#which is an actual play ttrpg podcast that I'm in

[transdimensional-haboob]

Wistfully thinks of Spellwind, I should make a headcanons up to ep 31 list its just my equivalent of like Skyrim or lotr where theres so much going on and so dense but god damn one of my favorite episodes was when two of my favorite characters became trees and the entire experience was like...they were tripping on shrooms but also one with the shrooms? Its like episode 8

and I love the dms orc captain that hates going on land and is there for the in between transportation from sea to sea land to land ferryman (not really I feel like its mostly hard to narrate and have a character at the same time) I just love captain buttocks' (yeah I'm pretty sure thats his name) humor and how him and djett ('jet') were closer in the beginning

I love ty and varsha together but I also ship smith with them as time went on, I can't tell who I want to joke as the third smith and varsha are friends to lovers, ty and varsha are irritated assholes to lovers, smith is just a jaded old fuck that loves his morons (he respects varsha a lot and thinks ty is an entertaining idiot)

Varsha and Djett are siblings they love each other like family and share different spells and potions and knowledge of interest notes

I feel like the only person really thinking too deeply about this tabletop story and wanted to drop a few lines of appreciation, I like listening to it to go to sleep since its so slow paced and gently spoken and the music and sound efx is so sweet

[thecindercrow]

cruised right through Pretending to Be People and now I’m all caught up, so here’s a podcast rec!

It’s a horror-comedy actual play podcast playing the Delta Green system with some Pulp Cthulu thrown in and other homebrew touches. (The system was new to me, but think like X-Files/eldritch horror investigation that usually ends in gruesome tragedy, that kind of jam). Season 1 has our three PCs try to investigate freaky things that start happening in their small town and rapidly escalate over the course of one horrible, no good, very bad week. If part of that week also flipped through some strange resets. There’s time mysteries, a man in a cat’s body and vice versa, Planet Juggernaut, a lot of scary black goo, prophetic dreams with long-term planning payoffs you’ll be yelling about on a relisten, a weird spooky mob boss and myriad other strange gaunt boys, cool prequel mini-arcs, and emotions about the phrase “bubblegum tree”.

The GM has some incredible use of words and descriptions, the players are fun and clever roleplayers, and the show balances some dark and bleak storytelling with some hilarious table atmosphere. They’ve already been playing the system together for a couple years before this, so it’s nice to dive in without any of the awkwardness of navigating a new game or new roleplaying partners. I had a blast and I’m excited for the season 2 ride.

- bonus fwiw, I’m also really into Dungeons and Daddies and I’d say fans of that can also vibe with this (and may hear a fun surprise early in season 2), so here’s a recommendation from one fan to others

[ghostinacardboardbox]

fourteen episodes into Shrimp and Crits and Ari Green has achieved Peak Blorbo Status, he's just that powerful.

[garden-eel-draws]

Okay, so, I'm revisiting a childhood interest of mine, and now I've got a kind of meandering question to ask about it.

I'm someone who's into Dungeons & Dragons solely through R.A. Salvatore's Drizzt books, which I picked up somewhere around age 11 and read obsessively until age 15 or so, when I couldn't track down any more books. Unfortunately, I don't really have the nature of a role-player, so playing the actual game or listening to podcasts about it just isn't my thing. However, the novels were an absolute joy to me as a kid, even though I had no idea they were set in the DnD universe until years later lol. I'm re-reading those books now, and have managed to track down the newer half of the series that I never got to read, but now I'm wondering...

DnD, from the players' end, is all about making up your own guys and making those guys do adventure stuff in either out-of-the-box or homebrewed (or some mix of the two) settings, right? It's your own guys, who follow the story that either came with that particular game set or that the DM came up with. Or so I understand it.

So what are characters like Drizt Do'Urden or Bruenor Battlehammer when it comes to DnD stuff outside of the books? Are they character templates to show what players can do with a particular combo of race, class, alignment, and skills? Are they NPCs that can be used in DnD sessions? Player characters, even? They have articles on the wiki with stats and such, so I assume they exist in the actual game somehow. But the existence of premade characters in a game about making up your own guys kind of perplexes me. So what are those guys to you TTRPG folks?

[therenaissancedungeonmaster]

Legacy is not Legend of Korra

Was listening to the Teen Talk today (I want to know about SEASON 3 TELL ME ABOUT SEASON 3) and Anthony was talking about like "oh everyone didn't like season 2 as much as season 1, just like Avatar the last Airbender and the Legend of Korra, and I'm okay with that". And sorry to have hard let's play podcast opinions on main but I don't think of it as a Legend of Korra; I think of it as a TAZ: Amnesty.

And the thing in my opinion about TAZ: Balance and TAZ: Amnesty is that Amnesty was better. I know this will be controversial but I genuinely think this is true. TAZ Balance was, while amazing, also consisted of Griffin McElroy pulling together a fantastic finale out of his ass from the irreverent gaffs and bits his brothers and father had been making for 30 ish episodes. Without that hard work and railroading on the DM's behalf, Balance would've become disjointed and aimless. This is fine, this happens, but it means that TAZ Balance is not the pinnacle of the show that many people make it out to be. Yes, it's what a lot of people started with, but the nostalgia often time overrides what it actual was, which was an insane disjointed ride that was brought together by the power of a DM's storytelling ability, not a masterpiece.

By season 2 of both shows, the players knew what they were doing from the gate, they had an established interpersonal dynamic, they made sure the world was set up before starting, they were still riding an emotional high while also cognizant of their problems the first time around. Which resulted in a season that - while chaotic - was consistent and focused from the start. This is not the same with TAZ Balance or Odyssey, because those they spent 20-40 episodes getting their improv/TTRPG footing, resulting in a lot of bits and goofs that, while funny and great for engagement, resulted in egregious detours and tonal dissonance. By season 2 of both TAZ and DnDads, they know enough to know what bits and goofs will hurt the story and characters, and therefore how to interact with them.

