#and to be clear this is NOT a criticism of the players

[12pt-times-new-roman]

"I'm fine to be wrong, but let's just talk about it. Let's let that be the opening gambit."

Sorry, y'all, but Orym is 100% right here. Like, sure, Orym walked in wielding that blade without consultation, but Laudna fucking attacked and damaged him first. Jesus christ. As soon as someone suggests that the blade might be cursed, Orym puts it onto the table to be identified -- as soon as a challenge comes up, he puts his soul on the table, bared. He puts himself up to be questioned, criticized. In this situation, he was the only one willing to compromise -- if Laudna had approached him for a talk, he would've been open to it. but instead she gave in to Delilah and attacked her party member.

[quantummindclassicalheart]

I think Brennan did something interesting with the Porter and Gorgug scene in the last episode. Porter is by all appearances a competent Barbarian teacher. He understands the role of Rage and its mechanical combat benefits, and he even recognizes how Gorgug uses Rage to protect those he cares about. But he doesn't understand how multiclassing into a caster fits into that framework.

And it's true! In 5e you can't cast or concentrate on spells in a Rage. But-- Artificers work a little different than other casters! Alchemist Elixirs and Arcane Cannons aren't technically spells. Arcane Armor just works. And so does the Steel Defender.

Of any caster I think the Artificer is probably the best-suited to multiclass Barbarian because their key subclass features are largely not spells. But it also runs into the problem of requiring multiple high stats. Barbarians already want high STR and CON, and Artificers need INT for their spells and spell saves.

And so there's this narrative tension here. Brennan the DM obviously wants to let his player have fun with the character build-- embracing the creative artificer side of himself is a great character moment for Gorgug, bearer of the tin flower. Someone who has always channeled Rage to protect those he cares about but who has also been called to create and preserve beauty.

And yet mechanically, it's a difficult build. We didn't see Gorgug cast anything in the Night Yorb battle, as far as I recall? And in-universe, classes are a formally recognized thing that require approval. But Gorgug can't be the kind of Barbarian that Porter wants him to be. So he has to show that he can be a different kind of Barbarian-- one whose magic integrates and synergizes with his Rage rather than opposing it.

We see Gorgug still insecure about his homunculus and about the solar lasso, even though these are objectively impressive feats. So it's not a skill issue but an internal conflict-- it's only once Gorgug reconciles and synthesizes his magic with his Barbarian side that the in-world powers that be will recognize him for all of who he is.

[shorthaltsjester]

god i cannot express how impressed in general i am with the storytelling that cr is doing with candela obscura but what really strikes me is how evident it is that the storytelling they do is defined by the hearts of those who are putting it together rather than adhering to a specific idea or image of a given story that they want to uphold. there is such a stark difference between the tones of chapter one and chapter two (to the fault of neither, i’ve enjoyed them both immensely because they both happen to hit parts of the supernatural-horror genre that I am so deeply fond of and so happy to see in a real play medium).

there’s the obvious difference in gming styles, matt has fantasy running through his veins and that’s evident in the way that chapter one ends up having a tone akin to something like the scarier episodes of buffy the vampire slayer. spenser outright references mike flanagan in his pre-interview thing and good grief is that so so evident in his narration and the way he emphasizes the themes emerging in the story in the environment of the world they journey through and choices like the letter from sean’s mother that subvert the audiences ability to rely on a character’s perception.

but the energy the groups of players bring to the storytelling is obviously also so important, too. like, even just looking at the groups prior to watching each I probably could’ve guessed which might’ve had a more lighthearted tone. the combination of ashley, anjali, and robbie already would be one i’d guess a more warm/goofy vibe for (not to say they can’t be serious and dramatic, but the tone of the seriousness is still warm and the world that prompts them towards drama likewise feels warm) and laura, despite her propensity for goofs, does tend to be a chameleon with group make ups. likewise i think we all had a certain (affectionate) fear™ when it was revealed that marisha, brennan, luis, and travis would be reuniting in another short form story and that has certainly held up and been incredibly bolstered by zehra’s absolute commitment and immersion into the story (constantly fucking blown away that this is her first real play she’s incredible).

this is all just to say as someone deeply interested in digital storytelling, i am so so enamoured by cr’s commitment to following their own desires as humans telling stories to one another while adhering to the requirements they have as a company. and also if you haven’t you should watch candela obscura, especially now that spooky season is here.

