takuma

@noroadhome

⚔️ transsexual game design creature volleyball dyke noroadhome.itch.io header: arai sumiko

662 Folgt1.617 Follower1.636 Posts

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takuma@noroadhome· Jul 4

a picture of the three juvenile cedar waxwings (probably) sitting on a large branch of the marionberry bramble

takuma@noroadhome· Jul 4

we ran into i think teenage cedar waxwings in the middle of the marionberry patch? i could have just. grabbed one so easily

takuma@noroadhome· Jun 19

more poets should be playing sports imo

ocean_vuong
@frthstrnd used to shovel ice off the court in winter to practice year round. eventually you get a cold jumper 🥶

takuma@noroadhome· May 9

a panel from the bartender manga where asakura says "each time everyone pushes that door... aren't they becoming an adult little by little?"

takuma@noroadhome· May 9

ryū asakura himedanshi episode of kamiina botan (also everyone read bartender)

promo image for the bartender anime with asakura behind the bar and the title and a blue and yellow cocktail in front

takuma@noroadhome· Mar 24

had too much flour so i made bread for the first time

a slightly unevenly browned focaccia in a glass baking dish

a piece of focaccia that's been bitten into so you can see the crumb

takuma@noroadhome· Mar 20

you can't go back! you can't go back!

U is inspired, instead, by homesickness, by the search for a feeling and a place you can never get back. Growing up in San Francisco – “a beautiful city”, she says – Grey was both drawn to and repelled by west coast tech culture. She is pessimistic about tech’s future, yet romantically attached to its artefacts. “I find a lot of beauty in the way certain products are packaged,” she says, referencing the 2005 iDog, a dancing robot dog that lights up to music. Now living in New York, Grey feels “a little sad” whenever she returns to San Francisco. “It’s a literal ghost town. You have all these Waymo cars where there are literally ghosts driving the car. And all of these tech people that go to work in Mountain View are renting all these places but not staying there.”

takuma@noroadhome· Mar 20

U is a junkspace albummmm crackmagazine.net/article/prof...

Grey has long been fascinated by the interplay between real-world, commercial spaces and imagined, idealised ones. “When I was a child, I wanted to live in a hotel or an airport,” she says, recalling how she used to visit her grandparents in New York armed with a list of hotels she wanted to visit. “My grandma would go up to the front desk and say, ‘Excuse me, my grandkid really likes hotels, can we go up and see a room?’ Then we would go up and see the rooms.” The feelings of adventure and possibility that stirred in her then continue to thread through her tactile hyperpop today.

A similar sense of searching restlessness appears on U, with its glitchy, shifting soundscapes that veer in unpredictable directions, echoing the fragmented instinctiveness of dream logic. “I often have dreams where a hotel is connected to a supermarket is connected to an airport,” Grey explains. “It’s this dream architecture that I’m talking about.”

takuma@noroadhome· Mar 18

oh no i think dyke hoops might have died

dyke hoops IG account that says Here for a fun time, not a long time. 🏀 2022-2025

takuma@noroadhome· Mar 12

you roll a die each time you play a card. the prompts depend on the orientation of the card, whether you're seeking out the bustle of the city or looking inward. the die also gets placed on your spirit table, getting you closer to a match and a special effect! last stretch! 10 hours to go!

Scene Roll
Roll on this table each time you play a card. Use the Upright or Reversed prompts based on the card's orientation.
Your result sets the scene for your journal entry: how the scene starts, what happened right before it, or what kind of mood your character is in.

Upright
1-2: In the middle of a crowd.
3-4: Your FamiliarZ tries to get your attention.
5-6: You feel magic nearby.

Reversed
1-2: Tucked away in a quiet corner.
3-4: In transit. You see the city passing by you.
5-6: You feel weary. You rest for a moment.

