magicaddict: (Default)
...which is very much what I wanted to be using my journal for, I felt the need to rant about something. It's not about any certain people, or against them, but is instead about me.

Simply put, the Barony Bugle articles about the Bard have triggered the living hell out of me, as unbeknownst to them, the people who wrote them are behaving in the same way my school bullies did.

What has happened is comments have made by characters whose players know they are not going to receive any consequences for doing so, as the only consequences that would be fitting would be the Bard showing up and laying waste to them. It would be arbitrary, unstoppable, and wholly bad GMing to kill without recourse in such a fashion, and this is widely understood. Thus, it is known that the characters can do what they like, even call him out, and they won't get in trouble for it.

This is a depressingly familiar process of events, and not a remotely pleasant one.

When Gerrard did the same to the Gamesmaster, the almost immediate response was someone died in front of him at the snap of a finger. As above, I viewed it as arbitrary, unstoppable, and wholly bad GMing to do so, but it was at least a fitting consequence to the abuse that was being hurled (acknowledged then, and still acknowledged now). I publicly decided I was not willing to do that in such an arbitrary fashion with my plotline, and if I didn't know better, I would say that that knowledge is being exploited. I'm not sure I do know any better. Gerrard taunts the Gamesmaster because he wants, for want of a better phrase, to hold aggro and keep the heat off anyone else. I don't see the same reasoning in the behaviour of the characters taunting the Bard - it's less overt aggression, and more amused disdain, which is the same thing I dealt with for years at school.

The immediate thought was that in the light of my gut reaction, my safety is more important than anyone's enjoyment or otherwise of a game, and that the plotline should be immediately canned. It was then suggested that this would be a shame because the characters didn't get to kill the Bard. That doesn't strike me as much of a shame at all - market research says the games themselves are boring (not interesting enough to be engaging in their own right without the added interest of the Bard himself being there as well), and they're a nightmare to organise due to their complexity and in-depth monster briefings. If the level of engagement is so low, who is it a shame for to shut it down? As the article says, he's just another bad guy - nothing more, nothing less.

It's the same thing that happened with the Man in Red, and it suggests that there is just not enough imagination in the stories I write to hold attention for more than a couple of games. It's already happening with the Druid series as well (six players and eleven monsters for the last game, including one who switched from monster to play at the last minute? That's a pretty clear message). I wish I could instill the level of engagement that other GMs can, and I would dearly like to know what they have that I don't so I can incorporate it. If nothing else, the Bard games are a legitimate vehicle by which weird and wonderful game ideas can be experienced by the players - even by itself, was that not enough?

I applied for the game on July 23rd. Before the four-week limit is reached and I receive the committee's decision, I should probably decide whether I still want it or not.
magicaddict: (Default)
...sorry for the recent delays - porting this journal across to Dreamwidth has taken a little longer than I might have wanted.

Normal service will be resumed in the coming days. I have so much more to show you.
magicaddict: (B&W 2)
...the following is what happens when you put seven guys who really know how to harmonise on the Paris Metro.

Meet Naturally 7, and their rendition of Phil Collins' In The Air Tonight.

This is one of the tightest acapella groups I have ever heard (yes, perhaps Pentatonix have that sewn up, but these guys run them very close). The harmonies are amazing, and the arrangements are innovative - they are pretty much flawless.

It is unfortunate that this particular video, which is the best live performance, is only on Youtube at such low resolution, because it doesn't allow you to appreciate some of the finer points of the harmony, but it's enough to show you the quality of the arrangement. It plays to the strengths of each of the performers - the melody rings out over the top of a number of lower sections of the mix, sometimes counterpoint, sometimes harmony, and some of the very best human beatboxing you'll find (well, the best you'll find as part of a group). It's an almost complete reimagining of the original track, while still keeping enough of it that it is instantly recognisable, and draws your attention inwards to appreciate every part of it.

