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Snorkack

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I encountered those ideas first on rp stackexchange and the other usual snowflake places not so long ago, so I just assumed it's a rather new thing. At least I can't remember having read anything similar in my 90's/00's DM handbooks.
B-but-but, it's ok if it's tastefully done, no?
My imagination just isn't strong enough to picture a situation where I sit around with a bunch of other dudes (or femdudes) playing erotic make-believe and it is not absolutely awkward, so yeah... keep me out of that.
 

Ismaul

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I can't remember having read anything similar in my 90's/00's DM handbooks.
Yeah common sense and RP techniques took their time to find their way into gaming manuals, especially D&D. In the case of AD&D, it was intentional: the DMG states in the intro that such techniques would not be found in the book and that it's instead intended as a rules reference. Buy DRAGON magazine, they said lol:

mPcInYv.jpg


IIRC, it's only since the 3.5E DMG2 that such advice has been collected in a mainstream game manual. They brought in Robin D. Laws to write parts of it, from the popular GMing reference book Robin's Laws of Good Game Mastering. They did the same for 4E. So this type of advice has been going around for a while but really took its time to move from ways to do things at the table within a group, to forums where people shared that stuff and discussed it, to magazines and advice books, and then to gaming manuals. For me, most of the info in the 3.5E DMG2 was old news, but it was nice to have it collected and applied directly to D&D.
 
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Ismaul

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B-but-but, it's ok if it's tastefully done, no?
My imagination just isn't strong enough to picture a situation where I sit around with a bunch of other dudes (or femdudes) playing erotic make-believe and it is not absolutely awkward, so yeah... keep me out of that.
What? Your players don't roll for dick size and anal circumference at character creation? For shame.

More seriously, weird and shocking stuff isn't a mainstay at my table, but we do tend to go there sometimes. It's not off the table unless someone states it is. Sometimes going out of your comfort zone is just the point of roleplaying, and is quite funny.

We've had some twisted and gory shit happen, I ran one campaign where the PCs turned evil so obviously that stuff happens, not that we dwell on it or revel in it. We've played some Kill Puppies for Satan, which leads to trying to one-up others with crass and gory situations and kills for the lulz. We've had some campaigns where romance became part of the story, and turned into much drama and consequences. It's great when characters care about things in-game, great story happens when you threaten it and take it away. Romance is always a trap lol. Sometimes inflitration scenarios call for charm and sexual prowess to pass an obstacle, it's funny to RP as long as it doesn't get too serious. Innuendo is pretty cool; but sometimes crudeness is funny too. Other times the story calls for torture, but it usually remains tasteful and tongue in-cheek.

It's very rare that things escalate too quickly and the description gets a bit too deep. But it's mostly awkward for me as the GM playing the NPCs in such situations, so I get to choose how much attention is devoted to it, if we get precise or abstract it. It once got a bit weird for me as a violent fight turned violently sexual; it was perfectly in character, the setting/scenario was called "Blood and Sex" so we all knew what we were getting into, but still it was a system where improvisation drives story so it wasn't planned at all. But sometimes you just play to see where it goes, to be surprised. Sure it was weird playing the girl and reacting to such over-the-top actions from another player, half-hilarious half-uncomfortable, but we did wrap it up tastefully.

I do get the feeling that some of the stuff that was borderline in our past games would be a big no-no today, especially since we've acquired some players that are easier to shock morally. Fucking thin skinned fags eh? I hate self-filtering in my RP. Discomfort is meant to be overcome, and if not then RP has allowed you to find your limits. Laugh and move on.
 

hexer

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I can relate to most of what's been said in this thread, but what's the big deal with the Consent Sheet? I've been playing with mostly the same group of good friends for years now, and we all know how we roll (heh). But I recently moved and am contemplating finding a new local group, and I would totally fill out that sheet to make sure I don't end up wasting my time at a table where some weirdos are abusing pen&paper to live out their sexual deviancies.
So yeah, modern age role players are a laughing stock, not arguing that. But some of their concepts like a session 0 or a group contract can really help keeping expectations in line. Might have helped op, too.

Filling out a Consent Sheet is too much immersion breaking.
Just betray them in-game.
 