Yes, I will say that Legacy did not have as clean as a plotline than Odyssey, but I do think considering what Anthony and everyone else was working with, and the story they had decided to tell, that was going to happen. It was a hard sell from the beginning. And despite that, and despite all the dropped plotlines and Hermie dying and being forgotten, it was still pretty damn good, and a worthwhile addition to the series. And even if it wasn't, the players enjoyed it, and that matters a lot more than if we the audience think it was the best storytelling ever, because when it comes to let's plays like this, the game can exist without us the audience, and still give value to people's lives, it's just the creators' lives not ours. It's cool we get to watch, but we are not the goal so much as in other story telling mediums.

[canmom]

what's the book for? part 0

I watched this three hour video! It is primarily a critique of the story games/Forge mode in TTRPG design, seeing it as the fruit of a condescending behaviourism, which to youtuber Vi Huntsman is painfully reminiscent of the 'Applied Behaviour Analysis' abusive treaments that are often applied to autistic children! Oof! Quite a charge...

...though it only gets there after the first hour or so! There's a segment where they do a stage production of an abridged version of a segment in Sunless Skies!

So... despite 'three hour video essay titled Art, Agency, Alienation' being kind of a punchline in itself, despite occasionally the kind of indulgence you tend to only see in got-way-too-big video essay channels, this video is actually pretty legit. I used to be quite the story game partisan and this is perhaps the best critique I've seen of it!

I think the thrust of Vi Huntsman's critique has merit, but it ends up feeling... honestly broader than I think they meant it - many dimensions seem to apply to almost any printed TTRPG. I also found their conclusion, which calls for more adventures and similar to support the 'folk art' of RPGs, extremely underwhelming - more a statement of taste than an answer to the blistering criticisms of the previous three hours.

So here's my own attempt at an answer. Or at least to lay out the premises we'd need to reach an answer, I'm not there yet!

tl;dw

Let me try and break it down into a tl;dw version. (I'll brush past the lead-in which talks about The Stanley Parable and Severance, used to frame the discussion.)

First up, ABA is an abusive practice inspired by radical behaviourism. In ABA, a behaviour analyst decides how a child should behave, and applies crude reward/punishment structures to get the child to do as they want, without trying to understand the underlying reasons. For example, an analyst may try to stop a child covering their ears when flushing the toilet, even though this is painful for the child. This analogy runs through the video. It is clearly quite personal for Huntsman, who I'm fairly sure is autistic themselves, and apparently worked at some point in attempting to apply the 'treatments' cooked up by the behavioural analysts.

Now, there is a perspective in game design that believes that the designer's responsibility is to create structures of rewards and perhaps punishments to push a player towards a specific intended experience - i.e. 'incentives'. In this light, game design is envisioned almost as a kind of spooky mind control to create behaviour in players, though the methods imagined to do so are in fact very crude.

The other element Huntsman introduces is the notion of 'Suitsian games', after the philosopher Bernard Suits, which are self-contained rules structures creating interesting obstacles to reach some kind of arbitrary goal (for example: capture king, place ball in hoop), where the interesting aspect is the new 'agency' created by the limitations of the rules. Huntsman argues that TTRPGs are not Suitsian games, and it's a big mistake to act as if they are.

They present some examples of a disdainful attitude among designers that players are like children whose behaviour is determined only by the game itself, despite all evidence to the contrary. A particularly damning example is a podcast episode in which a game designer who is also an ABA behavioural analyst attempts to explain how games should more deliberately apply direct incentives in their design.

This attitude, Huntsman argues, results in games (here books you can buy instructing you what to do) which attempt to meticulously shape play (the actual thing that happens at the table) to push it towards a very specific intended experience, often by rigidly defining processes for nearly every stage of the game, similar to a board game. This undercuts the open-endedness of TTRPGs, the major strength of the medium.

The roots of the pernicious ideology, in Huntsman's view, go back to the Forge forums, a cultish forum about game design run by a terribly arrogant man called Ron Edwards, known for Sorcerer and Trollbabe. Many of the major game designers active in the indie scene today come from the Forge, and they tend to somewhat nepotistically promote each other, including writing a very self-back-patting textbook.

In a section termed 'the can of worms', Huntsman suggests that elements like the 'agendas' and 'principles' and 'GM moves' amount to designers taking undue credit for player creativity, with designers claiming that fairly boilerplate GM advice framed as rules is what makes the game work, with the corollary if the game doesn't work you weren't following the GM rules properly and thus weren't really playing the game.

Some of these games tell you off for interesting ways you might hack or vary their rules, insisting that they be interpreted strictly and narrowly to get the 'intended' experience

This is all about selling a product - the idea that you need this specific book in order to create a certain kind of experience, when in reality the book does very little to actually contribute to the 'folk art' of playing an RPG together.

The main example used to illustrate all this is Root: The RPG, a TTRPG adaptation of the extremely popular asymmetric board game about forest animals having a civil war. The TTRPG is printed by a company called Magpie Games which specialises in PbtA designs, probably best known for Masks. They tend to do very well on Kickstarter, but their games - often IP tie-ins - are not especially memorable. Vi Huntsman praises the original board game, but has little positive to say about the TTRPG spinoff.

From what I saw in the video, Root is definitely a strong example of a shallow PbtA game which borrows the surface-level forms of Apocalypse World (moves, agendas, etc.) to create something bland and unengaging. It commits many design sins - far too many uninteresting moves, a dearth of evocative prompts to get you into the idea of the game, locking certain reasonable actions to specific playbooks, repetitive prose, a lack of conceptual clarity, dogmatic insistence that its rules must be followed to the letter... Clearly we can all skip this game.

But...

the role played by a roleplaying book

What's more interesting to me is the broader critique.

The video does not directly address Root's obvious parent Apocalypse World in much depth. Huntsman notes that most of Root's ideas are cribbed from there and that Magpie Games have been less and less likely to acknowledge Vincent and Meguey as time goes on; the pair are also included in the Pepe Silvia wall used to illustrate the reach of the Forge. However, they do not really address whether their criticisms apply to Apocalypse World.

To my eye, Apocalypse World is still a lot better than almost all of its many, many imitators. Part of that is the strength of its prose - and that is actually very important, for reasons I'll get into. So I think it would be better to look at the best of this tradition, rather than its worst.

But before we can get into that, the real question for me is this. What is the relationship between the paper object in your hands or PDF on your computer, and that mystical thing that happens when you and your friends gather around a table and tell a story together for four or five hours?

Begin series.