The Spirit Table
Any time you roll a die (at the start of a day to flip over cards, when you're rolling on the Upright or Reversed tables, etc.), place it in the corresponding row in your Spirit table. When you fill out all three boxes in a row, you get a special effect based on the Spirit type.
If you don't have enough dice, mark a box or place a token.

1. CIRCLE
Turn the three dice you placed in this row into any other numbers and place them.

2. HEART
Play a Major Arcana card from your discard pile again.

3. FIRE
Flip a row and column of cards face up.

4. DIAMOND
The next time you roll to flip over cards at the start of the day, roll three dice.

5. FLOWER
Leam a new spell. Come up with your own or consult the spell list.

6. MOON
Look at the top three cards on the deck. You can reorder them or put any number of them on the bottom of the deck.

takuma@noroadhome· Mar 7

chuffed.org/project/leba...

UPDATE AS OF March 3, 2026:
Lebanon is currently being carpet bombed by the Zionist state. We are back to our emergency response work and in dire need of funds. We are directing all incoming funds to these two avenues:
• To directly support displaced families and individuals that we have initiated mutual aid relationships with over the past 2+ years of aggression.
• To fortify other trusted mutual aid efforts on the ground who are supporting recently displaced people, including migrants, refugees, and others who lack financial means and access to resources.
* Please note: 90% of prior funds raised were already delegated to earlier emergency response and bioremediation efforts in the south. We are starting from scratch; all generosity and support is deeply needed and appreciated. Please circulate widely.

takuma@noroadhome· Feb 23

apocalypse world is kind of the standard here daily-apocalypse.com/daily-apocal...

THE DAILY APOCALYPSE
Today we are looking at the MC's Agenda as written on pages 80-81 of Apocalypse World 2e:
• Make Apocalypse World seem real.
• Make the players' characters' lives not boring.
• Play to find out what happens.
Everything you say, you should do it to accomplish these three, and no other. It's not, for instance, your agenda to make the players lose, or to deny them what they want, or to punish them, or to control them, or to get them through your pre-planned storyline (DO NOT pre-plan a storyline, and I'm not fucking around). It's not your job to put their characters in double-binds or dead ends, or to yank the rug out from under their feet. Go chasing after any of those, you'll wind up with a boring game that makes Apocalypse World seem contrived, and you'll be pre-deciding what happens by yourself, not playing to find out.
Play to find out: there's a certain discipline you need in order to MC Apocalypse World. You have to commit yourself to the game's fiction's own internal logic and causality, driven by the players' characters. You have to open yourself to caring what happens, but when it comes time to say what happens, you have to set what you hope for aside.

takuma@noroadhome· Feb 11

it's witch season for me! back these campaigns or i'll psychically torment you :))))

Takuma Okada
(any pronouns)
Takuma is a game designer creating tabletop games and music under the name No Road Home. They like to design games about strange and magical places, the everyday moments that occur there, and the sublime.

$190,000 stretch goal:
Top Secret
Blackthorn Park 5th Level Clearance Only:
Details parapsychology and psychic combat techniques taught to Blackthorn agents. Also includes extra items and alternate Blackthorn Park Prestige Abilities.

takuma@noroadhome· Feb 9

oh friends at the table we're really in it now.....

zoomed in bluesky map with users including friends at the table and my wife

takuma@noroadhome· Feb 9

where am i... how did i get here.....

bluesky map with my position in between clusters for ttrpg creators, video game industry, and creative industry

takuma@noroadhome· Feb 5

hehehehe

top 10 what's hot section of IPR
1. Alone On A Journey
2. Catcrawl
3. Ex Novo
4. Exclusion Zone Botanist
5. Necromancer Heretic
6. Perils and Princesses
7. Stewpot: Tales from a Fantasy Tavern
8. The Librarian's Apprentice
9. Thousand Year Old Vampire
10. VOID 1680 AM

takuma@noroadhome· Jan 16

ever since i saw this post all i can think about is rewriting my shonen tournament game to start with choosing girls from major shonen series that were treated horribly as the ftq queen equivalent

katelyn-danger
Jan 4

I need a shonen with women. I need it to have as much cultural impact as Dragon Ball Z.
Imagine what society would be like if little girls had a role model based around eating big, lifting heavy, and beating the absolute piss out of anyone who threatened their friends.

