u/RoyalOctopus89

Hey Foundation enjoyers!

I’m playing around with different seeds and city layouts - wondering if anyone has a ‘go to’ layout that they tend to start with and work out upon? I would love to see some of your layouts and how you start them etc.

Hey folks!

So I have been building a city up and I have now began on the monastery area.. I have build all the building etc, but it's not letting promote any of the monks/nuns so none of the building are being worked?

From my understanding you need 5 manuscripts and they need access to monastic foods? I have the kitchen and the refrectory (and the veggie gardens etc) but none of them are worked because it says best suited to brothers/sisters, but I cannot promote them to brothers/sisters bc they need access to the food and the cloister (I have the cloister that they're using).

What am I getting wrong?

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Hey all - just looking for a lore / class discussion,

With Blizzard gradually opening up more class and race combinations over time, Druids remain one of the biggest hurdles due to the custom shapeshift models required. But strictly from a lore perspective, Dwarves feel like one of the most natural fits for the class on the Alliance side.

While Bronzebeards focus on technology and archeology, and Dark Irons lean into fire, shadow, or the arcane, the Wildhammer Clan has always been deeply attuned to nature and the wild. They don't just use shamanism to command the elements; they live in harmony with wildlife, especially their bonded gryphons. Lore already establishes that some Wildhammers in Kalimdor have spent time studying nature alongside the Night Elves. It wouldn't take much for Wildhammer nature-speakers to cross the threshold into true druidism.

We already have races that don't follow the traditional Cenarion or Night Elf style of druidism. Gilneans started as Harvest-Witches tapping into primitive nature magic, Kul Tirans practice Thornspeaker drust-based druidism, and Zandalari draw their power directly from the Loa. A Dwarf Druid wouldn't need to be a traditional tree-hugger; they could easily practice a grounded Mountain or Earth-bound Druidism, focusing on moss, stone-crusted flora, and rugged high-peak beasts.

What's everyone's thoughts?

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SOLVED - thank you all! <3

Hoping someone can help me - me and my group have been going out of our dwarven mines! We can not for the beards of us find this axe piece!

Is anyone able to help - point in the right direction - anything at all! <3

Hey all,

I wanted to open up a discussion about how you approach card reversals in your readings. Do you use them consistently, avoid them completely, or take a more flexible approach?

One thing I love about tarot is how deeply personal and subjective it is. There are no rigid rules about how anyone should read or enjoy their deck. What works brilliantly for one reader might not feel right for another, and that is completely fine. As a community, it is always fascinating to hear how varied our methods can be, and I think it is so important that we do not gatekeep how people choose to connect with their cards.

Personally, I tend to keep all my cards upright. I love looking at the artwork in its intended orientation and taking in the beauty of the imagery as I shuffle. That said, I still find myself reading reversed meanings or 'shadow aspects' depending on how a reading feels.

Even with a physically upright card, if the surrounding spread, my intuition, or the overall energy of the draw feels heavier or blocked, I will read the card in a typically reversed fashion.

To give an example of how this works for me, consider The Sun. In a standard reading, it usually speaks to pure joy, warmth, vitality, and success. However, if I draw The Sun upright in a spot where the energy feels heavy or clouded, I might interpret it in a reversed sense: burnout, overexposure, or trying to force optimism while brushing underlying issues under the rug. The physical card stays right side up, but the message adapts to the story the reading is telling.

I am really curious to hear how the rest of you navigate this in your own practice:

Do you mix reversals into your deck while shuffling? If you keep your cards upright, do you still tune into shadow meanings when your intuition prompts you? What made you settle on your current way of reading?

I would love to hear your thoughts and experiences below - and please, no gatekeeping others practice, we're all friends and readers/learner together!