[utilitycaster]

@rowzeoli replied to your post “@rowzeoli replied to your post “Do you think part...”:

There's a lot to tackle on this so I'll do my best to cover it all! So I totally get where you're coming from and to be fair yes there are some things in old articles that I don't agree with any more in deeming people having done things "first" which is part of the issue of not having a collective historical memory around actual play as it moves so quickly. Most of the issue isn't that readership is down it's that AI and venture capitalism is destroying journalism

​

Hey, sorry for taking a bit to respond; it's been a hectic week and I wanted to give it some thought and time.

I'll start off with the good: I really do, again, appreciate you engaging here, and on the strength of that alone I am going to at least give Rascal's free articles a good solid chance for a while; I have been, admittedly, tarring it with the brush of a lot of frustrations (see below) and I know it's relatively new and still finding its place and should get a bit more of my patience. I also should note that while your article did hit on a lot of the patterns that have turned me - and no small amount of others - off of a lot of AP/TTRPG journalism it is by no means the worst example. The things you credited Burrow's End for are, admittedly, more obscure single-episode events within a huge body of work. Or in other words: there are bylines in the space that make me go "oh this is going to be bad" and yours is not one of them.

With that said: I'm sorry, but Polygon's bias is not a matter of time crunch or lack of funding. There is no way that a time crunch or lack of funding would consistently, over years (this was already word on the street at latest when EXU Calamity came out almost 2 years ago) result in a message of "D20 can do no wrong, and Critical Role rarely does right." If it were throwing out harsh criticism or glowing praise for a wide variety of shows, sure, that seems like it could come from not having a lot of time...but this goes beyond coincidence. It's a reputation that long precedes your entry into the field. As some others in the replies have noted, I might have written the most about it on Tumblr, but it's at this point not an uncommon observation. This also isn't an issue for other publications in a similar "nerd stuff" space - there's plenty of articles on, say, Dicebreaker or Comicbook.com that I don't care for, either because I disagree with the opinion or I think the analysis isn't really worthwhile, but those tend to at least have a mix of positive and critical articles about most shows. When I said you could treat Polygon articles like Madlibs, I meant it. And so I think it's great that you are no longer chasing "groundbreaking", for example, is not a solid ground for an article, but this also is showing me that even relatively new journalists are, very early on, starting with this exact formula. In some ways, that's more damning.

I do also want to add that I'm again, sympathetic to the lack of resources and to coming into a field with passionate and nitpicky fans who have been here for years. Not knowing about a single Critical Role one-shot from 2018 is something that I'd have been much more lenient about if it weren't hitting those repetitive notes of "D20 is great/this thing is groundbreaking/look at the production values." But the other article I posted, also from Polygon but not written by you, is, to be honest, pretty inexcusable. I get there's a lot of lost institutional memory...but either being unaware of, or ignoring the fact that there are a huge number of long-running actual play podcasts that play longform campaigns? That's pretty much on par, in terms of whether your audience trusts you, of the New York Times international news desk not being able to locate Russia on a map (though obviously with far less serious real-world ramifications). (The fact that this was written by a prominent actual play scholar meanwhile is like, I don't know, Neil DeGrasse Tyson not knowing how gravity works, but that's a separate topic).

And again, I get these are your colleagues. I have the luxury of being able to run my mouth without putting my livelihood at stake, and that's not true for people within the industry. I do not expect you to say anything ill about them, nor would I judge any specific individual for getting published in Polygon since I get that people are pitching to a number of sites so that they can get paid! But when I say "Polygon's AP/TTRPG coverage is at needs-a-change-of-leadership levels of bad" I am not alone in this, and it's something that has probably been true for easily 3+ years if not longer. Because it's one of the more prominent publications in the space (ironically, due to Justin McElroy of TAZ being a founder, and the fact that its videogame division is quite good and has had some viral videos, it had enviable name recognition among AP fans that it's only squandered since) it really is at a point where hitting that same formula in any AP journalism - claiming everything is groundbreaking, putting an emphasis on high production values, D20 good and CR bad - makes fans go "oh, more of this bullshit." I don't want to say you can't talk about these things - I definitely do not want to say that you cannot criticize Critical Role - but that specific well is has been poisoned for a long time. If someone hits these points it feels, whether or not it is true, that they're trying to be provocative by going against popular fan opinion, but are simultaneously just saying the same thing we've seen a million times before.

I believe wholeheartedly that from your perspective the competition is AI - and I don't want AI articles either. On the other hand, in terms of what I think fans who are in my position are turning to, it's not AI articles (I'm certainly not). If I want analysis, I'm probably, at this point, going to social media; I am not the only person who writes longform meta or analysis for fun, and I'll seek others who do out. I'm not personally a video essay person, but plenty are, and that's out there too. I'm not going there for reporting on news (I think the Dnd Shorts OGL debacle made it clear that actual journalists are very necessary) but yeah, if I want criticism or analysis? I'm going there instead, especially since there often is that missing institutional memory. If I do want journalism, at this point, some of the bigger shows are getting writeups in less niche publications, particularly Critical Role and D20, as is news of more major tabletop games. It's infrequent and it doesn't highlight indie works, but it tends to be, if nothing else, lacking in major errors or obvious bias. If I want to hear from cast members, at least four of the shows I watch or listen to have regular talkback shows, and Dropout regularly talks to AP/TTRPG figures on Adventuring Academy, and a lot of those shows take viewer questions. Which, again, probably not heartening to hear the competition is even tighter, but I guess my point is I hope it's possible, even with very limited resources, to move away from the above "novelty and production values above all" pattern because even that would do a lot of needed work to rebuild reader trust - and I'm going to be checking out Rascal in the hopes that it can.

[comicaurora]

Hey I'm getting into DnD, do you have any podcast or series of a DnD campaign to recommend? I know there is critical role, but wich one of those should i start with? Is there a better beginning than critical role? I am lost here, please help

This is gonna very much depend on your personal preferences and attention span! I recommend sampling a range of DnD podcasts to find your personal tolerances and what parts appeal to you. I'm not the most widely-read person in this space because frankly most DnD podcasts are on too slow a boil for my attention span, but I've got a few you could check out-

Critical Role is the biggest and most well-known one for sure, but pacing wise I personally can't get through it. I love it in concept, but it's slow enough and huge enough that my brain zones out in the downtime and I lose track of important details when things speed up again. I think my first successful exposure to it was a brisk two-hour video that's just a Best Moments Of Grog compilation. That's also why I've been really liking The Legend Of Vox Machina, which keeps all the biggest and best moments but paces them like an actual story instead of a game. It's not representative of the experience of playing a TTRPG, but it is a lot of fun.