[drdone]

again. just wanna point out. whether you like the gods or not is really not the important thing. it's whether you wanna help Ludinus who has been murdering people for his own purposes including four members of Bell's Hells as well as family members like I get it but the gods are not the point

[c-duceusclay]

Okay, I'm going to bed gn

[tseecka]

Here's the thing, halsin is lovely and his proposition is so earnest and sincere that I was sorely tempted

But I keep thinking about astarion's hesitancy and reticence around realizing he is allowed to say no to what people demand of him without risking his safety and security and it fucking KILLS me

He is SO! PERFORMATIVE! With how funny he finds the question of a dalliance with Halsin! I don't think I've ever heard him laugh that much! I don't think I've ever heard so much mirth and dismissive blase attitude from him! And it's SUCH a red flag!

(More thoughts below the cut)

It's so clear that he's TERRIFIED of what will happen if he says no to you, if you tell Halsin you'll ask him at all. That no matter his relationship to Tav, he thinks it's still conditional. (And that's the second time, potentially, that the game suggests Astarion is traumatized by sex.) And he tries to laugh it off and act like it's no big deal, but that big guffawing laugh from Neil is heartbreaking.

I wish it was the opposite. If I could rewrite it--because I think Astarion could benefit from Halsin, for sure, the way so many incredible artists and writers seem to agree based on the gorgeous art and words I've seen--if I could rewrite this one piece of the game, I'd have Halsin approach Astarion first. Make It not about Tav at all. Make it about this stereotypical, Very Good Druid seeing something in Astarion that he desires, something that he has watched grow since the elf's first reluctant heroics saving the Grove. Have Astarion be the one to initiate the conversation with Tav; have him want it, want to say yes, but respect their relationship to ask first. Maybe because he feels ready again, or he likes the feeling of Halsin desiring him, or he'll, because he thinks he might be ready to broach sex again but he doesn't want it to be with Tav in case he fucks it up.

Tav can say no, because they are monogamous and they love Astarion and don't want to share him. They can say yes, of that's what Astarion wants--if he wants to take something that is for himself for his own pleasure, not because he has to in order to be safe. They can reinforce to him that his life and his decisions and, fuck, his body are his own now, he can do what he wants with them. Tav can give him agency. So Astarion can go off, merrily secure in his romantic relationship of equals with Tav, and roll in the hay with Halsin. And maybe there's a little banter for a while, now and again just implying that he and Halsin are still A Thing in the background, even while he and Tav maintain their romantic relationship.

So then Astarion can be the one to come to Tav with a new suggestion--would they like to join? Halsin has expressed interest, appreciation for them. Astarion has been having fun, but it still feels a little like going behind Tav's back (even though they know and have given full consent). He wants to know if Tav thinks there could be something between them and Halsin. If they are amenable, he suggests they get to know one another--without him, for now. So Tav can go to Halsin, and initiate that conversation, and trigger the romance scene, and things can grow from there.

There's room for malicious options too (Tav denying Astarion, or giving him an ultimatum, or being with Halsin and deciding they are still monogamous but want to be with Halsin instead, or treat Astarion even asking as a betrayal or making poor jokes about Astarion's self-worth) but I think in a positive run through it could be just...so lovely. But as it is presented in game--or at least, as it was to me--there was no way in hell I was going to do that to Astarion. I don't care if mechanically there is no impact (disapproval or what have you)--its so clear that he isn't comfortable with it and isn't comfortable with telling you, doing otherwise just because the program doesn't toggle an Astarion Disapproves feels like willful ignorance to everything we know about his character by this point in the game.