As someone who has been utterly obsessed with the works of Homer since childhood, The Iliad and The Odyssey are two of my all-time favourite books. Naturally, my anticipation for this movie was through the roof. At the same time, I went in with realistic expectations. I knew deep down that almost no director could fully live up to the grand, mythical scale I had built up in my head over the years. Having just left the theatre, I am deeply conflicted. On one hand, it is a breath-taking cinematic experience. On the other hand, as an adaptation, it completely misfires.

Visually and aurally, the film is an absolute masterpiece. The locations are sweeping and authentic, and the use of natural lighting, especially the crackling lightning used to emphasize the raw, crushing force of nature, is majestic. The score is equally incredible. The Siren scene in particular was an audio-visual highlight. The way the film played with sound, blocking out the audio to build a heavy, suffocating atmosphere, felt genuinely incredible.

Yet, as impressive as the technical side was, the structural choices held the story back. Christopher Nolan loves a non-linear narrative, so I felt that Odysseus recounting his tale to King Alcinous and Queen Arete of Phaeacia was right up his alley. It is the perfect narrative framing device from the text. Instead, that was completely erased, framing his story (or his remembering of it) through his time with Calypso instead.

That choice kicked off a sequence of bizarre adaptational decisions. Calypso’s role felt completely pointless and poorly explained, seemingly relying on the audience to bring outside mythological knowledge. The film merges her role with the Lotus Eaters, feeding him the lotus in a way that made zero sense, and softening her character into someone who just feels sorry for Odysseus and lets him go. In the text, Hermes is sent by Zeus to order her to free him. Changing this diluted both the island’s stakes and Calypso’s character.

When the journey moved to Polyphemus, my anticipation was high. Visually, the Cyclops looked incredible, done with practical animatronics, and the cave atmosphere was delightfully claustrophobic and eerie. But narratively, it fell completely flat. The brilliant tactical planning, like drugging him with wine and using the "Nobody" trick, was stripped back. In the text, Odysseus's cunning shines here, followed by his fatal flaw when he shouts his real name, "I am Odysseus, Sacker of Cities," as they escape, cursing his voyage. Shooting the Cyclops on the way out was a weak substitute for that monumental character flaw.

Then came Circe. Samantha Morton gave a phenomenal performance, and the transformation scene with the pigs was stunning. However, Circe was downgraded from a powerful, beautiful goddess residing in a grand palace with her nymphs into a cliché, medieval-style outcast witch living in a ragged hut. In mythology, turning men into beasts is her defence mechanism against disrespect and a magical reflection of their inner brutishness. The modern ostracized hermit vibe felt completely wrong, and assuming that transformed crow was Pasiphaë was a very weird take that I was not a fan of.

As the journey continued, the creature designs took further hits. While the sound design for the Sirens was brilliant, Nolan opted for generic tropes over the nightmare-fuelled, bird-bodied monsters of ancient lore. Moving on to Scylla and Charybdis, the disappointment grew. Charybdis was just a whirlpool with zero intimidation factor, missing the terrifying teeth entirely. Scylla was completely unrecognizable from any source text, looking more like the Mind Flayer spider monster from Stranger Things, and the slow, horrifying build-up of her picking off men one by one was totally rushed.

These changes were paired with writing that felt surprisingly flat for the core cast. Odysseus is supposed to be brilliant, sneaky, and cunning, but here he felt generic. Anne Hathaway’s acting as Penelope was solid, but the dynamic felt wildly off. Her getting frustrated with Telemachus over ruling Ithaca and ranting about "sitting on the throne" felt unnaturally modern. A Queen in that era scolding the crown prince and heir to the throne like that made little sense.

Casting Helen is an impossible task because beauty is entirely subjective, and Homer describes her with terms like λευκώλενος ("white-armed," indicating high privilege) and καλλιπλόκαμος ("fair/lovely haired"). I personally think the smartest move would have been to never show her face directly, leaving her legendary beauty to the viewer's imagination. That said, Lupita Nyong'o was given terrible writing to work with, and that random facial scar made no sense. Menelaus never would have scarred her face, so I am not sure what Nolan was thinking there.