I personally enjoy limited-run miniseries a lot more, because they work better for my limited attention span, and on the critical role front that means I recommend EXU Calamity, a Doomed Heroes far-distant prequel to the modern setting of CR. Only four four-hour episodes and it's on a bit of a slow boil for the first three, but because everybody involved knows how the story's going to end, there's an endless drip of dramatic tension along the way. The DM, Brennan Lee Mulligan, is going to show up a lot more on this list.

On the subject of short miniseries DM'd by Brennan Lee Mulligan, Escape From The Bloodkeep is my personal favorite and the one I revisit the most. Six two-hour episodes, deeply unhinged and intrinsically comedic as it's a full-series parody of Lord of the Rings. I recommend it for a lot of reasons, not least of which being that Matt Mercer, who is an excellent DM, gets to play, and his playstyle is a great example of how to roll with the punches and the dice, since his extremely menacing nazghul captain is afflicted by a string of hilarious failures and he kind of just owns it, to the point where his character arc becomes accepting his worth as an individual with the power of friendship. It's a great example of not taking yourself or your character too seriously, which is a vital skill for players to learn in order to handle the whims of the dice sometimes (or often) not cooperating with your narrative wishes. If CR isn't working for you but you're interested in what you can pick up from this extremely talented DM, this is a good way to get that!

Dimension 20 (Collegehumor's DnD branch) has several series I really like, most of them DM'd by Brennan Lee Mulligan again. His DMing style really works for me, and he takes an approach to pacing that I quite like, so they're generally a safe bet for me. One I categorically recommend is The Unsleeping City, an urban fantasy DnD game set in New York City. This one is 19 two-hour episodes, so longer than the other miniseries but still much shorter than CR, and it can give you a bit of a sampler for (a) the genrebending you can do with DnD and (b) a longer-form story with a less rigidly determined finale than the previous examples. Brennan's DM style is very cool, and he puts an unusual amount of focus on characters getting solo vignettes, which is sometimes considered a bit gauche in DM circles because it means the other players don't have a whole lot to do during those solo conversations, but it works for him and his players and the effect is very cinematic!

But if you want to see a different DM's style in the same space, A Court Of Fey And Flowers is run by Aabria Iyengar, one of the EXU Calamity players, and she has a very different but also cinematic DMing style! The game is also a hybridization of DnD and a different system for facilitating Jane Austen romances, which is dope. Only the first episode is up on Youtube, but that should probably be enough to let you determine if you want to check out more.

I'd be remiss if I didn't at least mention the two DnD Actual-Plays I'm in, Rolling With Difficulty and Heart of Elynthi. Rolling with Difficulty is subdivided into three seasons of 8-10 four-hour episodes each, with each season having one overarching plot or threat but mostly being composed of episodic adventures - it's a Planescape series, meaning most episodes take us to a completely new plane of existence to deal with its unique geometry, fun denizens and wacky threats. It's also a lot more edited than some actual-play podcasts, with an effort to avoid the slow parts and the dice-rolling, mental math, "what am I gonna do this round," etc. Heart of Elynthi is an ongoing series that's only about five or six episodes in, with an overarching mystery in the background and a "collect the things to save the world" plotline in the foreground. It also streams new episodes on Twitch on (some) Wednesday afternoons, so if you'd benefit from a live chat to hang out and talk with during games, that might be worth checking out to see if you like it! Elynthi also has had some pretty cool behind-the-curtain stuff about how the players can handle in-character disagreements without them turning into IRL fights, which is something I don't think I've ever seen another DnD actual-play explicitly unpack but is also extremely important for players to consider, so that's fun.

[aikoiya]

hey there with a short question,

did you watch the Norfolk wizard game ( from Bruva Alfabusa, the same guy who made Hunter the Parenting and it on YouTube) an actual play of Mage the Ascension set in the same world of Hunter the Parenting (and the world of Darkness) and in Norfolk, Virginia USA, and if so what is your opinion on the player character and their awaking. I don't know your opinion on actual play ( a group of people playing ttrpg on media like a podcast or stream like critical role) and your opinion on mage is..... but I wish to know your opinion on this.

I'm actually a fan of Critical Role, though I haven't watched in a while. And, I'm not sure if this is the one you're talking about, but do you mean the one with the conspiracy theorist (with his new chimp friend who may or may not have been one of his buddies that the alien was made to get rid of), the artist lady, the basketball player, & the Milo Thatch-type archeologist? If so, then yes. I enjoyed it so far & I think one of my favorites is the archeologist.

There's just something interesting about a guy so utterly passionate about history & antiques. Though, at the same time, I hope he gets to a place where, instead of wanting to keep the artifacts he finds all to himself, he wishes to share it with others who will appreciate them.

At the same time, I don't think the eldritch representation of "Earth" was quite correct in his dismissal of the reasoning dudeman gave. Yes, that may very likely not be the main reason he stopped his pursuit of academia, but I don't think he was lying either. He really does seem to have a good relationship with his father, at least, who seemed to worry about him.

So, even if it wasn't the MAIN reason, I still think it was A reason.

People can have multiple reasons for doing things.

But, that's all provided that I'm right about which wizard game you're talking about.

[equalseleventhirds]

it is so late and i am so tired and i haven't even been online much lately, but i've been ruminating abt ttrpgs (as i have endless rumination time at work and on the train, which is 80% of my time anyway)

and abt the like, unreasonable mindset ppl get into abt dnd 5e due to Marketing and also Actual Plays. u kno, that it can Do Anything, that u don't gotta know the rules, that the dm should plan a conventional narrative and u gotta stick to it, that it's for cute queer found families, roleplaying rollplaying bullshit, etc.

and sometimes there's posts from ppl who are outside of that mindset like, wow try another game, but also pls don't bring that mindset to other games we love. u kno.

and maybe i simply spend a lot of time in podcast & streaming circles and also circles of ppl who learned ttrpgs from podcasts & streaming, but, crucially, i don't play d&d

so i meet a lot of ppl who have moved past d&d, right. but. still have that mindset abt their new favorite game(s).

like, 'oh unlike d&d this is actually a queer found family narrative' they say abt a heavily pvp game where u can be queer but it's not about queerness.

