#both as storytelling

[centaurianthropology]

Why C3E51 worked so well (a DM’s perspective)

I have seen a lot of absolutely bananas critiques of C3E51 (thankfully not nearly as many around here, far more on Reddit, which I should not have visited).   And the ongoing theme of those critiques is that Matt should not have imperiled former PCs, and if he brought them in should have either done lengthy side-bars with those characters or let them win the fight against Ludinis and have a chance to take him out themselves, since they’re ‘god tier’ or ‘high level’ and that makes ‘logical sense’.  What these critiques really boil down to, IMO, are people who were really invested in the former campaigns upset that their faves didn’t get to do cool things, treating it more like a TV show than a game.  But even as a TV show, that would have been disappointing from a narrative perspective.  Because even in a TV show, this is a sequel spin-off show, starring new characters.  The story is about THEM.  And more importantly, the game is about the players and about telling their story.

So let’s break this down from a DM perspective.  How do you build a Kobiashi Maru situation for your characters?  For those of you who aren’t familiar, the Kobiashi Maru is a Star Trek term for a scenario designed from the jump to be unwinnable (Kirk beat it by creativity, but later admitted that he missed the point of it).  In Star Trek this was done to test what a future officer would do if faced with certain failure.  In a D&D game it’s a little more complicated.  Part of it is to set up the BBEG, put their plan in motion, and set the stage for the next leg of the game.  But it’s also to give your players, who are clearly into it, a darkest-hour scenario.  Not every player group is going to be into facing down the Kobiashi Maru, and it’s clear from the aforementioned critiques that a lot of them are on Reddit.  Power-gamers who always want to win are not going to enjoy this sort of storytelling, but players who are really into RP and working through difficult times and failures will eat this stuff up.  And this is absolutely the sort of table playing on Critical Role.  There is a level of trust there that can only be built after years of working together, and this was finally the moment when Matt could pay off years of planning and campaign-spanning set-up.

Matt carefully plotted the structure of this episode out to give maximum agency and impact to a party of dramatically under-leveled characters.  And they knew going in they were under-leveled.  This wasn’t a surprise, but a potential suicide run by people who knew they weren’t the heroes they needed to be, but were the only heroes in the right place at the right time to try anything.  So they came up with as good a plan as they could, and executed it fairly well, all things considered.  

They knew they couldn’t take on Ludinus directly (and this was a great way to demonstrate exactly how much he had planned and how long, to bring in elements from C2, hints we’ve had for years about Ludinis, only to reveal it went deeper than any of the characters could have imagined), so Matt gave them some winnable objectives.  This is a great way to keep the characters invested in an unwinnable scenario: the ultimate outcome may be beyond the characters, barring some insane genius or incredible rolls, but they can still help.  They can do something that will have a tangible impact on events and hinder the baddies enough to give them another chance at a rematch and a way to stop the apocalypse when they’re higher level.  So Matt gave them the batteries: take out as many as you can.  While this would not stop the ritual, I suspect that the more they took out the more Ludinis would have to drain his own power to make the key work, and the longer the process would take.  Knocking out the feywild key, as well as multiple power sources turned what would have been an instantaneous event if they had done nothing into a more drawn-out affair which, I suspect, could be stopped or even reversed.  It gave them a window to come back and demand a rematch.

Then we have the high-level PC allies, and how to play with those sorts of characters without pulling focus from the PCs.  Matt handled this very well, by having the players roll for their former PCs, taking the specifics of their actions out of his hands and letting the dice of the former players decide.  He also revealed that Keyleth’s involvement, and baiting Vax with Otohan’s permadeath poison, was key to Ludinis’ ritual, which was why she couldn’t just dive in and clean everything up.  But again, because of this story, it ties less back to Keyleth and more back to Orym.  That was the point of the attack on Zephrah, to get her attention by getting her to look into who did it and then coming to get some payback, but the little guy on the ground has always been caught in the middle.  Orym has been Ludinis’ unwitting pawn from the off, his family’s deaths merely a means to an end, and that is vicious and amazing set-up for character growth for him.  

