#marsha rambles

[sinditia]

why must my bitch of a muse hit me with the inspiration stick when I'm fucking busy or fucking tired and its literally impossible for me to sit down and press the alphabet buttons??

#marsha rambles

[fountain-of-oceanus]

“dad, why is my sister named Marsha?”

“because your mother’s favorite song is Marsha, Thankk You for the Dialectics, but I Need You to Leave.”

“oh, thanks dad!”

“no problem, son with five names.”

#dom’s rambling #will wood #will wood and the tapeworms #wwattw #wee woo #the song with five names #marsha thankk you for the dialectics #this was funnier in my head

[mogai-sunflowers]

honestly shout out to “visibly queer” people. shout out to us because it’s really fucking scary. i think people think that if you’re visibly queer you’re automatically confident and unafraid and while I’m sure that’s true for some people, in my experience that’s not the case. I make a choice to be visibly queer because of the amount of times people have told me that it makes them feel safer to be themselves. That doesn’t mean I’m suddenly completely unaware of what could easily happen to me every time I leave my house. It’s more than nerve-wracking. I’ve even seen people say that the visible queers are privileged because clearly we’ve never faced discrimination otherwise we wouldn’t have the freedom to be so open but that’s really dismissive of the work so many of us have had to put in to be confident enough to be that way. i see the eyes on me as I walk down the street and they burn into my skin. It is scary. I see a lot of support for people who have to hide their queerness, which is not a moral failing in any way, but bravery isn’t just one thing. Visibly queer people are not silly stereotypes. Twinks who fit every gay guy stereotype proudly are not your enemy they are your fiercest allies, so are the genderfucky trans people who don’t make an effort to pass as cis and the butches and studs who are fucking proud. We’re brave and just because we appear so confident and impenetrable on the outside doesn’t mean we don’t have the same struggles or support needs. So just shout out to us. I’ve had a few… experiences… lately and it’s made me reevaluate my decision to always be so open, but I’m willing to risk my safety to make a change and make others feel safe and I and others are brave for that and deserve your love.

#🌌when the stars align ; reigns rambles🌌 #queer #queer community #queer rights #queer issues #lgbtq community #i am so thankful for all the queer people who’ve come before me and have made it possible #for me to be like this now #im actually writing a song rn about Marsha and Sylvia and how they and others have changed me #might share it here at some point when I’m done #in my queer feels rn #and my anxiety is through the roof #im kinda dying lmao #kinda shivering like #i hate this it’s scary

[theo1031]

Yk back in the day we didn't need no feel good pills and no psychiatrist

Just saying

#ha ha ha #will wood #marsha thankk you for the dialectics #my ramblings #my rants #shitpost

[thermodynamic-angel]

My favorite will wood song changes every second but. AEUGH.

#MARSHA... #SOBBING. #꒰ঌ♡ 𝟽𝟽𝟽.ramble

[danidoesathing]

would it help if i asked you to infodump on hyperfixation

YES THANK YOU

Ok so like. I'll be the first to say I way prefer the music video's version of the World Ender story over the comics. I really like the fire motif Cobb has and personally I think the pacing of the MV's story is better (in the comics he killed Winthrop first and then forms the World Enders gang to help track down the rest vs in the MV him going after the employees first and forming the world enders as he goes along and killing Winthrop at the end).

But. but. ok so his origin in the comic is the same except instead of a house fire, it's a sinkhole below their house. We know the whole Yawning Grave thing and it does later come back in the comic. Additionally, he had actually worked in construction for Winthrop and had actually bought the land from him (while the MV implies Winthrop had started the house fire to acquire the land). The reason Avery goes after revenge this time is because Winthrop had sold the land knowing there was a very big structural issues underneath it but never said anything. Which, while still very evil, is much less actively malicious than him actively setting Cobb's house on fire with him and his family inside. The comics also plays with the flaws in Cobb's idea of justice and if these people are deserving of his vengeance. Specifically, there's a comic page that has this as a sort of narration:

"I suspect there are some who say that Andrew Winthrop is undeserving of such a designation as 'evil'.