'oh unlike d&d you can create a real story' they say, as the gm ignores the handy Make Situations sheet the game comes with and plans a 5-act narrative years in advance.

'oh unlike d&d this game is about ROLEplaying not ROLLplaying' they say, ignoring the social mechanics of the game in order to draw out talky scenes. for character work. for realism. for the story.

'oh unlike d&d this one is so easy to learn' they say, not reading huge and relevant sections of the book until halfway through the session.

i could go on. once i played a kinda weird and poetic indie game with folks whose primary game was motw, and the amount of 'hey this weird and poetic mechanic doesn't make literal sense to me as a character action' haunts me.

and it is immensely frustrating, bcos like.... on the one hand, god i'm glad you're playing something that's not d&d!! that's so important!! on the other hand, you likely learned about this game through an actual play where they (hopefully) used the basic mechanics for stuff, but mostly ran the story like a 5e actual play.

like, i love the adventure zone, but my god you're gonna come out of amnesty or steeplechase with a WILD misunderstanding of the themes and story even a lot of the mechanics of motw or bitd. (both games i like very much. but don't play them like the mcelroys.) or like, god i'm glad the d20 folks are having such fun with kob-adjacent games. but do NOT learn kob from them.

and listening to famous ppl do that to a game i like is one thing. a frustrating thing, to be sure. but participating in a game like this, or even hearing my friends & acquaintances play like this? hateful. makes me grit my teeth and cry. makes me make weirder and weirder game mechanics, which hopefully i'll make into coherent games someday.

anyway, this is all to say, before you start your found family motw game where u will team up with the monsters to save everything and maybe also bigfoot is there, a. stop listening to taz amnesty, b. read, really REALLY read apocalypse world and get a handle on THAT, c. go reread motw and think hard abt it, and d. watch buffy and supernatural a bit. yeah i know they suck. think rly hard abt that scene in buffy where xander chooses not to tell buffy that angel will get his soul back so buffy has to kill her and then no one ever finds out abt that and i HATE that scene but also it's the kind of thing motw was built for, you see.

also play weirder games and adjust ur expectations but whatever.

[maridiayachtclub]

that reblog about an inhospitable dungeon sorta highlights one of the areas in which i myself feel the biggest divide with youth culture: the idea of TTRPGs primarily as a space for exploring emotionally complex stories about specific kinds of characters engaging in specific sorts of tropes. like they always had that capacity, but i feel like a lot of the people that got into the hobby in the 5E, critical role era think of TTRPGs as a storytelling medium first and a game second. which, that was kind of how things were set up, i guess. "the dice are there to tell a story" has been the line for decades and all. but now it feels like there is an expectation for personal narrative arcs, and that the campaign's primary purpose is to explore and complete those arcs; all mechanics and gameplay are in support of that goal.

i don't mind that mode of gaming, it can be fun. there's a place for it in the hobby and lots of people that enjoy it. i don't know how well-suited i am to like, facilitating it, though. it's not like i actually play a lot of games with strangers, and i'd never run a game for someone i didn't feel like i had a good fit with. but if there's "make up a guy to get mad about," there's also "make up a guy to have awkward interactions with." for me it's someone i saw making a post here that went something like this: "Oh, D&D? You mean group therapy with all my gay friends?!"

like I say "I wanna run D&D," and what I mean is "I wanna describe rooms in a dungeon and cool monsters and traps and treasure chests and have my players figure out how to defeat the Evil Wizard," and what some other people (a threatening, undefined Them) hear is "I'm gonna have all my fantasies fulfilled! I get to make up a blorbo and the GM will tell a story about them and give them a romantic sideplot and an opportunity to work through all their trauma and it'll be just like my podcasts~!"

what if someone like that shows up at my table? shit's gonna be awkward. i didn't sign up for that, but isn't that what a lot of people think is the DM's job? this isn't entirely based on speculation, either; i've had conflict with a player that felt like their storytelling expectations were not being met by the game on the table before them. it wasn't "this isn't gay enough for me," but there was a clear mismatch in expectations and it made things rough. (Thankfully, this was just a one-shot thing meant to see if a group of players got along well, so. we certainly got an answer to that!)

there's something Matt Colville said in one of his videos a few years back, about how his players characterized him as an "old school" dungeon master, and how he was trying to understand what that meant for him. i'm paraphrasing, but the answer he came up with is that, as a DM, he was only concerned with the external growth of characters. his adventures provided things for the characters to deal with and react to, and the experience and gold that allowed them to make their numbers go up and expand their worldly holdings, but it was up to the players to make a personal narrative out of their characters' experiences. i liked this interpretation; that felt like a good compromise. it is not up to the game world to provide meaning, or inspiration, or closure; you gotta find those things yourself. which you can; we gotta do that shit in the real world all the time, after all.

(disclaimer: i am just talking about -my games- that i want to and may end up running. this isn't telling anybody what they can or should do in their games. i don't feel like this sort of thing should be necessary, for a post on my blog voicing my insecurities about my relationship with the hobby at large, but i've seen the discourse! i have seen just how bad the faith can get!)