Beau and Caleb had to be there by the logic of the story.  It didn’t make sense that Caleb would sit out a world-ending event orchestrated by a Cerberus Assembly member after spending years trying to take them down.  Beau would obviously go with him.  It also made sense that they would be the only two there, because they were scouting when Ryn got taken down, and after that were trying to keep a low profile.  Shit accelerated too fast for them to call in reinforcements.

Which is the in-story reason for them to be there, but isolated and vulnerable, making them useful allies and wildcards (who likely could have been more useful if ultimately failing as well, but failed early thanks to Liam and Marisha’s rolls).  But they were still outmatched.  I have no idea what the challenge rating of Otohan, Leliana, and Ludinis are, but we know Otohan was considered ‘beatable’ back in Bassuras.  That indicates she’s the lowest CR, particularly with the glowing weak-spot on her back.  But she can still wreck a level-20 PC if she gets the jump on her, which she did.  And that meant that she remained a massive threat.  Caleb and Beau were playing it smart, keeping to the shadows, but still got caught by Leliana.  Between dice rolls, careful planning, and some great enemy design, Matt really set up a team that could take on high-level players and win.  And he made it clear that Ludinis did not leave this to chance.  He has the best people he could muster after 1000 years of planning.  Nothing short of a miracle could have truly stopped them.

Which is why we cut back to Bells Hells.  Because ultimately this particular story isn’t about Keyleth or Vax or Caleb or Beau or any other former PCs.  This is about the current party being caught up in events much larger than them and having to rise to the occasion.  This is the story of the schmucks sent in to take out the batteries, but who have personal beef with the big bads.  Ludinis orchestrated the plan to attack Zephrah to bait Keyleth and draw out Vax, and Otohan carried it out.  And he used Orym as a pawn throughout all of it.  This makes taking them down, but especially taking Otohan down, the cornerstone of Orym’s personal quest.  Letting an NPC take her down would be taking away a critical part of his motivation and goals, which is an absolute no-no for a DM.  NEVER bring in a god-tier NPC and take away player agency or story beats.  Especially never have them resolve important player goals and backstory events!  Every NPC, even the powerful ones, are there to support the story the players are telling.  So of course Keyleth wasn’t going to take out Otohan.  Of course she wasn’t going to stop the ritual.  Beau and Caleb might have been able to do something more if Liam and Marisha hadn’t rolled so badly for them, but ultimately, they had to get caught or fail in another way.  

For the sake of gameplay, Bell’s Hells had to be the only functional team.  They had to be the ants that were beneath Ludinis’ notice long enough to really accomplish something.  And as much as it feels like they failed, they had minor victories: Laudna and Ashton took out more batteries, making Ludinis drain his own power to kick off the apocalypse.  They only failed to take out Otohan’s backpack by 2 HP, which showed them that she was an achievable goal in the future.  If they had rolled a little better, they probably could have taken her out entirely, which would have felt like a big accomplishment for them.  Imogen made her mother pause in her assault before doubling down.  This leaves open very interesting future beats for their interactions.  Can she ultimately redeem her mother or would she have to take her out?  Every step that Matt set up in this episode, from the reveals about Ludinis’ plans and Orym’s past, to Imogen’s interactions with her mother, to Chetney and likely Ashton finding themselves staring down their own backstories after the party split, was focused on this party, on getting them ready to step out of low-level play and advance.

And that’s the point of E51.  It’s not a climax of the story, but the ultimate set-up.  It’s putting all the pieces onto the board in a way that all the characters can now recognize.  Yes, unless the players came up with something genius, the apocalypse was going to kick off, but their actions slowed everything down to a place where it could be combatted.  Yes, the god-tier former PCs were always going to get neutered, because this is Bells Hells’ story, and you cannot have NPCs fix PC problems.  They might have been able to do a little more before this happened, but the dice rolled.