Does money lust make you evil? How about ambition?

What if you'll do anything to get it?

Cobb didn't ask for the land documents when Winthrop gave him the plot for his home.

If he had, he would've known about that sleeping sinkhole.

Does ignorance make you deserving?"

ALL OF WHICH. IS OVERLAYED ON THE SCENE OF HIS HOUSE COLLAPSING INTO THE SINKHOLE. WITH HIS FAMILY INSIDE. AND HIM RUNNING INSIDE TO PULL THEM OUT.

WHICH. FUCKED UP AND EVIL ACTUALLY???

and I'm so so interested in what is going on with him now. the World Ender storyline(s) take place in the 50s, and the latest point we see him is in a brief cameo in Vide Noir (which takes place in 1967). During this time, we know that he passes the leadership of the gang onto Alex. We have no clue 1. why he passed the leadership onto to Alex or at all and 2. what he has been doing in the mean time (is he still with the Enders?? is he still going off killing to try and satisfy his rage??? has he stopped??? has he chilled out or is he still violently angry??? did he ever find a way to undo his immortality???). And then his appearance in Vide Noir just. leaves me with SO many questions. What is he doing in the club at all? Why was he down there? Was he there at all, or was he a hallucination/vision/ghost? why did running into him trigger another time space jump? is it because he's inhuman? what does that mean in terms of his connection to Vide Noir? if he was a ghost/vision/hallucination, what the HELL does that mean in terms of how he's related to Buck?? if he wasn't actually there, why does Buck see him at all when he's got no clue who/what the World Ender even is?? did Cobb know there was something up with him and his fucked up stasis with the universe?? or his encounter with johnnie?? does he know anything about the events of Vide Noir?? what was he doing??? what does it mean what does it MEAN

and then like. what the HELL is the World Ender curse?? is it the specific brand of immortality he has??? Cobb is the only immortal character that we know of, but he's not the only undead character and Secret of Life implies there's more out there (though that could be metaphorical, but its hard to tell when Lost and Time in Space turned out to be literal). The curse is referenced a few times in random places but I've still got no idea what it means. and what the HELL does any of it have to due with the concept of the Yawning Grave. Yawning Grave (the song) is one of the few Strange Trails songs that both has no listed narrator but also with no clear connection to any of the established characters (both then and now). As far as we know, the narrator of Yawning Grave is a deity/force of nature of some kind, but not much more than that. But the comics imply that Cobb probably has got some connection to it. which. how??? in what way??? Is he the actual narrator??? is it just a random lyrical reference or does it have actual effects on the lore?? im so curious about him and even if he's gotten so much content theres still so much about the guy we dont know.

#ok this very much helped thank you #'is it just a random lyrical reference or does it have actual effects on the lore?' is the summary of my experience with LH lore #what is it with the LH protags being the most explored and still the most mysterious bitches out there #Cobb 🤝 Buck 🤝 Tubbs 🤝 Marsha: have entire comics/movies/episodes about them but that somehow makes them more of an enigma #to be fair. POTU was meant to be an enigma so I understand Marsha. but the rest have no excuse #huron doesn't count because he's a pretty self explanatory character and all the mystery is with his environment/story and not him. #now. blaquefort is a different story- #ask #asks #dani speaks #anyway I hope you know while this is an unhinged ramble that I spared you from the one about Dead Man's hand #because the very existence of that scene in the movie just. is so fucking funny but it takes so long to explain why

[lunityviruz]

Uhhh the funniest fucking gag on tiktok is when Cooper Neidecker uploads a video talking about ANYTHING and a nigga stitches it with a Marsha P. Johnson joke