[kindlespark]

hello, this is the anon who sent august that really long fhjy ask - thanks for your thoughts!! they helped me understand some of the season's strengths that weren't as apparent to my tastes - i think you're so right that the temple was a high point and i greatly sympathize with the sentiment of like, it all could've been so much more compelling if the bad kids had keyed into that more (which i think is also partly on brennan's presentation of info as GM, ofc - not saying it's anyone's responsibility alone). i'm still not sold on porter that much, but i can understand your perspective and i do appreciate some of his moments - i enjoyed him being a terrible teacher to gorgug because of the tension it created within the party (isn't this bad teaching? is it not? that self-doubt was really dramatically satisfying, especially in the twist payoff). i also think you're right that the finale truly muddies the waters of what the ratgrinders' thematic positioning was - as much sense as it makes that they're genderbent foils, it feels like each member gets less and less pointed - kipperlily and riz are the clearest parallel followed by kristen and buddy, but then like ruben and fig's interactions were essentially just bits, oisin and adaine basically boil down to differing access to generational wealth, and then gorgug/maryann and ivy/fabian are basically just like rage/apathy and ranged/melee. and i don't necessarily think fleshing this all out would've made the season good, but i think (and i want to say this came up in the podcast) it was overambitious/overcomplex to combine the ratgrinders' story with porter's - hence the very confused finale. on a more positive note, i actually totally agree that the downtime system was fun and thematic! the reason i cited that aspect as a negative is more because of the eventual execution, where a lot of the ratgrinder elements got sidelined and relegated to "we'll resolve that later" - as flavorful as it was, there were times when i felt like it didn't mesh with the beats brennan expected or it stymied the group's efforts to investigate things in favor of siloing them. this is a more meta criticism but another reason i don't quite gel with the porter story is because it's the reason brennan asked emily to play as fig this season even though she didn't want to, and while i trust that she genuinely chose to go along with him in that, it definitely felt like she (and brennan) struggled to find a new throughline/arc for fig (especially since the ruben thing went nowhere) and i don't feel like that sacrifice was worth what we got with regard to porter (and ruben, as her foil) - when i think of fig's storyline this season it just feels kind of empty/reactive. anyway, i hope it's clear i don't say this to argue with your opinions and i certainly don't begrudge anyone hoping for a satisfying narrative from d20 especially considering their past successes (i couldn't agree more that fhsy and tuc are some of their finest work in this regard - easily two of my favorite seasons alongside acofaf!). i'm still exploring my relationship to subtextual readings of actual plays - i love literary criticism so i appreciate many fan theories as emotional/philosophical exercises, but with TTRPGs i often have a harder time as compared to pre-written material given their more improvisatory/fluctuating nature. as such, the shooting schedule looms large here, and i mourn What Could've Been if the cast had gotten to rest and reflect between sessions right alongside you... ah well, there's always another season <3

hello!!! thank u for a really great ask!!! sorry it took me so long to get to it, i literally haven't been logged into tumblr on desktop since i saw it and typing up a good reply on mobile would've been impossible LOL

i pretty much agree with all your points here; especially the one with fig's arc this season. i think emily should've trusted her gut and retired her after her near perfect arc in fhsy, and that brennan shouldn't have had her in this season just for the porter reveal (which could've been a fun twist even with a new character, given that emily would've still had her suspicions). her arc this season is rly meandering and inconclusive which is such a shame. the problem is that i just REALLY love porter as a villain LOL. or rather, i love porter as a concept of the villain he could've been but that was never really treated seriously as such by the show. he represents so much of what i thought this season's themes would address--he's a symbol (as a teacher) of the unfair and fucked up school system and the power it holds over kids, as well as the concepts of rage and manipulation and radicalisation and revenge. that shit is super interesting to me (also as a teacher), and if all of this was engaged with it would've been incredible. alas!

but yeah me and august were talking abt ur ask like ur literally right and we wish we had ur foresight for the season tho LMAO. like perhaps my blinders were on because truly up until the last three episodes brennan was giving me everything, conceptually, that i wanted. i wanted trg to be sympathetic villains, and they were! i wanted kipperlilly and lucy to be best friends and have tragic yuri potential, and they did! i wanted jace to also be a victim of porter's, and he was! there was a moment before the last three episodes where i was convinced nothing could go wrong and this would be my favourite d20 season ever LMFAOOOOOO OH HOW THE PRIDE COMES BEFORE THE FALL

wrt literary criticism and d20, i totally get what you mean. i've been a real hater about this season but i'm usually pretty forgiving about the improvisatory and comedic aspects of d20 seasons believe it or not LMAO. m&m is one of my favourite d20 seasons of all time, i do not care that the ending flopped spectacularly bc of the tone, dice rolls and bad jokes. acoc is another one of my favourite seasons of all time, but the back half of it is super lacklustre in comparison to the first half, and i was completely zoned out of the rushed and anticlimactic final combat until calroy came in. these things did not taint my enjoyment of the show--it's always been forgivable and understandable to me because well, yeah, comes with the improv liveplay territory!! i love analysing the shows thematically and have my critique but ultimately understand there's things no one can predict or account for. i think fhjy's case in particular was just so egregious to me; the themes felt so much more obvious, the character hooks right there, the set-up so good, that i truly had never been so disappointed by a d20 finale helppppp

like i'm used to d20 seasons not having themes that are perfectly executed or followable; when i make my posts about wishing that fhjy was about the unfair school system, it's more like... wishing that anything could've happened that would've made it possible to come to my own conclusions on that theme. i'm ALWAYS reading too deep for my analysis of d20, and i'm super aware of it--this is part of the fun of it for me, thinking about implications and characters the creators didn't have time to, fleshing out ideas and subplots that didn't go anywhere, death of the author and all that. it's just that this season's main plot and themes, more than any other d20 season for me so far, felt so completely incoherent, despite its direction being so completely obvious to me, that i couldn't even pretend to come up with coherent analysis for it and i was left absolutely flabbergasted LOLLL

and maybe that's on me! it's definitely not a mistake i'm going to take into another d20 season, i've actually made my peace with the fact im probably never gonna get another fhsy or tuc or even acoc from d20 again (or at least the main IH cast) and that's okay..... i actually almost relapsed into taz the other day i was so desperate for a good ending AHJFSKFSFSFS

anyway this got long sorry i had a lot of thoughts. thank u for ur messages anon!

[derinthescarletpescatarian]

I'm so excited that you're watching fantasy high!!!! It's so so so good. I just started watching it from the beginning again today because I was reminded of it from your earlier post. I watched d20 for months before I was brave enough to venture into the rest of Dropout because I 'trusted the cast', and it's so cool to see someone else discovering that in reverse!

lol opposite experience. I used to be a habitual consumer of British panel shows so stuff like Game Changer is normal tv to me (and of course I used to watch collegehumor skits on youtube back before dropout was a thing). Ttrpgs, however, are usually boring as fuck unless you're actually running/playing them, and while 'ttrpg as podcast by experienced improvisers' is obviously leagues better than 'guy in school telling you about the Super Awesome Vampire Fight they had on the weekend and how cool their ranger's backstory is', they've never been my thing. It's an incredibly challenging format for spectator entertainment because all the factors that make it a fun group activity detract from each other when it's used for performance.

