The "I Didn't Comment in Another Thread" Thread

[eyeheartawk]

Challenging me to make fun of you is about the least worst thing that's happened to me today.

 

[el-remmen]

Lots of hand-wringing about "digital D&D" these days, but I'm not worried. I was never going to subscribe to digital D&D content anyway. Never. Zero interest. They could make every new release 100% web-based and lock everything behind a subscription paywall, and it wouldn't bother me. I'll still be over here playing 5E D&D, just like I was planning to do long before all of this hubbub started.

It's interesting to follow, but it's not wrecking my blood pressure.

Here's the thing, I'm in the same position as you - but it does not have to effect my gaming directly to be concerning regarding how capital influences the culture.

 

[CleverNickName]

Here's the thing, I'm in the same position as you - but it does not have to effect my gaming directly to be concerning regarding how capital influences the culture.

I think we agree on everything except the intensity: you say "concerning," and I say "interesting."

 

[RealAlHazred]

So in Cyberpunk 2077, there are the following types of pizza
Locust Pepperoni Pizza
Artichoke'n' Avocado Pizza
Tofu'd Tuna and Pineapple Pizza

I have literally been carrying slices of those "pizzas" in my pockets for weeks in-game, and they haven't degraded at all. I don't think those count as actual "pizza," probably some sort of incorruptible soy ephemera...

 

[Snarf Zagyg]

You liked that one huh? I felt like the entire final season was really weak.

Different finales work in different ways. A fair number of the ones I posted are considered by many to be divisive (Sopranos, The Prisoner, Blake's 7), and most are considered to be, at best, ambiguous.

I loved The Americans because it was true to the show in two ways- the show was never about spying, it was about family. And the show consistently refused to give viewers what they wanted, and instead provided the viewers what was needed instead.

And that was the series finale. It was the perfect capstone to a show that was loved (and watched) by far too few. .... eh, I guess The Leftovers read that and said, "Hold my beer."

Anyway ...

Spoiler: discussion of finale, spoilers

The show didn't end with a big explosion. Or a giant column of light. Or all the mysteries solved neatly. Or some horrific acts of violence. Or a triumph over a big bad. And it didn't provide the viewer with some pat ending or feeling of catharsis.

It wasn't the Sopranos. The bad guys didn't "pay" for their many crimes. They got away. The scene with Stan ... that final deception? That final need for Stan wanting to be deceived? It was an exercise in perfection, but also perfectly executed to hollow out the viewer. The knowledge of what was happening just made the events more painful.

The meta-knowledge of the viewer that while all this was happening, the Soviet Union was about to crumble just adds to the unease. It's just ... it's how a show should end. What was the show about? It was about a couple. They raised kids. They worked, a lot. They overcame serious obstacles. And at the end, they were done, and the kids were gone, and they only had each other.

Almost like it's a metaphor. Or perhaps it is a simile. Dang it!

 

[payn]

Different finales work in different ways. A fair number of the ones I posted are considered by many to be divisive (Sopranos, The Prisoner, Blake's 7), and most are considered to be, at best, ambiguous.

I loved The Americans because it was true to the show in two ways- the show was never about spying, it was about family. And the show consistently refused to give viewers what they wanted, and instead provided the viewers what was needed instead.

And that was the series finale. It was the perfect capstone to a show that was loved (and watched) by far too few. .... eh, I guess The Leftovers read that and said, "Hold my beer."

Anyway ...

Spoiler: discussion of finale, spoilers

The show didn't end with a big explosion. Or a giant column of light. Or all the mysteries solved neatly. Or some horrific acts of violence. Or a triumph over a big bad. And it didn't provide the viewer with some pat ending or feeling of catharsis.

It wasn't the Sopranos. The bad guys didn't "pay" for their many crimes. They got away. The scene with Stan ... that final deception? That final need for Stan wanting to be deceived? It was an exercise in perfection, but also perfectly executed to hollow out the viewer. The knowledge of what was happening just made the events more painful.

The meta-knowledge of the viewer that while all this was happening, the Soviet Union was about to crumble just adds to the unease. It's just ... it's how a show should end. What was the show about? It was about a couple. They raised kids. They worked, a lot. They overcame serious obstacles. And at the end, they were done, and the kids were gone, and they only had each other.

Almost like it's a metaphor. Or perhaps it is a simile. Dang it!

I hear you. For me, the final season wasnt about what actually happened, it was more of a loss of feeling. It just sort of felt like going through the motions to wrap up. For some reason, I found it hard to immerse into the story. I did love the John Le Carre feel of the series in its entirety.

 

[el-remmen]

I think the final season of Killing Eve felt like a rote wrapping up - which was disappointing since the first season was so good - but sometimes all you really need is a first season, but they keep going anyway.

 

[payn]

I think the final season of Killing Eve felt like a rote wrapping up - which was disappointing since the first season was so good - but sometimes all you really need is a first season, but they keep going anyway.

I think Lost was supposed to be 2-3 seasons, but was so popular the network wouldn't let it end. Lindelof seems to excel in these shorter run series. I certainly dont mind them and dont think everything needs as many seasons as possible.

 

[Gradine]

Midnight Club is on my list of things to watch soon. But I'm surprised to hear that people are comparing it Hill House and Midnight Mass. Fear Street is the direct comparison, no? 90s YA horror novels turned into Netflix limited series? I read both as a kid. I used to argue with friends about why Christopher Pike was better than RL Stine.

It is very distinctly a Mike Flanagan joint. Feels closer in tone to the Haunting series than Midnight Mass. Conversations about death, monologues, monologues about death, etc. Ghosts (and ghost stories) as metaphor, (maybe?) (definitely) haunted house, an addiction subplot. All the hallmarks, really. The main difference is in the stories being told by the kids, which are ostensibly "ghost stories" but run the gamut of genres.

BTW "Road to Nowhere" is the best story, Cheri is the best kid, no I will not be taking questions.

 

[Gradine]

Indie ttrpg twitter will bag on 5e players all day and then be like "what, me, gatekeeping? no..."

If I had a nickel for every tweet that was the equivalent of "they know there are other games, right?" I would be able to purchase Twitter.