#rants n rambles #for context #back in 2021 ish (i think everything was a blur back then) he was under fire for something he did #it had something to do with trans women plus misogyny and maybe anti blackness and he recorded an apology video in his car #and one of the things he said was how he isn't against trans people infact Marsha P. Johnson was his biggest fashion influence hence the #pearls. #and ever since then niggaz have been joking him for days YEARS actually

[itsahauntedhouse]

made a thing

#marsha p johnson #lgbtq #queer #trans #leftist #haunt rambles

[ratherbeinsunnydale]

i miss marisha so much rn

#marsha roy come back #i miss laudna but also i just miss her 😢 #critical role #cr spoilers #c3e34 #rather rambles

[masquenoire]

*reads family photo headcanon post*

"If it makes you feel better, Darling. I stole all of mine from my parents when I came to America. They locked away in a safe and will never see the ligh of day. I do not want to think of those... bady days either."

@dimxndsareforever

“You know what it’s like, don’t you Marsha? Looking back on old memories...” Roman said softly, staring down at the photo in his hand. It was the last picture somebody had taken of his parents just a few days before they’d died, smiling together over some fancy meal at a glamorous restaurant downtown. Such an image would have looked perfectly normal, even lovely to those who didn’t know better that he hadn’t been present at the occasion, much less welcome for that matter what with having been cast out in disgrace after they’d found out about his forbidden relationship with Circe. He scowled upon remembering those days, fingers tightening around the glossy picture and causing it to crease ever so slightly. Even though it had been years since he’d defiled their image, he could still see far too much of himself reflected in their faces to the point even scribbling their eyes out couldn’t discourage the feeling. It would only be too easy to burn the photo too, to remove this visual proof of their existence and never have to look upon them again... but he could never bring himself to do it, not just yet. Not that doing so would actually change anything. Briefly he wondered about the photos Marsha had mentioned, how many she had and whether she kept them locked up tight so that nobody, not even herself, could look upon them until the day she changed her mind. Had she ever been tempted to open that safe up and take them out for a look? Did they hold any other kind of memories for her except pain and despair? Roman sighed, pocketing the photo for now. He too would have to find somewhere to lock it and others like it away just as Marsha had done with hers. ”Some things are better left in the past where they belong, amore mio. What’s important is the here and now, not back then though sometimes it pays not to forget what we were. Remember you were strong enough to overcome those days and take pride in the knowledge that where you currently stand is exactly where you belong.” That place being Gotham, standing high above it all with a peerless view of the great city sprawled out before them as though it were their own kingdom. His words were accentuated with a soft touch, the roughness of his ungloved palm caressing the warmth of her cheek as though reassuring her those old days were long gone. As for himself, he certainly didn’t feel any better - if he felt anything at all anymore, but the knowledge that somebody did understand what it was like did help even if just a little bit.

#dimxndsareforever #;; asks #I'm sorry to have rambled ;3; #Kind of got carried away here before and after work #He's not a fan of looking at old photos but sometimes it helps to remember #And that Marsha also had a difficult upbringing #Hope this was okay asdfghj

[sinditia]

i don't understand.

i was just asking permission. i phrased my sentences as simply and politely and friendly as i can. i even said very explicitly "its totally okay if you say no." i would've understood. hell, if they said no and added "never talk to me again" I'd completely respect it. and i just asked the one time. i really don't think i presented myself as a pushy harassing asshole at any part of the correspondence. i can accept a "no" with grace. was blocking me really necessary? I'm very sad.

#marsha rambles

[ahorsebyanyothername]

I'm really worried about Marsha. She's not eating as well since her mystery injury.

#marsha horse #beau is rambling

[aro-with-bad-aim]

I love how almost everything is connected in will woods music so I’m gonna ramble about it (hopefully coherently) to spare people who know me in real life.

Firstly (I’ve already mentioned this on another post about this band), going all the way back to a verbal equinox, the character of dr sunshine shows up again in self- ish in dr sunshine is dead. Also the line “I’m far too weird to live, but I ain’t too weird to die” is reworked to “too weird to love, too scared to die” in outliars and hyppocrites.