But so far dimension20 is looking very tightly edited, which I appreciate, and the cast is experienced enough at improv and group performance to pull it off. I won't say it's ever going to become my favourite thing, but with youtube just being too inconvenient to randomly watch these days (because of the adblocker thing) it's certainly a good alternative to use as 'something to look at while crocheting this massive blanket' material

[andmaybegayer]

Look, I'll be honest, I got very little for you here.

Typically around this time of year I'm either still out wandering some wild place in South Africa or I have just got back home from said wandering and either one of those means I've got like, three or four books that I've just finished and a bunch of albums and probably some kind of photographic shenanigans.

These are not happening right now.

I am currently in an apartment in Prague with some visiting family I've been touring around so it is. Different. In light of this fact we're going to do our:

Last First Monday of the Year 2024-01-01

which is going to be a wrap-up of notable entries from 2023. It's true, I got some notes!

Listening (Music):

There is a clear winner for Most Important Album for me this year and that has to be Titus Andronicus putting out The WIll to Live. I picked up Titus Andronicus a few years ago on a rec from a guy on IRC and after putting The Monitor on loop for days I was so down with it. Unfortunately while the rest of their repertoire is honestly really solid punk, The Monitor is truly next level shit. The Will to Live finally closes that gap. It's so good.

There's a lot of good pull songs from this one but I do adore Baby Crazy which is just a breathless rundown of the core philosophy of the album. Part of what links The Monitor and The Will to Live is a very heavy handed metaphorical through line, The Monitor through American Civil War references and The Will to Live through the convoluted nuclear family analogue.

Truly no one is doing it like Titus Andronicus.

Listening (Podcasts):

Noted originator of the new weeklypost tradition @girlfriendsofthegalaxy was always talking about Friends at the Table and so I was like "Hey her taste is pretty good that's probably better than the median TTRPG podcast" and hey. It was. SO much more than I was expecting.

I started with Partizan which was at the time the current season, and hoo boy. F@TT does many things that handily sidestep a lot of my issues with RPG podcasts. By running tight little game systems with strong narrative focus and leaning more into the storytelling side than actual play (while still allowing rolls and player decisions to completely upend the plot) they get into the action quickly, have strong character driven scenes, and manage to hold my attention.

I will be open and say that the politics of Austin Walker's storytelling are very mixed. A lot of people act like these games are incisive political commentary but they only really hit that occasionally, which I think is good. Leaning into the weirdness of these settings is important, and trying to make them cleave too close to modern problems at all times would weaken them, compared to what they actually do well.

What If Han Solo Was Beyoncé. Remember: You Have Beaten Your Worst Days. Destroy Something Instead Of Understanding It.

Within four episodes of the start of Partizan, one half of the game has seen the death of a minor god and started a false flag operation with consequences that would persist to the end of the season. The game systems in play often outright prevent character death in all but the direst situations, but they replace that with dramatic character change. Clem becomes Obsessed, Valence becomes Righteous, Sovereign Immunity becomes Paranoid.

They are definitely playing "for the camera", if you aren't a fan of heavy allusions to other media as part of storytelling you will not like this, but they work it out well. There's a commitment to interesting storytelling that follows well into the next point, which is:

They are very good at getting into characters motivations. Clementine Kesh is despicable, she is terrible, and she's the central focal point of a huge run of Partizan. Hella Varal of the Hieron series is also a spectacularly character-driven entity, frequently a major driving force of the plot, doing things none of the players would really want to have happen. This also applies to Lem King, to an extent.

After catching up with Partizan I went back and I've been running through the backlog. I am almost caught up to Twilight Mirage, I might step out to listen to the current season since it follows directly from Partizan. I'll see.

Reading:

Without a doubt the big one this year was Terra Ignota. Absolutely lodged in my brain forever.

Terra Ignota is like the flipside of the Culture. The Culture assumes that its members are so far gone from their humanity that their utopian issues are almost incomparable to ours. The Hives are instead a utopian society built on a hard break from modernity that has left them very, very vulnerable to our modern problems. The approach Terra Ignota takes to gender, nationality, and family is set up to argue a very interesting case, not that those things cannot be changed, but that you can't just go cold turkey on them.

(The Gender is particularly forceful. Mycroft's haphazard attempts to reverse-engineer gender for his imagined Reader are so good, they perfectly replicate the internal experience of going to a very very queer environment with a brain that was still ultimately wired by the recent past.)

The actual plot of Terra Ignota is kind of secondary to the spectacle of all these Types Of Guys interacting and exposing their internal processes in a way that is so satisfying. The Hives are unusual in part because there's so few that probably appeal to the readers. I don't think pretty much any of Terra Ignota's expected audience have much interest in the Europeans, Masons, or the Mitsubishi, and while some of them might agree with the Brillists they are given so little screen time that it's hard to say. Really it ends up being the Humanist/Utopian debate at its core, with the Cousins there to balance it. As a result it's impressive that by the end I think most people I've talked to are less sure whether they agree more with the Humanists or the Utopians.

Watching:

Arcane, a one that I don't think I talk about too much, in part because it's so tidy. A perfectly wrapped gift of tragedy! Any story where at almost any point a few characters could just talk it out and resolve all their problems but they don't is *chef's kiss* to me. If you like Othello you will love Arcane is what I'm getting at here.

Arcane is such a gorgeous show, dripping with character, every single scene is so carefully considered. There's an extremely long (in time) close shot of Jayce throwing up over a bridge that I think of all the time.

Arcane is so clear and uncompromising in its presentation of its characters. I've said before that there's actually very little character development among any of the main cast, instead the show builds on bringing very strongly defined characters into conflict and exploring what they do next. This works wonderfully.

And the music! I have probably listened to the Arcane soundtrack a little too much. Basically the only time I went on spotify this year was to look at the Radio channels for songs from the soundtrack.

Playing:

Given that I spent so long playing Breath of the WIld this year you'd think it would be that and you'd be dead wrong. Not that great! It's fine! I like an immersive sim open world game but do you know what I actually do when I feel like I want to play a game just for the pure thrill of it. I go open TItanfall 2.