The wardrobe choices were equally jarring. The costuming was drastically removed from the Bronze Age period. Agamemnon "aura farming" through the gates of Troy looking like a Star Wars villain was undeniably cheesy-cool, but overall, the outfits were distracting.

Back in Ithaca, the climax missed several key beats. Robert Pattinson played Antinous brilliantly, making him feel spineless, vile, and insufferable. However, changing it so he does not die first completely ruined the tactical chaos of the climax, which relies on taking out the leader first so the rest crumble. Having suitors bend the knee to beg for mercy was another misstep. In the poem, every single one dies.

My biggest overarching gripe was the near-total lack of the gods. I get that Nolan wanted a grounded, human-centric adaptation, but when you still include monsters like Scylla and Polyphemus, cutting the divine elements makes no sense. Removing Hermes meant losing the moly plant and the divine intervention on Ogygia. There was no Aeolus with the bag of winds. Athena felt completely absent too. Even with Zendaya cast in the role, she felt more like Odysseus' regret and trauma (of her being beheaded) than actually being the Goddess of Wisdom actively pulling the strings of fate and helping him on his journey.

This grounded approach stripped away the most powerful emotional beats of the Underworld. Odysseus meeting the shade of his mother, Anticlea, and the crushing realization that she died of grief while he was gone, was totally absent. My biggest personal disappointment was the complete removal of Achilles in the Underworld. That iconic moment where Achilles admits he would rather be a living farmhand than rule over the dead completely dismantles the glorious hero trope. It adds so much weight to Odysseus’s ultimate choice to reject Calypso's offer of immortality so he can return home to live and die as a mortal with Penelope. Losing that stripped Odysseus's arc of its emotional core.

As a standalone hero movie, especially for folks who know nothing about Greek mythology or do not care about the source text, it is a brilliant film. I love that it is introducing this story to a whole new audience, and if it encourages people to pick up Homer’s original poems, that is a massive win. But as a lover of Homer, the gutting of the narrative flow, the flattening of Odysseus’s intellect, and the loss of the Underworld's emotional peak left me hugely disappointed.

What were your thoughts?

Hey guys - question for you all!

So I’ve played this game for a while, love it so much. I’ve moved into more sandbox modes now just so I can build the perfect towns, etc.

I can’t seem to get the farms to be universal? I made a sandbox farm map just to have all the crops etc in hopes they’d all carry over to my new town - but it’s not happening.

Does it not work on sandbox?

Thanks in advance!

Hey everyone!

A small, close-knit group of us from a wider LGBTQ+ community are looking for a fantastic Game Master to lead us on a new D&D 5e campaign! We are a mix of LGBTQ+ individuals and allies who pride ourselves on maintaining a safe, inclusive, and welcoming environment.

About Us:

• Location/Timezone: We are mostly UK-based, so we are looking for someone who can run sessions in GMT/BST or compatible EU time zones.
• Schedule: We are highly flexible on the specific day and time! We’re happy to open up a discussion with the GM to find a weekly or bi-weekly slot that fits everyone's schedule perfectly.
• Platform: We have a dedicated Discord server ready to go for voice chat, text, and organizing sessions. We are open to whatever Virtual Tabletop (VTT) you prefer to use (Roll20, Foundry, Owlbear Rodeo, etc.).

What We’re Looking For:

• An LGBTQ+ friendly (or ally) GM who loves storytelling and character-driven games.
• Creative Freedom: We are incredibly open to homebrew settings, custom rules, and modules! You will have complete creative freedom and full flavor over the campaign, world-building, and lore.

Whether you’re a veteran storyteller with a massive homebrew world ready to go, or a newer GM looking for a passionate, reliable group to practice with, we’d love to hear from you.

If you're interested, please drop a comment below or send me a DM with a little bit about yourself, your GMing style, and any campaign ideas you've been itching to run.

Looking forward to adventuring with you!