmen". You, and others, have been putting one argument after another in my mouth that I wasn't making because they were the points you wanted to argue against. That's what we call, in somewhat polite terms, your bloody problem. I'm not here to argue about the points you wish to make. I'm here to defend the stance I wish to defend, which is what I stated above, and will restate below: "You don't get to cry "That's how it's done in Japanese art!" to deflect criticism of what's clearly not Japanese art. " On the broader picture of Asian representation in L5R, I think it's perfectly legitimate for artists to use the skin tone they think work best (depending on what they want to convey). And I think it's also perfectly legitimate for fans to point out that there may be an issue with the sheer number of characters who have a fair complexion. Personally, I'm rather neutral on the criticism itself ; I think it's a point worth considering, but I'm not convinced it's a point FFG needs to act on.
  20. No ; we're taking nuanced position because real life is complicated and one-size-fits-all answers tend to be pretty terrible answers. You can look at how they depict themselves ; and you then depict them however you think best, depending on who your audience is, etc. You then look at the criticism, consider it, and decide whether you a)should do your next work differently, or b)disagree with the criticism and intend to stick to your style. You DON'T tell people criticizing you "Since it's the way they depict themselves in their own art, you're not allowed to criticize me for depicting them that way in a completely different art style".
  21. Read that second paragraph (of the first post) again. It might help you understand that I'm talking about how people can (and often do) have different priorities in chosing how they prefer to be represented in different languages (including artistic languages) ; and that one should not make assumption based on how a person present themselves in one language about how they wish to be presented in another. Offense is not the crux of the argument, nor even an important part of it. The fact that you cannot draw conclusions about how someone wish to be represented in language XYZ on the basis of how they wish to be represented in language ABC *is*. For example, I prefer people to use my full actual name in my native French ; not nicknames. In reverse, I tend to prefer nicknames to my actual name in English, because my name is (relatively) hard to pronounce and sounds weird in english, and asking people to use it can often lead to misunderstandings or mangling. It's not offensive ; but it leads to unclear communication and misunderstandings. That said, if you were to use those nicknames in French, it would also lead to unclear communications and misunderstandings ; because few (or no) french speakers associate the nickname with me. In other words, you shouldn't make assumptions about what name to use for me in French based on what name you use for me in English.
  22. Actually, I tend to agree most artists do these things. The point that I forgot to put on that list, and that's my bad, is that since artists need to do these things (and, by and large, they do), we can't and shouldn't use "that's how Japanese people are depicted in Japanese art!" as an argument. Not because "It's offensive" (which frankly I have no idea whether Japanesse people are offended or not by this), but because, as artist, when they chose to communicate in a "foreign language" (so to speak), they still need to concern themselves with how their art communicate what it seeks to communicate to its audience.
  23. Things I have not said, despite the desperate strawmanning of people who really need to learn basic reading comprehension: -That it's offensive to Japanese people for westerners to depict fair-skinned Japanese people -That westerners should not draw inspiration from other cultures Things I have said, that people seem to do their level best to strawman into something completely different -That western artists should be conscious that they are adressing a primarily western audience who understand art through the perspective of primarily western artistic conventions (eg, language) -That as such, they should reflect on whether their art communicate what it's supposed to communicate (for example: "this is an asian person") in a way that fits western artistic language. That's all. So kindly stop putting words in my mouth, and stuff your strawmen where the sun doesn't shine.
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