Fairfax

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Yeah common sense and RP techniques took their time to find their way into gaming manuals, especially D&D. In the case of AD&D, it was intentional: the DMG states in the intro that such techniques would not be found in the book and that it's instead intended as a rules reference. Buy DRAGON magazine, they said lol:



IIRC, it's only since the 3.5E DMG2 that such advice has been collected in a mainstream game manual. They brought in Robin D. Laws to write parts of it, from the popular GMing reference book Robin's Laws of Good Game Mastering. They did the same for 4E. So this type of advice has been going around for a while but really took its time to move from ways to do things at the table within a group, to forums where people shared that stuff and discussed it, to magazines and advice books, and then to gaming manuals. For me, most of the info in the 3.5E DMG2 was old news, but it was nice to have it collected and applied directly to D&D.
I know you're referring mainly to table etiquette and RP, but that's still not true. That scan is from the 2E DMG, which obviously doesn't represent AD&D as a whole. The 1E DMG is absolutely packed with Dungeon Mastering advice, and unlike the 2E DMG, its foreword makes it clear that the book is meant to help DMs in every way:


The 1E DMG is filled with useful, inspirational advice and ideas in between all the rules, tables, and explanations on the game's design philosophy. It even has a list for educational and inspirational reading (the famous Appendix N), and a sample dungeon/session (which the 3E DMG copied) with great advice and even table dialogue examples. It's more interesting and more useful than any other DMG, and it oozes flavour and enthusiasm that help inspire the reader and capture their imagination. The 2E DMG pales in comparison. It's slightly more organized for rules references, but it lost everything that made the 1E DMG so useful and special.

As an example, here's how each DMG introduces the section on saving throws:

2E:

The saving throw is a die roll that gives a chance, however slim, that the character or creature finds some way to save himself from certain destruction, or at least lessen the damage of a successful attack. More often than not, the saving throw represents an instinctive act on the part of the character—diving to the ground just as a fireball scorches the group; blanking the mind just as a mental battle begins; blocking the worst of an acid spray with a shield. The exact action is not important. DMs and players can think of lively and colorful explanations of why a saving throw succeeded or failed. Explanations tailored to the events of the moment enhance the excitement of the game.

1E:

The term saving throw is common enough, coming to us from miniature wargames and D&D. It represents the chance for the figure concerned to avoid (or at least partially avoid) the cruel results of fate. In AD&D it is the same. By means of skill, luck, magical protections, quirks of fate and the aid of supernatural powers, the character making his or her saving throw takes none or only part of the indicated results — fireball damage, poisoning, being turned to stone, or whatever. The various saving throws are shown on the appropriate tables — for characters, monsters, and items as well. When someone or something fails to roll the number shown, or better, whatever is coming comes in full. To better understand the concept of the saving throw, the following is offered:

As has been often pointed out, AD&D is a game wherein participants create personae and operate them in the milieu created and designed, in whole or in part, by the Dungeon Master and shared by all, including the DM, in imagination and enthusiasm. The central theme of this game is the interaction of these personae, whether those of the players or those of the DM, with the milieu, including that part represented by the characters and creatures personified by the DM. This interaction results in adventures and deeds of daring. The heroic fantasy which results is a blend of the dramatic and the comic, the foolish and the brave, stirring excitement and grinding boredom. It is a game in which the continuing epic is the most meaningful portion. It becomes an entity in which at least some of the characters seem to be able to survive for an indefinite time, and characters who have shorter spans of existence are linked one to the other by blood or purpose. These personae put up with the frustrations, the setbacks, and the tragedies because they aim for and can reasonably expect to achieve adventure, challenge, wealth, glory and more. If player characters are not of the same stamp as Conan, they also appreciate that they are in effect writing their own adventures and creating their own legends, not merely reliving those of someone else’s creation.

Yet because the player character is all-important, he or she must always — or nearly always — have a chance, no matter how small, a chance of somehow escaping what otherwise would be inevitable destruction. Many will not be able to do so, but the escapes of those who do are what the fabric of the game is created upon. These adventures become the twice-told tales and legends of the campaign. The fame (or infamy) of certain characters gives lustre to the campaign and enjoyment to player and DM alike as the parts grow and are entwined to become a fantastic history of a never-was world where all of us would wish to live if we could.

