#naddpod tag

[utilitycaster]

The narrative of D&D

Fantasy High Junior Year has made its exploration of the tropes, mechanics, and structures of D&D readily apparent, perhaps even more so than the earlier two seasons. This is unsurprising for a show in which the characters are, in-universe, extremely aware of their mechanics and indeed in a high school intended to develop them. And yet, while Brennan Lee Mulligan pokes at these structures, the story still rests squarely within them.

This is not accidental; in longer form narratives (and Fantasy High as an overall story certainly is one, though each individual season exists in a strange no-man's land of campaign length) there is a distinctive pattern to the D&D narrative, one that is outright stated in the player's handbook. D&D is a progressive advancement game; characters grow in power and in sociopolitical import as they level up. They begin, even at level 1, as exceptional people (no commoner stats for them) and are destined by the fact that they are in a D&D game for greatness. There are things D&D supports well; travel, social interaction, one-time skill use, and combat. There are things it does poorly, notably downtime and stories that are not built along the lines of heroic fantasy.

I think this is a value neutral statement, in that I think that trying to avoid playing D&D while playing D&D is a futile exercise; your character will become more powerful while playing it and the only way to avoid gaining this power is to play a different game. I also think that while D&D has the potential to comment on our world from a new perspective, as most speculative fiction does, and is certainly not without flaws, that conversation is one for a later date. The structure exists; like it or not, it exists. There are other games to play that support other stories.

Fantasy High is direct in its engagement: characters are aware of their classes. They learn about the conventions thereof in their high school coursework, and must justify their multiclassing, both with their current level of power in their base class as well as with what they have done (both narrative and mechanical justifications). The antagonists of Junior Year are the Rat Grinders, explicitly commenting on Experience vs. Milestone leveling; several characters provide an eye into such D&D player tropes as min-maxxing and focusing on RP vs only on the game and mechanical elements. The Seven, set in the same world, operates on a similar premise; the party risks being broken up because half are still in high school and they would not survive a split of that level. Adventurers at the Aguefort Academy must adventure, and both the humor and deconstruction come from the juxtaposition of the conventions of D&D with the typical life of a high school student. The characters do level up; they do become more recognizable; they do have to save the world, repeatedly.

A somewhat subtler deconstruction comes in the form of NADDPod's first campaign, or as it was introduced, The Campaign after the Campaign. As envisioned by Brian Murphy (a player in Fantasy High; it is perhaps relevant that the two shows both began production around the same time), the world in which it is set is grappling with the aftermath of the "campaign" of the three legendary heroes Alanis, Thiala, and Ulfgar, who had slain Asmodeus, among other feats. While this ended a war, it set off several crucial events. Most centrally to the story of NADDPod, Thiala, disillusioned with her role as the healer, broke her worship of Pelor and used the heart of Asmodeus to ascend to godhood; she would eventually become the final antagonist of the campaign. However, the death of Asmodeus also set off a power vacuum in Hell. NADDPod's third campaign is set two centuries after the first, and the new legendary heroes (the Band of Boobs of the first campaign) have been dealing with the aftermath of an extraplanar war of the gods; Mothership, the main antagonist, arose in Thiala's wake. This is all typical actions leading to consequences, but the idea that the butterfly that flapped its wings was the resentment of someone having to play the cleric is notable (and is directly contrasted by Emily Axford's Bahumia characters, who openly embrace healing and support casting, breaking Thiala's cycle while cleaning up her mess.) But NADDPod too is heroic fantasy, even with the science fantasy elements present in the second season, and even slots nicely into the PHB tiers.

Critical Role does not, per se, strive to deconstruct in the same way (though Matt Mercer does provide some direct retorts to Forgotten Realms lore, particularly that of drow). But like NADDPod, the consequences of past campaigns influence subsequent ones. Campaign 1 is very easily recognizable as a classic "gain influence and power" story, and while Campaign 2's heroes the Mighty Nein retain a refreshingly low profile throughout the story, it does still progress in a typical way, though in a rather more self-directed manner.

Campaign 3 is interesting, in that it initially deviates from some of the more classic tropes of early D&D, but ultimately succumbs (to its benefit, in my opinion) to the inertia of the heroic fantasy arc. Bells Hells do not work their way up from level 1 or 2 taking on odd jobs; they begin the campaign by joining up with a benevolent patron, and several party members have pre-existing powerful connections. They receive the use of a skyship by episode 22 and level 6 (something even Vox Machina considered having to steal at level 13) and inherit it not long after. And yet: despite this, and a pivotal set piece of the apogee solstice in which a comparatively low level party plays a part among many factions, following a brief split the campaign begins to run on more familiar tracks. For all the early privileges the team enjoyed and the theological debates they engaged in, they ultimately find themselves in a position identical to that of the archetypal Vox Machina: facing an evil wizard who, after a rushed solstice ritual mid-campaign, only partially unsealed a long-imprisoned ancient deity of manipulation and destruction and now wishes to finish the job. One must assume Delilah Briarwood is appreciating the parallels from within Laudna's psyche.