Titanfall 2 is the ideal first person shooter campaign. It is short and sweet and interesting and manages to keep you sufficiently overpowered without making you feel like it's easy. I played the campaign on Hard at the start of the year and it is the shooter I remember shooters I don't actually like as being.

The reason I play first person shooters is for the fast reaction twitch play. I do not care for long kill times, I do not care for gradually plinking enemies down, I do not want to think about a target for more than 5 seconds. Titanfall is absurdly fast if you play it right, you never stop, you optimize for shooting on the run, and you bounce around the field like a pinball. Delightful.

Titan Combat in the campaign is meh, it's so often just a slog against artificially toughened bosses, or figuring out how to deal with those little AI bots. It's fine. I like being a big robot. Titans are probably better in multiplayer. At some point I will install Northstar so I can try multiplayer lobbies.

Tools and Equipment:

The 3D printer! I have been in the orbit of 3D printing types for ages but now that I have one I can see why its an essential tool for so many electronics types. The ability to just Make The Thing You Need is so powerful. Printed items have their limitations but they all pale in relation to "I hit a button and the exact thing I need appears in 2-12 hours".

So many projects stall out because you need a bracket or an adapter or a flange or a box that you know all the specifications for but that will take two weeks to arrive or has to be ordered in batches of 200 or costs 10× as much as you're willing to pay.

My printer is cheap as shit, the Anycubic Neo cuts as many costs as possible without being actively bad, and it's still a great printer. It can do anything I need well enough that I can carry on with the rest of my life. It has the precision to do slip fit parts and even basic materials have the strength for fairly crucial components.

Like, sure, you can make a lot of these things quickly by hand if you have the parts available, but like, even if somehow all your problems can be solved by cutting a PVC pipe to the right size and shape, do you keep all possible dimensions of PVC pipe in a drawer somewhere? No, you run into a problem that needs 60mm pipe and you only have 50mm pipe and now you gotta go to the hardware store and buy 2m of pipe for a project that needs 0.2m of pipe. It is such a problem-solver to be able to fabricate arbitrary complex shapes from plastic stock.

Making:

The big one. The Penrose Quilt.

This took months for me and my mother to put together, and it came out exactly like we hoped. It's so good, it looks incredible, we put it together by hand with needles and thread and time, I sleep under it every night, it is the ideal item. Few things to build your handsewing confidence like backstitching probably over a hundred meters of seams.

This was a really ambitious project and yet we pulled it off. Absolutely ridiculous.

[xxxherniaxxx]

Hiii I have to make a real promo post bc I'm bored of not meeting mentally ill people on the internet

🐛 Khyle

🐛 32

🐛 Ze/zir/he/him (no preference/mixing fine)

🐛 Not a huge fandom blogger but I'm deeply unwell about red vs blue and partially unwell about halo atm.

🐛 Need to make friends over 25 to play TTRPGs with because if I don't play tabletop games soon I might actually expire

🐛 I have an art blog that I never update but it's @inkfucker

🐛 I also have a comic I haven't updated to an even more extreme degree at @doggirlsondrugs

🐛 Literally trying to read more theory so I guess my main fandom is gonna be Parenti if I manage to get through this book lmao

🐛 Speaking of which I will absolutely read a book with some1 and compare notes cuz I suck at reading on my own ☝️

🐛 I don't care to see majority-nsfw blogs and esp not a lot of the in-vogue kinks on this site

🐛 Uhhh idk here's a list of things I've enjoyed ever:

🐌Bugs/insects

🐌 Comics by mentally unwell weirdos

🐌 Fashion in general (I have 1000 sideblogs my fashion blog is @didthatdudejustsayshelikescloth)

🐌 Homestar Runner

🐌 Pet sites - mostly flight rising & neopets (yeah I have a fucking sideblog for this too lmao @coadels)

🐌 Buffy the Vampire Slayer even though Joss Whedon needs to be killed

🐌 Buffy's goofy cousin show Big Wolf on Campus

🐌 Unwell podcast (I have not finished this)

🐌 Idk man I gotta leave the house and go see my friend come hang out with me on computers

[shadowgasps]

It's so funny how different pieces of media can pull such different reactions around similar concepts. Like. I've never been super drawn to the gods in the pantheon in cr for some reason. I'm a Cleric Stan but don't connect super heavily with any of the cr gods. I liked the Wildmother from cr2 fine enough bc I love Caduceus and Fjord and their relationship. The Matron of Ravens is cool mostly just bc im interested in her ascension. And the Changebringer has a fun aesthetic with all the floaty hair. The god I think im probably drawn to the most that we've seen in cr is Asmodeus from what we got of him in Calamity and now in c3. But other than that I don't have very strong opinions on them. Which is totally fine, I don't watch cr for the God stuff so it doesn't detract anything for me. It actually kinda makes me like cr3 more than most ppl I think bc I'd be ok with and interested in any outcome we get from the major storyline we're following about the gods rn.

With WBN I'm on the complete opposite end of the spectrum. The Spirits are what interests me most about that world right now. The bits we've gotten of Naram and Orima have been my favorite parts of that story so far. I'm so interested in meeting more spirits and understanding more of how that pantheon works. I can't wait for when The Man in Black comes back into the picture. I am 100% a spirit apologist and will defend all of their rights and wrongs. I want only the best for them and would lay down my life for any one of them.

Listening to NADDPOD im smack dab in the middle. Obviously the vibes are different bc its majority a comedy podcast but I find the gods and pantheon interesting and fun but am not super invested either. Moonshine and Bev have a funny and cute relationship with their gods and I enjoy their interactions with them but I'm not as fervent a God apologist as I am with WBN. The major baddies being evil worshippers of a near godlike woman who think theyre the righteous good guys is a great concept which I enjoy. But the thing I like most about that concept is she was a person who got to god level power, and not that she just is a god.

None of these things are better or worse in my opinion. I love all of these worlds and stories. I love Matt and Brennan and Murphs dming and am greatful to have all of their beautiful works of collaborative art. It's just interesting how with the same framework of dnd different reactions can be pulled about the same subject. I just really love ttrpgs and the ppl who play them <3