Someone once sharply criticized the concept of the saving throw as ridiculous. Could a man chained to a rock, they asked, save himself from the blast of a red dragon’s breath? Why not?, I replied. If you accept fire-breathing dragons, why doubt the chance to reduce the damage sustained from such a creature’s attack? Imagine that the figure, at the last moment, of course, manages to drop beneath the licking flames, or finds a crevice in which to shield his or her body, or succeeds in finding a way to be free of the fetters. Why not? The mechanics of combat or the details of the injury caused by some horrible weapon are not the key to heroic fantasy and adventure games. It is the character, how he or she becomes involved in the combat, how he or she somehow escapes — or fails to escape — the mortal threat which is important to the enjoyment and longevity of the game.

If some further rationale is needed to explain saving throws versus magic, here is one way of looking at it. Magical power is energy from another plane channeled through this one by the use of certain prescribed formulae. The magic obeys (or disobeys) the magic-user because he or she controls and constrains it by a combination of the formulae and willpower. As magic-users advance in level, their willpower increases through practice, and so does their control. Inherently magical creatures exercise such control instinctively.

A character under magical attack is in a stress situation, and his or her own will force reacts instinctively to protect the character by slightly altering the effects of the magical assault. This protection takes a slightly different form for each class of character. Magic-users understand spells, even on an unconscious level, and are able to slightly tamper with one so as to render it ineffective. Fighters withstand them through sheer defiance, while clerics create a small island of faith. Thieves find they are able to avoid a spell’s full effects by quickness . . .

So a character manages to avoid the full blast of the fireball, or averts his or her gaze from the basilisk or medusa, or the poisonous stinger of the giant scorpion misses or fails somehow to inject its venom. Whatever the rationale, the character is saved to go on. Of course, some saves result in the death of the character anyway, as partial damage causes him or her to meet death. But at least the character had some hope, and he or she fought until the very end. Stories will be told of it at the inn, and songs sung of the battle when warriors gather around the campfire. Almost, almost he managed to reach the bend in the passage where the fell breath of the blue dragon Razisiz could not reach, but at the last moment his toe struck a protrusion, and as he stumbled the dragon slew him!
 

Ismaul

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Fairfax It's true that the 1E DMG has more GMing advice than 2E, I'll grant you that. I don't remember much of the AD&D 1E manual since I started really playing with AD&D 2E.

Still, as far as I can see looking at it, there's no talk about player types and player expectations in setting up a campaign, or about agreeing on a set of assumptions before it starts, or about table etiquette. There's advice on how to start, but it's mostly about the starting location and adventure and how to expand it step by step. And even then, there's what, 6 paragraphs on that before in delves into climate, ecology, inhabitants, etc. It's all very technical, even if it sometimes explains the design philosophy behind the rules. It's very barebones on the social aspects of the game, and very much intended for the GM alone. It pales in comparison with the 3.5E DMG2, which itself is only scratching the surface on many topics.
 

Monkeysattva

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I actually watched the first campaign and liked it. Like a live improv show in D&D. Enjoyed their dipshiterry. These people have SJW politics but are shitlords at heart. Well, at least some of time. Especially Sam "the jew" Riegel. Now, the second campaing is much worse, and the viewers are now all drooling SJW's. At least the majority. During the first one, certain players got a lot of flack. It's my suspicion that the oldschool viewers were made up of a lot of traditionalist and normal people who got a lot of kicks from seeing professional voice actors roll-play their characters. Now it's filled with cosplayer stalinists.
 
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nyjsu

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Not a single one of you nerds in this thread can be considered "normal people" compared to sjws, get a grip.
And even though CR is mostly boring improv, Mercer is absolutely fantastic and immersive GM with a very personal style that shitty GMs try to emulate. Personally I really enjoy that some my friends have gained interest in rpgs due to CR influence and my player pool has grown. I've never encountered most of the issues mentioned in this thread but then again my players are fucking great. So bottom line might be that you shouldn't play with codexers or sjws.
 
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Not a single one of you nerds in this thread can be considered "normal people" compared to sjws, get a grip.
And even though CR is mostly boring improv, Mercer is absolutely fantastic and immersive GM with a very personal style that shitty GMs try to emulate. Personally I really enjoy that some my friends have gained interest in rpgs due to CR influence and my player pool has grown. I've never encountered most of the issues mentioned in this thread but then again my players are fucking great. So bottom line might be that you shouldn't play with codexers or sjws.

Okay, Matt.
 