Worlds Beyond Number is a player on the scene to watch out for, especially because Mulligan has shown himself to enjoy playing with these tropes and his players are all immensely knowledgeable and experienced players (and in Aabria Iyengar's case, DMs) themselves. Rather like Bells Hells, two of its three characters are coming in already in storied positions, despite being level 2, and it will be interesting to see if it bucks the trend. I don't think it needs to. I think there's plenty of variety to be had within this subgenre, and I think a quiet pushing at the boundaries is frequently more effective than full-scale subverstion. But should that be the plan, it will take a lot of work; even with immense awareness of the path D&D sets forth it seems DMs - and players - tend to stay on it.

[dorics]

henry hogfish [proper noun]: an echo knight fighter played by jake hurwitz in eldermourne.

[yoursonlucifer]

the thing about emily axford as a player is that she rolls fine but whoo boy does she know how to play. theres a couple posts on here about murphs bad luck rolling vs emily "being able to roll a nat 20 on command," but that's just not true. emily rolls pretty middling, but she's very good at strategy, more often than not meaning that she is able to add buffs to rolls or have them work out even if she doesn't roll Great; we gotta give credit where credit is due, which is to emily's strategy and not to her rolls

[midnightfox450]

Jaina bronzebeard is really good because murph literally just took his favorite archetypes (dwarf, stoic, knight, wrestler) and said "what if that but woman" and accidentally created a butch lesbian so incredible he just had to find a way to integrate her fucking ladies into the penultimate episode

[stone-stars]

in which murph has a very normal time at the hands of his players

Transcript:

Murph: Wel-come back to Bahumia everybody! [Jake, Emily, and Caldwell echo him with "Bahumia!". Caldwell sounds incredibly enthusiastic.] Murph: He's so excited! Caldwell Tanner, thanks for being here. Caldwell: Ye-ah! Murph: It's not your turn yet, dude! Caldwell: I'm so sorry sir! Murph: Okay? I'm your Dungeon Master Brian Murphy, joined by Jake Hurwitz-- Caldwell: Bahumia! Jake: [laughs] Hey! Dude! Murph: Caldwell! Caldwell: Sorry! Emily: [laughs] Bahumia! Bahumia! Jake: I'm trying to rhyme, man! Murph: Quit stepping on him with your enthusiasm! Caldwell: I'm just so ready to go! Emily: Bahumia! Jake: I worked really hard on this. I di-- [sighs] well forget it. Fuckin' forget it. Murph: No you gotta! Emily: Bahumia! [Overlapping crosstalk as Caldwell and Murph encourage Jake.] Caldwell: You've got this. Murph: You got this. Jake, go ahead, don't let these two enthusiasms get in your way, alright? Jake: Yeah. Alright, no, yeah. I got this. I got this. Yeah. Caldwell: Whoo! He's got this! Jake: Fighting alongside-- Caldwell: You've got this man! Do it! Murph: Stop! You have to stop! Jake: I know I got it! I'm doin' it! (Calder voice) Fighting alongside a frog and a bard with my brand new sword, Shard. [Emily and Caldwell laugh.] Murph: Yeah! Pretty good. I do feel like we built it up though, at a certain point. And there was just-- there was no way you could fully deliver. Jake: Yeah. It would've been perfect if I got it out clean right up top as soon as you introed. Murph: Yeah, if we did a super low energy intro. [Jake: M-hm. Yeah.] Caldwell: I think it was great man, I think it was amazing, I can't wait to hear it again! Murph: Who is this person. And then of course we've got Emily Axford-- Emily: Bahumia! [Everyone laughs. The others continue laughing harder as Murph talks.] Murph: Ohh. Okay?? That's the name of the world. Her character's name is Calliope Petrichor. If for some reason episode 57 of campaign 3 is the first thing you've listened to. That's Emily Axford. (laughing) She plays Calliope Petrichor. She did say before we started, I think almost as a counter-bit to Emily's bit, before we started (laughing) Emily said "I'm not gonna do a rhyme I don't feel like it." And I said "wild energy to bring into the episode!" so Caldwell went the opposite and went overenthusiastic. They're just fucking with me! Everything we do is just an inside joke to make me upset. Caldwell: And now you're caught up! Murph: Yeah, and now we're caught up. Caldwell: Bahumia! Murph: And-- [laughs] and Bahumia. And-- Uh, and then of course we've got Caldwell Tanner-- Jake: (yelling) Bahumia! Emily: Yeah!!! Jake's in on it!! Caldwell: See, it feels good! It feels good. Murph: Okay. Caldwell Tanner, of course, plays Sol-- Caldwell: Ohhh, Sol Bufo [Murph: Okay.] I'm feeling fine, just found out I'm two of a kind, [Emily: ooh!] and now I'm gonna go and find out if Swag's still alive. I'm really trying to thrive here. Bahumia. [The others laugh. As they talk, Caldwell laughs too.] Murph: You lost me. But you had me for a moment. And that's more that can be said for the other guys. Jake: Wow. Emily: Bahumia. Murph: [laughs] Bahumia. Jake: Bahumia, guys. Murph: Sure. Hey guys, Bahumia. We did it. We did it everyone. Alright? Everyone settle. Settle? Okay?