takuma@noroadhome· Jan 6

panel from big love from ultra deep space, with princess lulu and ten in casual clothes on a shopping trip interrupted by a tiny tiny child.

takuma@noroadhome· Dec 30

trying to read augé and de certeau for worldbuilding game design and

Today, whatever the avatars of this concept may have been, we have to acknowledge that if in discourse the city serves as a totalizing and almost mythical landmark for socioeconomic and political strategies, urban life increasingly permits the re-emergence of the element that the urbanistic project excluded. The language of power is in itself "urbanizing," but the city is left prey to contradictory movements that counterbalance and combine themselves outside the reach of panoptic power. The city becomes the dominant theme in political legends, but it is no longer a field of programmed and regulated operations. Beneath the discourses that ideologize the city, the ruses and combinations of powers that have no readable identity proliferate; without points where one can take hold of them, without rational transparency, they are impossible to administer.

2. The chorus of idle footsteps
"The goddess can be recognized by her step"
Virgil, Aeneid, 1, 405
Their story begins on ground level, with footsteps. They are myriad, but do not compose a series. They cannot be counted because each unit has a qualitative character: a style of tactile apprehension and kinesthetic appropriation. Their swarming mass is an innumerable collection of singularities. Their intertwined paths give their shape to spaces. They weave places together. In that respect, pedestrian movements form one of these "real systems whose existence in fact makes up the city." They are not localized; it is rather they that spatialize. They are no more inserted within a container than those Chinese characters speakers sketch out on their hands with their fingertips.

It is true that the operations of walking on can be traced on city maps in such a way as to transcribe their paths (here well trodden, there very faint) and their trajectories (going this way and not that). But these thick or thin curves only refer, like words, to the absence of what has passed by. Surveys of routes miss what was: the act itself of passing by. The operation of walking, wandering, or "window shopping," that is, the activity of passers-by, is transformed into points that draw a totalizing and reversible line on the map. They allow us to grasp only a relic set in the nowhen of a surface of projection. Itself visible, it has the effect of making invisible the operation that made it possible. These fixations constitute procedures for forgetting. The trace left behind is substituted for the practice. It exhibits the (voracious) property that the geographical system has of being able to transform action into legibility, but in doing so it causes a way of being in the world to be forgotten.

Pedestrian speech acts
A comparison with the speech act will allow us to go further and not limit ourselves to the critique of graphic representations alone, looking from the shores of legibility toward an inaccessible beyond. The act of walking is to the urban system what the speech act is to language or to the statements uttered. At the most elementary level, it has a triple
"enunciative" function: it is a process of appropriation of the topographical system on the part of the pedestrian (just as the speaker appropriates and takes on the language); it is a spatial acting-out of the place (just as the speech act is an acoustic acting-out of language); and it implies relations among differentiated positions, that is, among pragmatic "contracts" in the form of movements (just as verbal enunciation is an "allocution," "posits another opposite" the speaker and puts contracts between interlocutors into action). " It thus seems possible to give a preliminary definition of walking as a space of enunciation.

First, if it is true that a spatial order organizes an ensemble of possibilities (e.g., by a place in which one can move) and interdictions (e.g., by a wall that prevents one from going further), then the walker actualizes some of these possibilities. In that way, he makes them exist as well as emerge. But he also moves them about and he invents others, since the crossing, drifting away, or improvisation of walking privilege, transform or abandon spatial elements. Thus Charlie Chaplin multiplies the possibilities of his cane: he does other things with the same thing and he goes beyond the limits that the determinants of the object set on its utilization. In the same way, the walker transforms each spatial signifier into something else. And if on the one hand he actualizes only a few of the possibilities fixed by the constructed order (he goes only here and not there), on the other he increases the number of possibilities (for example, by creating shortcuts and detours) and prohibitions (for example, he forbids himself to take paths generally considered accessible or even obligatory). He thus makes a selection. "The user of a city picks out certain fragments of the statement in order to actualize them in secret."