Jimmious

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Steve gets a Kidney but I don't even get a tag.
Mercer is indeed a good DM, I especially like his descriptions, they can be very detailed.
Generally though the whole thing is kinda annoying for me since they rarely try to actually "role play", they mainly hwrpa dwrpa around and then fight monsters.
If you don't spend at least a session purely on discussion and internal conflict, it's not a good campaign :P
 

Van-d-all

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They popularized PnP for normies. Sure there are various ways to roleplay from beer chugging brofest to stage level drama, whatever suits the players really. But what they did was pretty much showcasing their lolwut shitfuckery as the standard, the way PnP is meant to be as an activity, pretty much lowering the default level of seriousness in minds of many. People nowadays are utterly impressionable, and "funny" is the most well received tone (compare comedy ratings with different genres for instance), so it was quite inevitable. I had my run-ins with groups like that, but I always ditched them for some more level headed gamers.
 

Alex

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Yeah common sense and RP techniques took their time to find their way into gaming manuals, especially D&D. In the case of AD&D, it was intentional: the DMG states in the intro that such techniques would not be found in the book and that it's instead intended as a rules reference. Buy DRAGON magazine, they said lol:



IIRC, it's only since the 3.5E DMG2 that such advice has been collected in a mainstream game manual. They brought in Robin D. Laws to write parts of it, from the popular GMing reference book Robin's Laws of Good Game Mastering. They did the same for 4E. So this type of advice has been going around for a while but really took its time to move from ways to do things at the table within a group, to forums where people shared that stuff and discussed it, to magazines and advice books, and then to gaming manuals. For me, most of the info in the 3.5E DMG2 was old news, but it was nice to have it collected and applied directly to D&D.
I know you're referring mainly to table etiquette and RP, but that's still not true. That scan is from the 2E DMG, which obviously doesn't represent AD&D as a whole. The 1E DMG is absolutely packed with Dungeon Mastering advice, and unlike the 2E DMG, its foreword makes it clear that the book is meant to help DMs in every way:


The 1E DMG is filled with useful, inspirational advice and ideas in between all the rules, tables, and explanations on the game's design philosophy. It even has a list for educational and inspirational reading (the famous Appendix N), and a sample dungeon/session (which the 3E DMG copied) with great advice and even table dialogue examples. It's more interesting and more useful than any other DMG, and it oozes flavour and enthusiasm that help inspire the reader and capture their imagination. The 2E DMG pales in comparison. It's slightly more organized for rules references, but it lost everything that made the 1E DMG so useful and special.

As an example, here's how each DMG introduces the section on saving throws:

2E:

The saving throw is a die roll that gives a chance, however slim, that the character or creature finds some way to save himself from certain destruction, or at least lessen the damage of a successful attack. More often than not, the saving throw represents an instinctive act on the part of the character—diving to the ground just as a fireball scorches the group; blanking the mind just as a mental battle begins; blocking the worst of an acid spray with a shield. The exact action is not important. DMs and players can think of lively and colorful explanations of why a saving throw succeeded or failed. Explanations tailored to the events of the moment enhance the excitement of the game.

1E:

The term saving throw is common enough, coming to us from miniature wargames and D&D. It represents the chance for the figure concerned to avoid (or at least partially avoid) the cruel results of fate. In AD&D it is the same. By means of skill, luck, magical protections, quirks of fate and the aid of supernatural powers, the character making his or her saving throw takes none or only part of the indicated results — fireball damage, poisoning, being turned to stone, or whatever. The various saving throws are shown on the appropriate tables — for characters, monsters, and items as well. When someone or something fails to roll the number shown, or better, whatever is coming comes in full. To better understand the concept of the saving throw, the following is offered:

As has been often pointed out, AD&D is a game wherein participants create personae and operate them in the milieu created and designed, in whole or in part, by the Dungeon Master and shared by all, including the DM, in imagination and enthusiasm. The central theme of this game is the interaction of these personae, whether those of the players or those of the DM, with the milieu, including that part represented by the characters and creatures personified by the DM. This interaction results in adventures and deeds of daring. The heroic fantasy which results is a blend of the dramatic and the comic, the foolish and the brave, stirring excitement and grinding boredom. It is a game in which the continuing epic is the most meaningful portion. It becomes an entity in which at least some of the characters seem to be able to survive for an indefinite time, and characters who have shorter spans of existence are linked one to the other by blood or purpose. These personae put up with the frustrations, the setbacks, and the tragedies because they aim for and can reasonably expect to achieve adventure, challenge, wealth, glory and more. If player characters are not of the same stamp as Conan, they also appreciate that they are in effect writing their own adventures and creating their own legends, not merely reliving those of someone else’s creation.