My favourite part of the entire thing is the outro, where they are picking out single notes that together form a tune, but for which are so hard to get the intonation right. It's very easy to come out flat or sharp when you're making a single, percussive note with your voice, and these guys get every single one right. It's pure class, and only the most rabidly conservative of the other passengers are not moved to interact in some way with the performance. It's just that kind of music - so accessible, so well put together, that you can't help but appreciate it.

Oh Lord...


Mar. 1st, 2017 10:46 pm
magicaddict: (B&W 2)
...this has been on my feelgood playlist since it was the outro of Channel 5's cricket highlights package the last time England were winning The Ashes.

This is Shannon Noll. He wants you, and the woman having a bad day in the video, to shine.

There's nothing particularly complex or difficult to this song, which is why it is so accessible and uplifting. The melody does bounce around a little, but there are no unexpected chord progressions or jumps, and it is written in F sharp major - the key of sunshine, orange juice, bright lights and positive mental attitude. The message in the lyrics, while pretty simple, is almosy offensively positive, insists that you're awesome, and just makes you want to smile.

The entire thing is designed to uplift and make you feel good. It's never going to win any awards for quality, it's not Shakespeare, Sondheim or Steinman, and it's no more than a throwaway on Shannon's second album (the rest of which isn't much cop), but it's fun, it's easy, and it just makes you feel good.

All the world will might as well give them something to look at.
magicaddict: (B&W 2)
...and while he was by no means the most popular of my characters, the most optimised or the most playable, there was one characteristic that defined Vaexarius Firestorm more than any other.

He was one wild ride. And when he died, there was only one way he was going.

ACDC's Highway to Hell epitomised everything about Vaexarius. It was loud, proud, bombastic, utterly in your face and entirely proud of it. Playing him was a completely different experience to anything I had experienced before or since (though Mindstalker got close on a couple of occasions). I got to completely and totally let go of all semblance of normalcy, and play something so utterly different. It was exhilarating, mind-blowing, and lasted far too short a time. He only ever played nine games.

His theme song is the same - uncaring, unbridled shouting the devil. Bon Scott never had a particularly melodic voice, and this was no different - screamed and almost atonal, it's the sentiment behind the words far more than the melody here, backed up by a heavy duty, punching guitar and drum accompaniment. ACDC have been doing this for years - you know exactly what you're getting when you listen to them - and in this one, you got the words of someone who genuinely gave absolutely zero fucks: I am evil, I am badass, I know where I'm going, and I sure hope they're ready for me.

It's not me in any way shape or form, and that was what made the character such a blast to play - I don't think I could ever go this crazy again.

Shine on, you crazy diamond.
magicaddict: (B&W 2)
...but the way this lot work together is a little bit of genius.

These are The Piano Guys (there will be more of them in the future, oh yes), and their rendition of Angels We Have Heard On High (or Angels From The Realms Of Glory) for eight hands and a piano.

(Yes, I know they recently performed at Trump's inauguration. This was a really bad and somewhat naive move, as far as I was concerned, as they are not supporters of him. However, their reasons for it are here, and they are not remotely becuase they agreed with his politics (or any aspect of his being, by the sounds of it)).

The Piano Guys connsist of a pianist, a cellist, a videographer and a producer, but they all tend to pitch in where necessary, and this is one of the very best examples of it. This piano doesn't just get played - it gets demonstrated.

Keys, strings both pizzo and arco, percussion on the soundbox, and even tapping a bit of paper across the frame - this is a piano played in every way imaginable, in a symphony of synergic actions and movements around the instrument. The performance is magnificently crafted, very well-rehearsed, and so technically and punctually demanding that when they perform it live, they rarely if ever get it 100% correct. It sounds as though an entire band is playing, when in fact it is just a piano duet taken to an entirely different level.

I could go on about just how amazing it is, but I don't really need to explain the technicals behind it - on this occasion, just how good it is can be plainly seen without the need for diving in. This track is the permanent lead on my Christmas playlist, and will likely stay there forever.
magicaddict: (B&W 2)
...the song, or the singers.