[zukosdualdao]

it’s also frustrating that suki like… barely gets to be a character in the second half of book three when she’s around. i know a lot pf people feel very Adamantly that she’s a member of the gaang, which i agree with! but she’s not treated like a main character, which is fine in theory (not everyone can be) until she’s surrounded by the main characters and still barely gets to interact with any of them meaningfully.

and this episode just makes it feel worse because it’s the one time some sort of emotional plot Is going on with her, but it’s…. a) sokka’s trauma and guilt over yue’s death being treated as a joke, b) suki clearly not knowing about it and being at first accidentally insensitive, arguably, and then jealous, c) sokka subsequent being insensitive to suki’s feelings.

not to mention the really weird moment of sokka gloating that azula took her captive??? why???

and it’s like, some of that could have been an interesting conflict for them as a couple if it wasn’t treated as a joke and if it was what the episode focused on for their plot instead of the “sokka wants to give his actor notes” plot.”

but as it stands it just falls really weird and flat, and makes me sad for suki and that we don’t really get to see that much of her otherwise. she’s There but she’s there as… sokka’s girlfriend. she barely interacts with the other characters.

[pocketgalaxies]

candela obscura intro: gorgeous pre-show graphics, spooky monologue from taliesin, cinematic opening, eloquent scene-setting from matt

ashley johnson, within 15 seconds of being the first player to speak: *forgets her backstory*

[exhausted-archivist]

On the topic of the inherent racism in the Qun and its people, with how baked in racism is, you can't buff it out and reformat. You can't remove it, and BioWare has only been doubling down on it up to Tevinter Nights in 2020. Which means you need to be careful with how you interact and build on it. At least that is how I approach it, in general I don't like to engage with it because it's just so difficult and not in any thought provoking or insightful way. So I refrain from doing so as much as possible in public spaces anyways, because it is so inherently unsafe for me to do so. From an interaction with fandom level, but also on a personal level because some of it makes me want to crawl out of my skin.

I am extremely weary of how da4 is going to portray them, I hope it will be better since the writing team has been moved around and there have been some acknowledgements on poor writing of stereotypes and biases in 2020. Which I take with a salt mine worth of salt, especially with the way the new comics like the Missing having lingering themes and stereotypes remaining. How Patrick Weekes described the rebelling antaam in Three Trees to Midnight (Tevinter Nights 2020) was the biggest red flag, followed by the yellow flag from As We Fly short story by Lukas Kristjanson (short story 2023).

With how BioWare has racism and harmful elements baked into the Qun and people in general it is going to difficult for them to fully separate it, update it, or reformat it. But I hope they do. I hope that they actually attempt to make it better like they have suggested they would. Because it is so harmful and they should. I don't think they'll get it right on the first try, but I hope they try. It won't magically fix the racism in the fandom but I would like to not feel the need to crawl out of my skin when playing a vashoth. I would like to see the franchise grow and become better than it started out as. I don't want it to stay stagnant for the sake of "consistency" which it doesn't have by design.

[audliminal]

Send help I saw one (1) post about misfits and magic and now I'm obsessed again

[nyxavana]

man. just thinking about raiding burns me out so quickly

[the-anchorless-moon]

So crazy angry with every member of bells hells right now but especially Fearne. It all makes sense in character but Fearne I'm going to kick your ass you told Ashton to do that. "I think if I have any say in it it should go to you... I feel like you're supposed to have those two pieces" is a direct quote, but she's 100% ready to throw Ashton under the bus and rewrite it as her agreeing as a favor to them, because she doesn't want to deal with having made a choice that lead to something bad. Everyone in the group, Ashton and Fearne included, is treating this like Ashton's plan that Fearne went along with but. She made that call. Fearne was so afraid of becoming a version of herself that she didn't like that she told a friend to do something they both KNEW might kill him. I think when it almost did it was the first time she didn't like something about herself and she's angry with Ashton for that. Girl take some fucking responsibility for your actions. You had an equal share in that decision and you SHOULD feel bad about that. And it's interesting because she does apologize and take some blame but still in the frame of her agreeing to it instead of being the one who made the decision on it. Chetney gave her an out and she took it so everyone is working with that framework, and coming down way harder on Ashton than is at all reasonable. And every one of THEM is applying a crazy double standard on top of that. Biting ripping tearing biting

[imsobadatnicknames2]

Partially related to the recent exchange about milestone leveling but. Something that kinda drives me up the wall is how whenever someone criticizes any mechanic from 5e one of the first comments they're inevitably bound to get is someone telling them that they probably only dislike that mechanic because "your DM probably just sucked". And then their description of the behavior of a DM who doesn't suck involves either ignoring the mechanic entirely in favor of rule of cool, or completely redesigning the mechanic from the ground up so that it works completely differently from how it's presented in the book.