And it’s honestly good for the PCs how things turned out.  They have a clear objective, but are split up.  This gives them great incentive to level up, explore character backstory, deal with their personal shit, get stronger, and then come back to kick the asses of all three of these villains (or possibly redeem one, we’ll see).  Their powerful allies are now temporarily side-lined.  Keyleth is badly hurt and will need time to recover.  Caleb is collared and will need time to get that removed.  Beau is likely up and moving now, but will need to safeguard Caleb for a while.

The Bells Hells are on their own.  The Darkest Hour has come, and it’s time for them to rise up and go from nobodies to heroes.  This is their true call to adventure.  And as a DM, it was so cool seeing how Matt set up all the pieces over the campaign, only to pay them out in such a satisfying and motivating way in this episode.

[basketcasemp3]

downsizing seasons from 22 episodes to 13 to 8. describing miniseries as "8 hour movies". loudly declaring that shows with 20+ episodes per season cannot truly be good. complaining that "it couldve been a movie". complaining about filler episodes. complaining about bottle episodes. complaining about episodes that prioritize character over plot. fr i think y'all just dont like television

[elexuscal]

Danny Phantom, The Show:

geeky kid gets super powers from his parents' weird inventions! now he has to fight a rogue gallery of ghosts... but uh-oh! he still has to keep his grades up, deal with his embarrassing parents, and navigate girl troubles! rap theme song!

Danny Phantom, the Fandom, After 19 Years of Fermentation:

a child dies. but not quite. the inherent tension between life and death. the obsession of the dead for faded remnants of the living. warped green shadows on the walls of a dark laboratory. having to hide your true nature from those who should be your greatest allies. the fear of the monster you could become if you let yourself. being a ghost as a metaphor for the trans experience. a cold breath on the back of your neck in the dead of the night. rap theme song!

[turtleblogatlast]

AU where Leo is trapped in the Prison Dimension for months instead of minutes and the only way he gets by with his sanity intact is through recording himself talking to his wrist comm.

When they finally manage to get Leo back and make him rest up to heal, Donnie can’t help but listen to the recordings left behind.

He’s not sure what exactly he’s expecting, only that his subconscious is screaming at him that it has to be heartbreaking, that it has to be torturous.

Instead, what Donnie is subject to is a full thousand hours’ worth of Jupiter Jim and Lou Jitsu crossover fanfiction. More than one part in the series. Spanning well over a million words.

(The worst part is that it’s actually good.)

[tvuniverse]

9-1-1 OLIVER STARK as Evan 'Buck' Buckley -> shift in his facial expressions as warning signs

(thank you @911bts for the screenshot 💕)

[shorthaltsjester]

watching the sdcc panel and i am just very :) about how sweet their answers to “what are some of the micro moments from the game that have stuck with you the most over the years?” are. taliesin saying what the fuck is up with that which was the first like The Party Gets To Know Each Other moments of c3. travis saying asking his wife if he could kiss her in campaign. marisha going way back to the cannonball competition in campaign one. ashley choosing the beauyasha date but also just the silly goat noise matt made. liam adding onto that to compliment matt roleplaying grass so well and then saying his favourite moment was writing a story for laura and reading it to her as caleb for jester. and then matt saying that was his answer, and that his favourite moments of the game are when they find ways to give gifts to each other whether tangible or not. and sam saying his favourite moments have less to do with the story and is more so when he can just. see his friends across the table from him. when marisha perches and when laura and ashley are (badly) drawing dicks and liam saying he loves when sam sneezes and ashley tells him to stop it and just. yeah. they Are an extremely popular online powerhouse, but i’m so happy that they’re also friends building a world together out of gifts to and love for one another.

like i Am so enamoured with the characters and the world of exandria but the moments when you can feel the love that those people have for each other reach out from behind the stained glass of their performances (to steal a metaphor from brennan lee mulligan) are so extremely special and i am endlessly grateful that they decided to share their silly little home game with the world.