Yet because the player character is all-important, he or she must always — or nearly always — have a chance, no matter how small, a chance of somehow escaping what otherwise would be inevitable destruction. Many will not be able to do so, but the escapes of those who do are what the fabric of the game is created upon. These adventures become the twice-told tales and legends of the campaign. The fame (or infamy) of certain characters gives lustre to the campaign and enjoyment to player and DM alike as the parts grow and are entwined to become a fantastic history of a never-was world where all of us would wish to live if we could.

Someone once sharply criticized the concept of the saving throw as ridiculous. Could a man chained to a rock, they asked, save himself from the blast of a red dragon’s breath? Why not?, I replied. If you accept fire-breathing dragons, why doubt the chance to reduce the damage sustained from such a creature’s attack? Imagine that the figure, at the last moment, of course, manages to drop beneath the licking flames, or finds a crevice in which to shield his or her body, or succeeds in finding a way to be free of the fetters. Why not? The mechanics of combat or the details of the injury caused by some horrible weapon are not the key to heroic fantasy and adventure games. It is the character, how he or she becomes involved in the combat, how he or she somehow escapes — or fails to escape — the mortal threat which is important to the enjoyment and longevity of the game.

If some further rationale is needed to explain saving throws versus magic, here is one way of looking at it. Magical power is energy from another plane channeled through this one by the use of certain prescribed formulae. The magic obeys (or disobeys) the magic-user because he or she controls and constrains it by a combination of the formulae and willpower. As magic-users advance in level, their willpower increases through practice, and so does their control. Inherently magical creatures exercise such control instinctively.

A character under magical attack is in a stress situation, and his or her own will force reacts instinctively to protect the character by slightly altering the effects of the magical assault. This protection takes a slightly different form for each class of character. Magic-users understand spells, even on an unconscious level, and are able to slightly tamper with one so as to render it ineffective. Fighters withstand them through sheer defiance, while clerics create a small island of faith. Thieves find they are able to avoid a spell’s full effects by quickness . . .

So a character manages to avoid the full blast of the fireball, or averts his or her gaze from the basilisk or medusa, or the poisonous stinger of the giant scorpion misses or fails somehow to inject its venom. Whatever the rationale, the character is saved to go on. Of course, some saves result in the death of the character anyway, as partial damage causes him or her to meet death. But at least the character had some hope, and he or she fought until the very end. Stories will be told of it at the inn, and songs sung of the battle when warriors gather around the campfire. Almost, almost he managed to reach the bend in the passage where the fell breath of the blue dragon Razisiz could not reach, but at the last moment his toe struck a protrusion, and as he stumbled the dragon slew him!

You know, I love how the text on the first edition goes on about the rationale behind saving throws, but the rules as written still make little or no sense. I like a lot of stuff from early D&D, but saving throws aren't one of them.

I mean, the categories don't make much sense, it is completely unclear what is supposed to save as a spell, or as rods, staves and wands (or why those aren't the same category) or as death (I mean, the death save was used by a lot of stuff that wasn't so deadly). Furthermore, the system doesn't fit well with active actions the player could take (of course, the GM can improvise some rules to account for the player looking only to the lower half of the medusa, but my point is that the system is not helping him doing that). Tunnels and Trolls had a more coherent idea there, I think.
 

DavidBVal

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There's an easy way to filter out the idiots that want to join your super serious group:

Upon auditioning to play for you (make no mistake, any good DM should be in high demand and should in turn demand much from his players), the player should be asked the following question:

"What is your favorite TSR/WotC, etc. D&D campaign boxed set?"

I have three words for you. Dark. Fucking. Sun.
 

Fishy

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There's an easy way to filter out the idiots that want to join your super serious group:

Upon auditioning to play for you (make no mistake, any good DM should be in high demand and should in turn demand much from his players), the player should be asked the following question:

"What is your favorite TSR/WotC, etc. D&D campaign boxed set?"

I have three words for you. Dark. Fucking. Sun.

With Birthright and Spelljammer not too far behind.
 

Thunar

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There's an easy way to filter out the idiots that want to join your super serious group:

Upon auditioning to play for you (make no mistake, any good DM should be in high demand and should in turn demand much from his players), the player should be asked the following question:

"What is your favorite TSR/WotC, etc. D&D campaign boxed set?"