These are the Vital Signs - a mixed voice acapella group out of Elon University in North Carolina - and their rendition of Ingrid Michaelson's Over You.

The reason for the title is that the song itself is worth looking up in its original format, being a collaboration between Ingrid (who is a fanastically talented singer-songwriter in her own right) and Great Big World, and is a wonderfully self-deprecating, both sides of the argument take on a break up.

It's quite rare that you find an acapella group...well...roleplaying...the IC emotions of the song as well as the pair of soloists do here. These two look genuinely depressed as they tell the middle distance that all they have to do is keep telling themselves they're over each other, and they'll get there. It should be noted that they do drop out of character at the end, so that's not just their normal demeanour.

While the rhythm section occasionally needs righting, certainly early on, the harmonies in this rendition are as tight as a drum, with none of the sections showing relative weakness. The result is a rich soundscape telling a tragic story, with the viewer left wondering what might happen if the two singers actually had enough gumption to look at each other.

Once you've had a look at this, try listening to the original artists as well. It's well worth a listen.
magicaddict: (B&W 2)
When I started this set, I originally planned it to be the top twenty, but when I set to to populate the list of my favourite songs, I hit thirty tracks before I had even slowed down. Therefore, it's gotten extended.

Some of the rubric of this particular list bears explanation. These are not necessarily what I consider to be the greatest songs (though some of them I definitely do), but rather they are my favourite songs. Ones that I have been happy with over the years, or rang true with me, or that I just really like. Likewise, songs that are on other lists, that would otherwise make it onto this list, are not included (to avoid duplication of music). Where they would make it, I will mention it there.

So, without further ado, at thirty is Billie Myers' most famous export - Kiss The Rain.

I was amazed to find that this song was only written in 1997 - to me, it had been around forever, which just goes to show how little store I set in my life before I went to university in 2000. It is a song about someone afraid that they may be losing their lover to distance - IC, it is sung without certainty, without confidence, and with genuine concern.

Billie's melody breaks a few rules of tunes, moving in jumps that show off her range and talent, and the accompaniment makes use of a first inversion as the second chord in the chorus that represents a personal favourite progression of mine (I - III - IV - V). It's musically lovely, well sung, and always gets sung along to in harmony when it comes on my playlist (after all, there's no reason that the person that she's singing to might not be having the same concerns about her).

Enjoy - I most certainly do.
magicaddict: (B&W 2)
...may well be Tommy Emmanuel.

The below is just over six minutes of the most light-fingered genius you will ever see.

It's one guy, one guitar. No dubbing or sampling. What he gets out of it almost beggars belief.

Tommy is of the fingerpicking school, who strum or pick the strings directly with their fingers rather than using a plectrum, and play both bass and melody at the same time with different fingers. This strikes me as monumentally complicated, but what it allows you to do is elaborate, tuneful, and artistically beautiful. It also allows you to be your own backing group, which is rather cool.

He does videos where he slows what he plays right down, allowing you to see what his fingers are doing and where they're picking, and talks you through it at the same time. While the guitar was never something I managed to pick up, it's fascinating to listen to someone that expert describing exactly what they're doing. It's like watching a skilled surgeon in an operating theatre.

I love listening to even just the audio of this, but watching him actually play it, that fast and that accurately, is simply a whole notch more fun.
magicaddict: (B&W 2) something of a guilty pleasure of mine. I have a list of music that makes me smile at its downright optimism whenever a piece of it plays.

Below is Fisher's Beautiful Life, featuring Kathy Fisher herself, husband Ron Wasserman (no, that isn't Gordon Ramsay), and their then baby son Aron.