Going to EIAL, the phrase “draw a line in the sand” from chemical overreaction is also seen in Marsha thankk you for the dialectics. And omg destroy to enjoy is pretty much just a reference to self- ish. The line “glory be satori but it’s all hallucinatory…” is in 2012, also with a reference to “mahaprajnaparimita” which also is mentioned in 2012.

Self- ish is pretty much all connected, with the first and last songs, self and ish, basically being one song split into two. Dr sunshine is dead, cotards solution and mr capgras are all connected musically, and also interestingly capgras and cotards are both mental illnesses, specially delusions, which makes their connection to dr sunshine make more sense (that might be a bit of a stretch though). The song with five names and hand me my shovel I’m going in are perfect parallels, and the repeated lyrics less tune of “gotta get to the bottom of this” playing in the second verse of the song with five names can also kinda be heard in wealth and hellness by human zoo in the bit will wood sings in. There’s also the reference to hand me my shovel I’m going in during half decade hangover. The song had come out in 2016, which was just over half a decade before icimi came out. 2012 is interestingly the only one without much of a connection. Not sure why yet, might just be for the sake of it.

The normal album. I love the normal album. Suburbia overture references the other songs so much and I love it. (There’s only one other album that I know does this: enter a beginners guide to faking your death by jhraiah- go listen to it). The first reference to another song is the line “myers briggs, okultra” which is a reference to Blackboxwarrior okultra. It’s also kinda interesting that it’s referenced alongside a “psychology” term as the song is full of psychology references. The second reference is “everybody knows that, nobody knows that, everybody’s all up in my- everybody’s all up in my- everybody’s all up in my business” which is a reference to …well better than the alternative. During the spoke part of vampire culture, the backing music is from Blackboxwarrior. The line “you pull out your roscharch like a paint by numbers treasure map” could be a reference to outliars and hyppocrates, in the line “prints of your fingers in the roscharch jigsaw say you saw a treasure map”. Finally and obviously, love me normally is referenced in the title of the song, and the end of the song is the beginning to love me normally. I don’t know if this is a stretch/ coincidence, but a part of good morning campers from chnt (or welcome to camp here and there, l can’t remember) kind of sounds like the part of outliars and hyppocrates: “who’s wanna be human anyways, i mean what do people do”.

I can’t find any connections that I haven’t already mentioned in icimi because I haven’t been listening to it as much (most songs make me cry), but its still a good album :D

#Will wood #will wood and the tapeworms #a verbal equinox #eial #everything is a lot #self ish #the normal album #icimi

[lily-avenue]

Musings on Gold Digger (2019)

** Warning contains major spoilers **

** Also warning: massively long-winded ramble **

Julia Ormond, Ben Barnes and an exploration of a may-december romance in the midst of complicated famillial dynamics and an underlying unease.

Both leads are very good. We see Julia Day (Julia Ormond) reclaim herself as she moves out of the roles to which she has been assigned, or perhaps more accurately, has assigned herself; while Benjamin Greene (Ben Barnes) treads the fine line of someone who is not entirely what he seems to be, and who in pursuing the path he has chosen, is moving both closer to, and further away, from what he needs. We all, or many of us at least, want to be known and loved for who we actually are.

The supporting cast are uniformly excellent, with each episode putting the spotlight on one of Julia's now-adult kids (Patrick, Della and Leo), her ex-husband (Ted), her ex-best-friend (Marsha), and her new lover.

The series poses a range of complex, thorny questions, such as what it means to take a much younger (or much older) lover; the immediate and long-term aftermath of domestic violence; the loss of confidence and trust following betrayal; the ripple effect of those pivotal moments that each of us have in our lives; and the small (and large) lies that we tell ourselves and each other.

Nearly everyone in Julia's life is openly and vocally "concerned" when she introduces the much younger Benjamin into her life, and the series also explores the cost of pursuing your own happiness in the face of others' disapproval.