I have three words for you. Dark. Fucking. Sun.

With Birthright and Spelljammer not too far behind.

Where's the love for Planescape?
 

Farewell young Prince into the night

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I tune into this show from time to time, but usually leave it as background noise. Mercer seems like a fine story-teller to me and I enjoy the parts with Caleb, the goblin girl, and sometimes the big orc bro. However, they promote an annoying amount of "progressive" content for no apparent reason other than to be "progressive". And like Disney, they feel pressured to throw in the occasional black or asian member to round out the exclusively caucasian cast (EIGHT white people) so that the SJW portion of their audience can feel like they are improving human rights while they sip Starbucks pumpkin-spiced lattes from behind their macbooks.

The group can't seem to figure out if they're in a serious drama or in a farce and often snap from serious decision-making and character development to drawing dicks all over the city for "teh lulz".

At the end of the day I wish I could be glad that D&D is no longer branded as Satan's game and has reached a new audience. Unfortunately, Critical Role is living proof that pandering and mainstreaming your product inevitably pulls quality and originality down.

Anyone have a better suggestion for a D&D campaign on Twitch?
 

ItsChon

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I tune into this show from time to time, but usually leave it as background noise. Mercer seems like a fine story-teller to me and I enjoy the parts with Caleb, the goblin girl, and sometimes the big orc bro. However, they promote an annoying amount of "progressive" content for no apparent reason other than to be "progressive". And like Disney, they feel pressured to throw in the occasional black or asian member to round out the exclusively caucasian cast (EIGHT white people) so that the SJW portion of their audience can feel like they are improving human rights while they sip Starbucks pumpkin-spiced lattes from behind their macbooks.

The group can't seem to figure out if they're in a serious drama or in a farce and often snap from serious decision-making and character development to drawing dicks all over the city for "teh lulz".

At the end of the day I wish I could be glad that D&D is no longer branded as Satan's game and has reached a new audience. Unfortunately, Critical Role is living proof that pandering and mainstreaming your product inevitably pulls quality and originality down.

Anyone have a better suggestion for a D&D campaign on Twitch?
I'd recommend watching the first run of the show. It starts off okay, though a bit rocky, hits its strides after about 20 or so episodes, and is very solid till about episode 70-90, where things just go downhill after that. It kind of ruined watching D&D for me because Mercer is such a damn good story teller, and the people that play the goblin girl, caleb, and the big Orc are actually really solid imo too, but the rest of the cast is just fucking trash; and they keep shoving progressive shit down the audiences throats.
 

Rahdulan

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The group can't seem to figure out if they're in a serious drama or in a farce and often snap from serious decision-making and character development to drawing dicks all over the city for "teh lulz".

To be fair that's most groups out there. In my twenty or so years doing this I've maybe had three groups where everyone was actually seriously intent on roleplaying all the way through. People just need moments of OOC levity to ease up. Bigger problem nowadays is keeping everyone's attention at the table. No, nothing major will happen on your social networks that you need to constantly keep checking your phone every 30 seconds.
 

nikolokolus

Arcane
Joined
May 8, 2013
Messages
4,090
I tune into this show from time to time, but usually leave it as background noise. Mercer seems like a fine story-teller to me and I enjoy the parts with Caleb, the goblin girl, and sometimes the big orc bro. However, they promote an annoying amount of "progressive" content for no apparent reason other than to be "progressive". And like Disney, they feel pressured to throw in the occasional black or asian member to round out the exclusively caucasian cast (EIGHT white people) so that the SJW portion of their audience can feel like they are improving human rights while they sip Starbucks pumpkin-spiced lattes from behind their macbooks.

The group can't seem to figure out if they're in a serious drama or in a farce and often snap from serious decision-making and character development to drawing dicks all over the city for "teh lulz".

At the end of the day I wish I could be glad that D&D is no longer branded as Satan's game and has reached a new audience. Unfortunately, Critical Role is living proof that pandering and mainstreaming your product inevitably pulls quality and originality down.

Anyone have a better suggestion for a D&D campaign on Twitch?
Not D&D exactly (A weird blend of Savage Worlds and Mythic GM emulator), but this solo role-play is surprisingly well done - one of the few recorded campaigns I've ever been able to stomach watching
https://www.youtube.com/watch?v=I9ag6U3a8eM&list=PLDvunq75UfH_GAUWYcYSGL_vftZG0nzR-
 

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