He thus creates a discreteness, whether by making choices among the signifiers of the spatial "language" or by displacing them through the use he makes of them. He condemns certain places to inertia or disappearance and composes with others spatial "turns of phrase" that are "rare,"
"accidental" or illegitimate. But that already leads into a rhetoric of walking.

takuma@noroadhome· Dec 26

I had to post

When you're working night shift, especially with a lot of other people, there's this weird energy. You've broken one major rule, that you should be asleep when it's dark out, and so other rules feel less tangible as well. There's a forgiveness, a looseness, a camaraderie. Nightshift has a warm fuzz over its sound and visuals that captures it perfectly.

I felt more at ease working night shift inventory than any other job. You can be left alone to listen to season after season of an actual-play podcast. Or you can chat, get to know someone, hear some wild stories. Have a blueberry redbull in your tagging holster and feel like a ghost by the end of the night, but one in good company.

Early morning is the coldest part of the day. And as you leave the comfort of the night shift you're heading out into someplace more rigid, less forgiving. Sharper and colder. As the clerk leaves the Portobello Hotel, she dons her coat.
She goes out the door, into harsh blue-white light. She gets smaller, and smaller, and smaller. I hope she sleeps soundly in the daylight.

takuma@noroadhome· Dec 15

they're soooo cute

the first volume cover of she loves to cook she loves to eat with nomoto holding a frying pan and flipping a pancake and kasuga holding drinks and a huge stack of pancakes

live action version promo image sort of copying the volume 1 cover, but they're sitting at a table

another picture of the live action actors but they're cheesing holding up utensils looking at the camera

panels from the manga with kasuga answering the door and nomoto asking her nervously "Have you eaten dinner yet?"

takuma@noroadhome· Dec 13

new game

Version 0.28
Every morning, take a full body picture, unclothed.
Roll a die.
1. Right arm
2. Left arm
3. Right leg
4. Left leg
5. Upper torso
6. Lower torso
Circle the body part. Examine the picture and your body closely. What seems off about it?
Close your eyes. Count to 10. Count to 10 again. Count to 10 again.
They’ve replaced it for you. Do you notice anything different? You shouldn't. But a lot of people think they do.
Every 10 days, they replace your head.
Sometimes, they forget a memory. A small mistake. What memory do you think they've misplaced?
Repeat until

takuma@noroadhome· Dec 12

ugh this feels like such a nothing answerrrr

email that reads:

Hello Takuma,
Thank you for your email. I appreciate your perspective and will keep your concerns in mind.
With best regards,
Liz Barbour
State Representative, Hillsborough-35 | Hollis Vice Chair, Environment and Agriculture Committee
(603) 321-5011
www.LizforHollis.com

takuma@noroadhome· Dec 6

got these tapes at a thrift store in seattle for $2 each and they had unclaimed bandcamp codes inside. and also for long tomorrow vinyl and the new saya gray! happy bandcamp friday :)))

first two albums by sara renberg on cassette tapes, the tall calm and night sands. they still have the thrift store price tags on the cases

bandcamp library screenshot of six albums: night sands and the tall calm by sara renberg, saya demo mixtape by saya gray, for long tomorrow by toe, and for the heterotopia and private images by miltata. the first four have a new label on them

takuma@noroadhome· Dec 4

seattle's alright

black and white picture of gas works park in seattle of the path between the structures and two figures in the distance running across the grass

takuma@noroadhome· Nov 25

i am so upset i accidentally shot in just jpeg mode instead of raw while i was birding the other day because i could have had this face in higher quality. but instead.