As well as the outright optimism of the song, the video itself is, considering Fisher were a pretty mainstream band back in 2005, almost comically amateurish. This isn't to say it isn't cool, but it unashamedly lacks the vast majority of bells and whistles that would typically be involved in even a basic professional music video (and is all the better for it). A very simple and hearty edit of Kathy wandering around New York looking slightly new age, Ron being cool and californian (and trying to ignore that he wrote the original Power Rangers theme), and various all but guerilla-filmed people clicking along to the backbeat.

At this time, Fisher were cashing in on the revolution that was their success on (how many of you will betray your ages and say you remember that website?), and releasing what are still some of the best songs that I have ever heard without much in the way of editing or a production company telling them what to do (go look up I Will Love You, or alternatively wait for me to post it on my top twenty of all time list, or Sand, and apply it to Donald Trump). At one point, was literally their personal distributor - they had the five most downloaded songs on the website.

Fisher was my outright favourite band for a long time, and is still one of my faourites now, and whenever this song comes on, I find myself thinking that things may not be quite as bad as they could be, if only for the few minutes it plays. It is, quite literally, feel good music.
magicaddict: (B&W 2)
...was always going to be the title of the album released containing all of my character themes, on the day I was crowned the greatest live roleplayer in the history of the world. Possibly not an appropriate (or accurate) title, all things considered, but albums have been named a lot worse.

I have been trawling through Youtube trying to find a good live video of the my first of these, but the only really good quality one I can find is from the 3 Bats Tour, in which Meat was, shall we say, a little tired.

So, in lieu of that, I give you this:

This is the 1998 remix of Life Is A Lemon (And I Want My Money Back), originally released on Bat Out Of Hell II in 1993. Written by Jim Steinman, and scorched up by Meatloaf. Is is the theme song of my first ever LARP character - Daenaram Fearsbane.

Daenaram was many things (a bigot, an arsehole, a terrible scout and one single life point away from permdeathing on his campaign 36hr), but mainly, he was one angry bastard, and this song summed it up beautifully. There was nothing good, nothing acceptable in his life whatsoever - not even the love of his life managed to change his outlook. Everything is defective. Nothing isn't broken. Grr. Arg. Raeg.

Jim Steinman writes angry teen wangst like pretty much no-one else (Bat Out Of Hell was about motorcycle crashes, Paradise By The Dashboard Light was about sex in a car, Rebel Without A Clue was..well, eponymous...I could go on. Steinman has a back catalogue that reads like a teenage boy's secret diary), but this was right out of his top drawer, and the remix was actually better than the original. It's a little harder than the 1993 version, the levels have been changed to bring the lead and backing vocals higher up in the mix and clearer as a result, and there is a cut and drop from about 4:42 in the video that actually made me Hell Yeah out loud when I first heard it. It's very, very good.

The sheer amount of rage against...well, pretty much everything, in this song rang very true when I was thinking him up. I wanted to play a character who fought back, and didn't really care what he was fighting back against. It backfired horribly, he was none of the badass that I wanted him to be, he died long before most of the society met him, and given how much of a colossal penis he was, that's probably for the best. However, he was my first character, and as such, he has a special place in my memories.

Daenaram Fearsbane photo Daenaram5_zps45ed5171.jpg

And yes, that photo was taken over thirteen years ago...
magicaddict: (B&W 2)
...this one brings together a selection of excellent things: A fantastic soloist, and excellent group, and a very good song.

Below are Pentatonix and Lindsey Stirling collaborating to cover Radioactive (originally by Imagine Dragons). Note that this is not the last time that Pentatonix, Lindsey Stirling or Radioactive covers will be featured in my lists.

Lindsey Stirling is flat out awesome - a violinist that makes Vanessa Mae look more than a little bit pedestrian. Pentatonix are possibly even better - they are an acapella group where you are often genuinely pushed to notice that there aren't any other instruments (other than occasionally a cello). Radioactive is...pretty good, and imagined wonderfully in the video in a post-apocalyptic world, where someone clearly pressed the red button and it all went a little bit wrong.