[stellanix]

(genshin impact spoilers incoming)

one aspect of furina's characterization that's pretty understated but that i really really really love is her intelligence and curiosity. usually in genshin, when a character's intelligence is an important trait of theirs, there are aspects of their design, writing, voice acting, etc, that very clearly tell you "hey this character is smart." albedo, for example, wears a labcoat, is always saying big sciency words in a calm, rational tone of voice, and other characters are always talking about how smart he is

but furina? nothing about her on the surface suggests that she's a "smart" character - quite the opposite, in fact. superficially, she's introduced as a bratty, conceited, overconfident person who actually has no idea what she's doing. we eventually learn in the archon quest that that was all an act, but even after she regains her freedom, nothing about her really seems archetypically intelligent, at least at face value

instead, furina's intelligence is always shown rather than told (the only exception being nahida's voiceline about her). she had an intelligence network across teyvat feeding her information, and we saw in the flashback how she directed researchers to study the prophecy and potential ways of stopping it. before things like lyney's trial or directing the two musketeers, she'd stay up all night planning and piecing things together all on her own. she loves learning new things, she has lines in the teapot about how, when she's interested in something, she wants to become the most knowledgeable person in the topic, and also how she'd like to disassemble the teapot itself to learn how it works, and she's quick to learn new skills (like surfing). and, of course, she's well read, and quite possibly teyvat's foremost expert on the performing arts

i like how furina sort of defies the concept of character archetypes. she's initially presented as an archetypical bratty, dramatic, spoiled popular girl, but that was a role she forced herself into because it's what people expected of her. but the real furina, while still retaining some of the flamboyance from her archon persona, doesn't really fit into a clear mold. she's smart without being a super-genius, and she's kind without being a soft-spoken doormat. it makes her feel multifaceted and real, and i really love that!

anyway, this is why it makes me mad whenever i see people calling furina stupid, cuz she's not!

[nextstopwonderland]

“I should have given him my respect a long time ago.”

Stop watching the ppv for 3 minutes and watch this. My god.

[befuddledcinnamonroll]

Sure, the romantic stuff is cute, but this, this right here is the beating heart of We Are.

[a-storytellers-wish]

Zahra & Noor's dynamic as shown in memes

I've always wanted to share how exactly Zahra and Noor pair with each other, and I feel like I can just best explain it by doodling them into memes XD

Admittedly, many of the planned dynamics and interactions I planned for them are inspired by the other Asha/Star dynamics from the other AUs. The third one, in particular, was inspired by the art-focused Asha and the music-focused Star dynamic; and I think that dynamic would be a very fitting dynamic for a story that is also a celebration of what are basically animated musical films.

Also, the idea of both quiet people, one who is shy and keeps to herself while the other who is literally mute, actually have so much to say and are most comfortable at expressing it through art is so cool.

Also the irony of Noor talking in visual language but is more into music and sound while Zahra can talk and sing but is more into visual arts and language??? Yeah I can already imagine an AU where they work together as partners to make an indie animated musical film/show XD

[natjennie]

what's weird about the fantasy high drama is that like. it seems to me like people forget d&d is primarily a) a game you play with your friends and also b) luck based.

I mean it's fine to say that "nothing felt like a challenge" and "they just dominated everything and there weren't any stakes" but like. it's not as if they weren't up against huge threats. they lost the mall fight. the last stand was an onslaught of enemies. they fought a dozen dragons from an airship. the fights were hard. they're just really good. they've had very good dice luck in general this season and are all very high level and highly specialized. fig is gonna beat deception and performance checks. adaine's gonna figure out the arcana. riz is gonna succeed investigations. like. for some reason their strategical competence and wisely picked abilities are. a downside? a disappointment?

