Thank you so much for 1.5k!! I’ve had this blog for practically four years, and I’ve been in a few different fandoms yet I have never met so many lovely people and friends like I have in the phandom. Thank you so much for following this lil dork, you guys all deserve the world (’:
Et dès que je l’aperçois Alors je sens en moi Mon coeur qui bat
A happy belated birthday to Quartetship (by two days orz) Man I really suck at on time birthday presents (BUT THAT MAKES ME AMAZING AT LATE BIRTHDAY PRESENTS HAHAHAHAaaaaaa orz) When I finished A Different Song this song was the only thing that played in my head as I envisioned some ending credits haha!! Well I hope you had a wonderful birthday Q! I’m sorry I couldn’t post this on time haha ;v; orz
I’ve been talking about the ludic quality of the sound serial in classes a lot recently and keep thinking about how the split between linear story and self-aware storytelling travels over from mid 30s and 40s B cinema to modern day tabletop games, and especially shows like Critical Role, where the narrative resolution between weekly cliffhangers is at odds with the methodological resolution––that is, how we the audience deal with the dual awareness of how the story’ll get resolved and how the players will take action to do that.
It’s the sort of thing that becomes especially prevalent during high-tension cliffhanger endings, like the Umbrasyl fight in episode 54 when the dragon flew off with Vax and Scanlan still inside it, or the beginning of episode 52 when everyone knew Vox Machina was about to be thrown to the figurative dogs in the kill box, or episode 57 with Hotis. On the one hand, we eagerly await the narrative resolution––VM getting out of the weekly dire straights (and diving in to another disaster, knowing them)––while also actively participating in the meta, technical one, whether by tweeting cast members to remind them of spells or bouncing theories off each other. Even fic fills that gap, providing possible solutions and the technical expertise behind them, even if it’s masked by narrative.
And it exists in home games, too. There’s a general conflict between the meta aspect of tabletop conflict resolution and the narrative aspect that’s been in popular media for the past eighty years or so; it’s fascinating to see the same patterns of behavior pop up around these vastly different (but also surprisingly similar) forms of narrative and storytelling.
DIVISION WARS (A SHIELD Academy AU) | Team Brains Edition You know how summer camps have color wars? Turn that up to 11, and you’ve got “Division Wars,” the annual inter-school competition at SHIELD Academy. It’s not surprise that Spec-Ops usually dominates the games, but for the past two years the specialist-in-training team of Antoine Triplett, Bobbi Morse, Grant Ward, and Kara Palamas have destroyed anyone and everyone in their path.
UNTIL NOW. Maybe. Cue the underdog team of Jemma Simmons, Leo Fitz, Skye, and Alphonso Mackenzie. This combo Sci-Ops/Communications team is sick and tired of the most beautiful and physically intimidating people on campus taking gold, and they’re going to do something about it or die trying.
Well, maybe not actually die. But there’s a lot of strenuous running involved, so who knows? It gets intense. Now if they could just get their act together and combine their brainpower for good, they might have an actual shot at this thing. They should also STOP SLEEPING WITH THE ENEMY. Guys? Guys!!