Violin and cello seamlessly combine with voices, good video production and editing, and make a wonderful video that sounds amazing, looks fantastic and really showcases just how good these performers are. The five singers are individually excellent, and come together to harmonise beautifully. Lindsey moves like only a dancer can, adding extra dynamics to the performance before her violin even comes into play.

It's lots of really talented people working together. Listen, experience and enjoy.
magicaddict: (B&W 2)
...about three updates every two weeks. Will see if I can keep to that.

This is the Doo Wop Shop - a male acapella group out of the University of Massachusetts-Amherst. They do Disney...fabulously.

The singing is only pretty good (there's definitely more technically sound acapella groups out there), but the arrangement is magnificent (courtesy of the guy who does Strangers Like Me), and what truly sells me on this performance, more than anything technical, is the fact that they are patently having an absolute blast. It's rehearsed to the Nth degree, and like a Morecambe and Wise sketch, this means that actually getting it right isn't that much of a challenge, and they can sink their energy into playing up the performance. This isn't a group of guys deadpan singing technically perfect close harmony - it's a group of really talented performers mucking about on stage, playing to each other's strengths and making the audience crack up with their antics.

This song is undoubtedly DWS's signature track, and they have been polishing it for years (look on Youtube - you'll be able to watch its evolution if you're so inclined). It takes quite a lot to get me interested in 90s Disney, but every time I listen to this, I find myself smiling.

...and now you've watched it once, go back and watch it again, and this time take note of the guy who did Part Of Your World, but this time from the very beginning and throughout the performance.

Seriously...dude be an absolute genius.


Jan. 3rd, 2017 05:25 pm
magicaddict: (B&W 2) I mean to go on.

There are several musical series to which I have it in mind to subject you, and kicking us off is the first of instances of absolute musical genius: Either the result of thousands of hours of practice leading to a total understanding of how to play the instrument, or genuine prodigyism that blows the mind. Music in the company of an expert, be it nature or nurture.

Below is a video of Victor Wooten playing Amazing Grace on unaccompanied bass guitar. No other instruments or people - one artist, and one guitar, typically used for accompanying other instruments.

It's a bit of a slow burn, and the video quality isn't all it could be, but do, please, give it time. It, and he, is worth it.

My love of this particular performance comes from the casual nature by which a number of different 'voices' are extracted from the guitar, and the use of harmonics as simply another register to play in, accessed as easily as the instrument's main range. Victor plays all parts of the guitar, rather than just picking the strings, and that only comes from learning exactly how the mechanics of your instrument actually lead to sound. Despite being so technically complex, it is so utterly accomplished and polished - genuine genius.

Other series will include outstanding group work (including acapella that would make Glee cry), curiosities that are fun, ridiculous or challenging, my personal favourite songs, and excerpts from various characters' soundtracks. For now, however, enjoy a guy in an overly loud shirt making a bass guitar sing, and know that when I posted it, I did precisely that.
magicaddict: (B&W 2) be using this more in 2017, as writing down the way I feel seems to be fairly useful when it comes to venting. When I don't have anything specific to write about, I will be focusing on what I know, and sharing my appreciation of music with you - I don't know if you will like what I post, or what I say about it, but it's stuff that makes me happy when I hear it. There may also be photos I took that I like.

To kick things off, in 2016 (in no particular order), I:

Commenced therapy for work-related stress
Watched someone I know in a show.
Got watched in a show by people I know.
Got a solo curtain call.
Cut off communication with my parents a week before Christmas.
Started exercising semi-regularly in addition to LARP.
Played thirteen games (including a 36hr), monstered ten and GMed eight (including a 36hr).
Travelled away from home forty times with work, including twenty-seven international trips, totalling fifty-two nights spent sleeping in hotel rooms visiting a total of fourteen different countries (including England).
Told my work that this trend has to change, or I'm long gone in March.
Bought a house.
Have been censored.
Bought a car.
Photographed owls.
Obtained a forty-nine inch 4K TV simply by taking out a mobile phone contract.
Visited India as a tourist, spending eighteen days in some of the most magnificent hotels imaginable (that's actually not embellishing).
Realised I can sing higher notes sitting down than I can standing up, which is counter-intuitive in classical training.
Visited two escape rooms, completing one in thirty-seven minutes, and the other overrunning the hour mark by fifty seconds (though this was apparently the hardest escape room in London).
Got annoyed at people doing things that I then myself did, which annoyed me even more because it meant I had to cut them some slack.
Celebrated another anniversary with Emma.
Celebrated another anniversary with Amy.
Gave stuff away to a charity shop, which I thought I would never do.
Attended a butchery course.