[The others sigh as if relaxing, and chorus "yeah."] Murph: Ready? Alright. Let's do-- let's do-- Caldwell: Eldermourne. Murph: Not the right campaign. Not the correct campaign. Caldwell: Shit, sorry. Murph: Let's go ahead and do a little-- [laughs as Emily interrupts him] recap-- Emily: That's Calliope's middle name. [Everyone laughing.] Murph: (through laughter) Shut. The fuck up. Everyone. Alright. [Pause as everyone continues to laugh.] Jake: S-- sorry. Murph: So last time, you left Calder's home to pursue Gowan to the Ice Knife, but received a call from Albin along the way-- [laughs] Shut up, dude. Jake: Bahumia. Bahumia. [Everyone laughs.] Murph: This is precious information! Jake: Bahumia! Emily: Bahumia! Bahumia. Caldwell: (exaggerated) Bahumia! Murph: Yeah, okay. You guys are like pokemon now? [The others laugh.] Okay. Alright. Worst bit ever. Okay. [Jake: Bahumia] You recieved a message from Albin--

Murph: -- You were greeted by a ghostly message in the ice that said Friends… Murph and Emily: Betray! Emily: I remember! Murph: You remember. Good job, Em. Jake: Holy shit. She's back. Murph: You get a sticker. Emily: I wrote it in my notebook. Murph: Very good! [Emily: Yeah, yeah, yeah.] That almost makes up to your behavior for the first three minutes of the show [The others laugh.]

Murph: And that's where we are now. Caldwell: Alright! All my real betrayal heads get ready! Emily: Yeah! Caldwell: This is where it starts! Murph: [laughs] Shut up. All of you. [Everyone laughs.] Caldwell: (through laughter) I can't. I have to talk for another hour at least. I'm so sorry. Murph: It's all good. Alright. So--

Murph: Sweet, well we'll talk more about this over on our Patreon. That's patreon.com/naddpod that's N-A-D-D-P-O-D-don't sing yet-- [Emily and Jake start to sing "We"] Caldwell: Bahumia! Murph: Yeah, remember that. [laughs] D-- Do you guys remember that? Uh-- Emily: Bahumia! Caldwell: What are you talking about, man? Murph: Bahumia! Does anyone else have anything they'd like to plug? Emily: Bahumia! Murph: Bahumia, yeah. Jake: Oh, yeah, I would love to plug Bahumia. Murph: Yeah. Check it out. Campaign 1, campaign 3. Caldwell: The world. Emily: Oh! [Murph: uh-huh] Uh, actually can I plug Bahumia? Murph: Great. Really good job, guys. Awesome. Caldwell: It's an incredible world. Incredible place. [Murph: yep!] Check out all of the incredible environs there. Murph: Yeah. Check it out. Uh- You can follow us on, uh-- Emily: Bahumia. Murph: You can follow us on social media that we may or may not use. @ chmurph's me, @ caldy's Caldwell, @ eaxford's Emily-- [Emily: @ bahumia] -- @ jakehurwitz is Jake-- Jake: I'm actually-- I'm actually @ bahumia. Murph: Follow our campaigns on Bahumia-- Emily: I'm also @ bahumia. Murph: I don't think you are. And you can tweet about the show using #naddpod that's N-A-D-D-P-O-D. [They sing "We are, We are" as the audio fades out, but Caldwell and Jake replace the words with "Bahumia"]

[chromathesia]

it's ALSO @naddpodgifting season which means more art ! i'm p sure my giftee isn't on tumblr (slash i wasn't given a tumblr url in the initial assignment) so not tagging anyone, but i got to draw a cute little moonshine/jaina moment for him. some close-ups are under the read more!