Like first of all Idk where they get this urge to automatically assume that anyone who complains about a mechanic is probably a newb player traumatized by having a bad GM and not a GM themselves. It feels weirdly condescending.

Second and most importantly. Of course you aren't bound by RAW, you can hourserule and ignore rules till your heart's content, it's your table the world is your oyster do whatever you want forever etc. If a mechanic doesn't suit your table change it. But like. If using a game mechanic in the way presented in said game's rulebook automatically makes someone suck as a GM then it's the game design that it's bad!!! If the rules are written in such a way that running the game rules-as-written makes you someone who is considered bad at running it then the rules are bad!!! Following the rules of the game you paid for the way they are presented to you being seen as a mistake that sucky GMs make and not the default way to run a game is a clear indication that there's something seriously wrong with those rules!!!

[freshcuntgrass]

You know, I think CR3x103 is an incredibly clear example of how Matt's target audience for Critical Role is his players. They wanted to talk to their dear friend Sam who has only recently returned to the table, and use a relatively chill moment to poke him and prod him and figure out his little guy. They captured a longtime enemy who had become a huge stress on the party and they didn't necessarily want to immediately dramatically process anything except relief. They love to see their former blorbos and talk about them and make Matt do their voices and tell them what they're up to.

Most of 3x103 won't make the hypothetical animated show as is, and that's fine. Matt runs for his friends. His friends often spontaneously create unbelievably compelling character-based drama, and we love that and we watch for that, but sometimes they just want to poke Sam Riegel with a stick. Which is valid.

[maiteo]

new mai in stem project revolves around strangling ignorant fb fans without having to be near them. watch this space!👩🏽‍💻🤞🏽

[hawkepockets]

this is something i’ve been cooking on for a long time and i’m gonna try to articulate it now—please bear with me 🙏

a lot a lot of the criticism of DA:I i’ve seen from series fans has been made on the micro scale of the dialogue wheel, what dialogue choices are/aren’t available to the inquisitor in specific interactions. there are often chances to be callous, snide, arrogant, and authoritarian; rarely is there an opportunity to espouse what liberal & leftist players consider the “right” views on mages, elves, class, the chantry, etc. and when those opportunities seem to appear on the wheel, the inquisitor’s actual speech tends to hedge more than expected. the game doesn’t “let” you play an outspoken leftie.

i think critiques on this level are missing that structurally, on the macro scale, DA:I isn’t a game that’s capable of being leftist or having an outspoken leftie protagonist. it’s a story about someone whose previous identity is subsumed into the role of inquisitor for an order-restoring religious paramilitary that was created to fix the “problem” of the mage rebellion built up to in DA:O and DA2.

and fundamentally, just as DA:O asks you to play a warden who would end the blight and DA2 asks you to play a hawke who would become champion of kirkwall, DA:I asks you to play someone who would play the part of order-restoring inquisitor and false herald of andraste, even if it pains them, even if they protest strenuously at first, even if it takes the annihilation of who they used to be.

the premise, the inquisitor’s characterization, the gradually exposed legacy of the original inquisition (Jaws of Hakkon), the narrative thread of will/won’t the Inquisition lay down their swords (Trespasser), Morrigan’s outburst about the diminishing of magic in Thedas (What Pride Had Wrought), the power mechanic, the simple fact that maps become emptier, quieter, and less magical as you progress in the game, the clearing of the war table, the impossibility of leaving orlais without an emperor or the chantry without a divine—all of this, all of this! positions peace, order, mundanity, chantry hegemony, and the rule of law and law enforcement as the desirable, inevitable, only possible outcome of playing.

whether you choose the most or least progressive Divine, the most or least destabilizing and compassionate story choices, that remains the fundamental logic of DA:I. it’s the logic of the game’s most liberal companions/advisors (sera, dorian, & leliana). it’s a constraint on what changes can be made to the worldstate. and painting over that with more contrary and political dialogue options wouldn’t do anything. and this is not me saying “throw the whole game out because it was made by canadian libs”—i think DA:I is fun, vexing, moving, and really really interesting! but you kind of have to meet it where it’s at. and it’s a tragedy for the inquisitor. and it was made by canadian libs.

does that make sense??