...and now I'm running out of things. In truth, it was a pretty busy year, which is one of the reasons I didn't get to post much. When I did, it was venting that really should have gone to my therapist rather than my flist, but at the time I posted it, I hadn't started yet. 2017 will likely not involve major improvements, but I will at least be posting things I like here, rather than opening posting walls of rage (Disclaimer: I cannot rule out a wall, or walls, of rage at any point in the future).

That was 2016, on to 2017. Musical musing will commence with the next post.
magicaddict: (B&W 2)
A conversation today (and the hilarious idea of Smyrna serving customers in The Works) got me started thinking...and from thinking, came a meme.

What if we actually were still in 24hr mode once we got home?  How would your characters fare in your OOC job?

For those who don't know, I work for a company that sells equipment that measures how powder flows (before you think that's ridiculous, consider than over 80% of all manufactured products spend at least some of their time as powder during the manufacturing process - it's a fricking immense industry).  I install the equipment, train users on how to make sense of it, then support them by email and telephone when they don't understand the results (which is often, and quite reasonable, which is why our applications support is free).  I am, essentially, a demonstrator in a university practical class, just with people who have already graduated.  My employee evaluations say I'm quite good at it.

So how would my characters do in the same role?

Anyone who saw him trying to deliver a lecture on the difference between round and square wood (seriously, that happened) will know Gerrard wouldn't have a clue. He's relatively clever, but he simply lacks the intelligence to grasp what the instrument does and how it works. He gets sacked when yet another attempt to build camaraderie in the office ends in him being overheard cracking a dirty joke about the MD's wife.

A natural showman, Thyrian wows trainees with his charisma and engaging personality, and flawlessly answers any question they pose to him with his razor sharp intellect.  In addition to applications support, he also offers pole dancing lessons, massage, and his world famous 'private webinars', during which it is said that he delivers the longest and hardest training many users have ever experienced. His career is long and successful, and when he finally retires, several client companies with large numbers of female staff are forced to temporarily close their offices and declare a week of mourning.

Wonderfully confident and authoritative when he first meets his trainees, Arctus cannot understand how anything needs explaining more than once, and quickly becomes enraged at anyone who does not display a total grasp of what is going on at the first time of asking.  He gets sacked when he finally loses patience and, to their face, compares the head of research at a major multinational pharmaceutical company unfavourably with a child in swaddling clothes.

Bookish and diligent, Vilnius is quite good at the support, but regularly gets pulled up for being too verbose in his email responses, explaining things in far greater detail than the client needs.  Despite this, he is kept on because of his amazing ability to communicate in more than a dozen languages with the international client base, leading to exceptional customer feedback from clients simply glad to receive support in their own language for once.  His career is lengthy, but never really goes anywhere.

For those who don't know, before he was a Pathfinder, Starke was a bookworm.  He'd be brilliant at the job - his natural enthusiasm rubbing off on trainees, his dexterity making him excellent at demonstrating, and his politeness putting him in excellent stead when writing correspondence.  He would, however, soon become bored with doing the same thing, and run off to the circus to become and acrobat after no more than two to three years.