[image desc: a scene with two characters. moonshine (full-body) is happily dancing while playing a fiddle. jaina (insert) watches from the side as someone tries to catch her attention.]

close-ups of the guys in question

[ihavemints]

my gift for @/justaseedguy (on twitter) for the naddpod gift exchange!! fia and pawpaw straight chilling<3 @naddpodgifting

[sideblogdotjpeg]

*crawling out of the ground* hello guys I made an animatic

[polarsirens]

M & C

I CAN’T FUCKING BELIEVE mr BRIAN MURPHY is fucking making me WEEP by roleplaying WITH HIMSELF a deceived and turned-asmodeus-worshipping-world-devouring-demon fungal queen, now briefly regaining her former self moments before death, and her first love who has never let another in his heart and lost an eye to her because he couldn’t bring himself to shoot her the first time. anyway i am not fucking okay. i began listenjng to naddpod because i thought it was a wonderful fun hilarious break in between d20

why do all these dnd campaigns enter my house cracking jokes then bash me over the head with heartbreak. me constantly rolling nat 1 on wisdom checks etc etc.

[utilitycaster]

I'm surprised you think Travis and Jake's characters fall outside the boundaries of traditional masculinity, if anything they're the popular AP players I'd be the most comfortable saying I can always count on playing a traditionally masculine guy in some way. What makes them fall outside of that in your opinion?

In case "both embody and yet still fall outside the boundaries" was insufficiently clear, they do fit, on paper, the qualifications of traditional masculinity, but any reading beyond the most surface level reveals that they are constantly failing to measure up (and are struggling with that).

Hardwon was teased as a child, was dumped, is a virgin well into his 20s, and constantly craves approval and platonic affection; in his appearance in Campaign 3 he is utterly distraught at the death of a friend, retreats into a several year depression and regresses 11 levels, mechanically, as a result. Henry Hogfish is the shortest of the group and is a sad sack divorcee whose son is turned against him. Calder is the baby of his family, cannot make fire, and is the quiet intellectual compared to the more boisterous and melee-oriented Sol and Callie.

Grog is unintelligent (the bounds of traditional masculinity are ever-shifting but also very narrow; being too bookish and being too stupid are both sins), his closest friend is a woman in which he shows no sexual interest, and his arc is entirely about fear and vulnerability. Fjord is physically extremely unimpressive, romantically inexperienced, narratively propelled entirely by his silver tongue (mechanically, even his swordsmanship is dependent not on strength but on charisma), and his authoritative front early on is a cover to a fairly emotionally brittle interior; he also very directly explores the idea of performing an even more traditionally masculine front by putting on the voice and mannerisms of Vandran, believing his own to be insufficient. Chetney is small, weird, old, and has a high voice, wore a dress to a ball without blinking, and is also one of the most emotionally mature characters in the party. All of Travis's characters are united by being incredibly good listeners as well; they can be relied on to actually pay attention to what is being said rather than project their own beliefs back onto the speaker (consider: Grog asking Scanlan his mother's name; Fjord consistently being willing to allow the rest of the Nein to be vulnerable with him without pressing; Chetney being the "weird core" per the most recent 4SD.) Fjord and Chetney have also both unironically, though not necessarily without other motives, flirted with men.

Both Travis and Jake are also some of the players who most embrace failure and will gladly sacrifice dignity for story or for the bit; they will gleefully drop all gravitas and stoicism at the slightest provocation.

The post this is in reference to is ultimately about how Traditional Masculinity is a performance just as much as any other gender, and as I said above, a punishingly narrow and rigid one. Travis and Jake consistently explore that and show the work being put into that performance by playing characters for whom that masculinity is, ultimately, a tenuous facade at best.

[kyeree]

‘Are you a duck of holding?’

[befuddledmackem]

Jaina being obviously hung-up on Moonshine? Excellent.

Hardwon super beefing his insight check into this? Outstanding.

Emily cackling delightedly in the background throughout? The actual best.

[spellslinging]

wild women don't get the blues

[stone-stars]

No matter how far you stray You'll always come back this way 'Cause I will be here Year after year In the darkest of nights and days So give me a second chance Give me another dance We'll start anew Just me and you Eternal is our romance

[yoursonlucifer]

"emily axford not interested?" [in a mysterious vampire woman with a long cape]

love murph just being like you? my bisexual wife? not attracted to a hot woman? are you sure?