the thing about d&d that you need to remember is it's first and foremost a game. it's mostly random and it takes you down weird paths and you're playing to have fun with your friends. the dice are literally telling the story that it's their time, it's their year. they've struggled enough. they've trained enough. they're good at what they do. and in my post about the academic/domestic/personal stressors being the focus, d&d doesn't have any other system to work them out than rolling different skills. that's what d&d is. brennan set specific challenge levels for different tasks and the players strategized to prioritize which abilities they were strongest in. the challenges were there. and the players rose to them. they were both smart in their delegation of responsibilities and lucky with their dice rolls. of which, both are foundations of d&d.

don't mistake them being good players and getting lucky with there being no hardship. just because they smashed through the wall, that doesn't mean the wall wasn't strong. they were just stronger.

[rawliverandgoronspice]

I think what particularly annoys me with the "zelda was always gameplay before story" is that... it's not true? At least I don't think it's true in the way people mean it.

Zelda games were always kind of integrating story based on the standards of the time. When game stories were in game pamphlets, Zelda's stories was in the pamphlets. ALTTP tried to tell a pretty complicated stories with the limitations of the time. OoT was actively trying to tell an epic, cinematic tale packed with ambiance and expand what 3D could offer that 2D games struggled with. Majora's Mask is deeply character-driven in many, many ways. Wind Waker and Twilight Princess are both pretty concerned about their stories, down to the point that some people were bored by TP's cutscenes in particular. Skyward Sword, from what little I have played it, is very very invested in its characters and their journey (and 2D Zeldas have Link's Awakening, Minish Cap... None of them are visual novels, but they are concerned with emotional journeys, character arcs, mysteries about their own world...)

What is true is that the narrative wraps around the mechanics, and not the other way around. The mechanics drive themes, aesthetics, emotional beats and character journeys; and that's great. The world is a puzzle, and the world is delightfully absurd when it needs to be, full of heart when it calls for it, dark and oppressive when it suits the player experience.

That does not mean the games aren't invested in their stories. Even BotW has a pretty complicated story to tell about an entire world rather than one specific tale or legend --all of it at the service of the gameplay, which is exploration and mastery of your environment.

So. Yes, none of the Zelda games are million-words long visual novels that care deeply about consistency and nuance; but stories don't need consistency or deep lore to be meaningful and serve an emotional journey. Again: gameplay is story. The two cannot be so easily parsed from each other.

And Zelda as a franchise obviously care deeply about story, characters and setting (and still does right now --otherwise there wouldn't be a movie), even if it doesn't try to imitate prestige narrative-driven games, which is great and part of why I love this series so much. Doesn't mean it couldn't have done better in the past, it obviously could have, but I feel like pretending that nobody ever cared about story or character is just... false? It's a huge disservice to the devs too. Some of them obviously cared immensely.

The "gameplay above story", at least in the extent to which it is paraded today to defend TotK, mostly, is a really recent development. And I think it's one that deserves to receive some pushback.

[ilions-end]

wishing we had a complete third part of the epic cycle for no other reason than to have a surviving epic that'd be undeniably The Worst One so we could stop with the endless "iliad versus odyssey: which one rules which one drools" non-discussions

[yardsards]

the marcille-falin-laios dynamic is like the barry-lup-taako dynamic. to me.

[fagulaa]

Something I really love about the Silt Verses is how, in a world of gods and monsters, how grounded Faulkner's trauma [and relationship with his father] is. Especially as the season moves on, and the stakes amp up [and up] its so unexpectedly piercing to be presented with this exploration of childhood abandonment/negligence, inter-generational trauma, the indignities and stress that comes with unexpected elder care/early onset Alzheimer's. You're so locked in to these grander, more abstract concepts that your defenses are down! Mine were, anyway. TSV is so good at cutting its grand, complex plotlines with simpler [but not shallower] gutpunches, and it just grounds the whole thing.

[vaguely-concerned]

the idea this game posits that just as much as or even more so than lucanis is having a demon problem, spite is currently having a lucanis problem. is everything to me. spite voice bitch you live like this???