Hugely enigmatic, trainees would struggle to divine the important of Nimbus' pregnant pauses in his conversation.  Email support is also challenging, as his typing hovers at a steady fifty words per hour (though he can manage a hundred if it starts to rain).  He decides it is time for him to leave when, as a thunderstorm breaks and he suddenly starts to converse normally with the office, the shock of actually hearing his voice causes the aging but well-loved office administrator to have a heart attack.

...I couldn't possibly comment, but he does become MD after five years, with no-one quite sure how.

How about you?
magicaddict: (B&W 2)
Long and Unpleasant. You have been warned. )
magicaddict: (Brett)
...almost exactly three years, on and off, and about four months directly. I posted some IC stuff after this year's 24hr not long after it, but every time I subsequently hear about it OOC, and I hear the same arguments repeated in different voices by different people, it drives me down further. One decision that has pretty much ruined the character, based on years and years of prior negativity.

First world LARP problems and negative feelings under the cut. Comments disabled. Do not read if you are stressed. )
magicaddict: (B&W 2)
...who didn't particularly enjoy last week's game?

Disclaimer: The game was fine - good premise, good selection of monsters, simple and direct narrative. I'm not commenting on the game design or OOC management.

But I still didn't particularly enjoy myself.

Thyrian is a nothing character. On games, he's no more substantial than Juilin was. The only challenge he represents to me is remembering his spell vocals and not cheating (failing to remember my stats correctly). Given that I get this wrong on a number of occasions (as I did last week, spending one more mana than I needed to on every spell I cast), it leaves me feeling less of a person as a result of playing him. Possibly having Eirlys present would provide an outside stimulus that is otherwise lacking, but all of the interactions he had felt staid, forced, and pretty much unnecessary. Had I handed the stats sheet to someone else and gone home, little or nothing would have changed. I don't care that he's effective - anyone with those stats would be, so the statement means nothing.

The party's combination of castings was so world-bendingly powerful with respect to the game that I never felt remotely in danger (not since Nimbus before the rules changes have I felt so invulnerable). With the exception of getting paralysed repeatedly (perfectly reasonable - I was playing a mage - but then made me invulnerable to the rest of the encounter as it is Bad Form to hit paralysed characters), nothing had a great deal of effect. I took, at most, three points of damage in a single hit, and that was to my chest, so I barely had to react, and I never dropped below half life or half wounds on any location. No fear. No danger. No risk. Unstoppable force meets target rich environment - only one possible outcome. I have fun by getting trounced, coping with adversity, succeeding in a pinch. This wasn't. This was a methodical and relentless destruction of a game's encounters by a party that wouldn't take no for an answer. I couldn't engage with it. Even IC lamenting on the abhorrence of the situation was met with a cheery IC response of "This is fun!", widely echoed.

There was a very unpleasant incident approaching the final fight in which the party become so spread out due to varying OOC ability to keep up that one section had to be paused while the the other was able to continue. As one of those pushing to move forward quickly on this occasion was one who has in the past insisted that the game stops so they can catch their breath and remain part of the game, this was irritating to me. In a society that has a culture of inclusionism OOC, using IC reasoning to justify the OOC exclusion of those who did not have the required level of fitness to keep up with them (which really was the reason for the group being strung out), also irritated me. More than a little. Then it changed, and the force so unflinchingly determined to press on at all costs suddenly insisted on not going forward any further until those behind had been notified of what was going on. What changed?

This isn't out of the ordinary - this is a variant of what I come away from most games (particularly my own) thinking. What if? If only? Why did they do that? How was this acceptable? How was that gotten away with? What were they thinking? Are they mad?

I must be missing something. If I walk away from a game no less despondent than normal when everyone else is busy singing its praises, I get the feeling it's very much on me. This is why this is here, and not emailed to the committee, or posted on the boards.

*Looks at calendar.*

Oh good - my game this Sunday.
magicaddict: (B&W 2)
...depressingly shallow that it is, for the short time until Helyanwë makes Overcaptain and Katrin makes Captain, I play the notionally most senior PC Defender in TL.

Happy now.
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