For the most part, the two sons (Patrick and Leo) are Not Very Nice. While they are not necessarily unjustified in their concerns about Benjamin, and are each grappling with the fallout of their parents' shared history, how they act upon those concerns is rather unpleasant. (And slighly nonsensical. Patrick is a well-heeled lawyer, surely he would have hired a private investigater to do some digging?) Della, her daughter, is the most open of the three to their mother's new relationship. And while for the most part that isn't saying much, Della's growing acceptance and support of Julia's right to be her own person and the strength she demonstrates in doing so, make for a lovely subplot - particularly as it starts to positively impact her own life.

While the series asks a lot of questions, it doesn't necessarily answer them in a way that fully satisfies. We see Benjamin and Julia's attraction in numerous sex scenes, and it is fabulous to move from the early scenes, in which she turns off the light, to later scenes in which she has pushed aside some of her insecurities. But we don't see enough of their intellectual attraction, of the non-physical side of things, and of how they navigate the fact that in terms of cultural milieu, he has far more in common with her children than with her (sort of, that too is complicated). There are some lovely glimpses - the book of walks he gives her as a gift, for example, rather than ubiquitous and offensively-generic flowers. But their growing closeness is mostly given in montages of them walking around holding hands in various locales - we are rarely privvy to the intimate discussions that would show a deepening relationship.

Much goes unquestioned by Julia, which given her intelligence and life experience seems somewhat implausible, although perhaps newly discovered and unexpected love can make fools of us all? Her lack of curiosity about Benjamin's past, which clearly continues to affect him, or his financial situation (mid 30s, professional job, but about to be hounded by bailiffs?) is hand-waved away at one point. This is one of those instances where I cannot tell if it suboptimal writing (maintaining suspense at the cost of characterisation) or very clever writing (Julia tends to avoid conflict; her reluctance to ask questions to which she doesn't necessarily want to know the answer has precedence). Herein lies the dilemma of suspense-based drama: in keeping Benjamin an relatively unknown quality we lose the opportunity to get to know him and Julia as a couple, and that becomes problematic later on.

We experience Julia's growth as she takes responsibility for her own destiny, eventually starting to question what it is that Benjamin isn't telling her, and taking the necessary steps to find out more. And when she finds out more, and it is rather confronting, she still chooses to listen before coming to her own conclusions. But we don't see the same for Benjamin. His journey is more opaque, and because we only get very few snippits of his life before Julia, is largely for the viewer to infer, or only becomes evident after the fact. He wants to run away when things start to close in on him, but he doesn't. Ultimately his hand is forced and he breaks a long-held agreement with his brother to put his own needs first. (There is a small subplot about an engagement that didn't happen; a former girlfriend broke up with him the day he proposed, and one wonders if it was because he also told her the truth about his past.)

There are interesting contrasts between Benjamin and Ted. Both are outwardly well put together, but neither are what they seem. Ted is successful, wealthy and enmeshed in entitled middleclass-ness, while Benjamin is not, despite his facade of the urbane younger man.

But the outward trappings hide the fact that Ted is controlling and violent, while Benjamin - despite what the criminal justice system would say - is neither. And that contrast is backed up by the scene with Ted in the forest on the morning of the wedding, compared with that with Benjamin on the beach (in which Julia asks him to not touch her, and he listens and respects her wishes instantly). Even throughout the argument with his newly re-emerged brother Kieran, which escalates into low-level violence, Benjamin only ever reacts, never instigates.

And it would be entirely remiss of me not to mention Marsha, who has made her own bed, unfortunately with Ted in it. We meet Marsha just as she is beginning to realise the extent of the poor bargain she's made, and it really only gets worse.

I am still not sure whether the series simply had very high expectations of the viewer, or whether the script spread itself too thin and undercut itself. The distrust and deception that flows throughout the series was almost catching, and in the face of it I wanted stronger closure, a deeper resolution of the issues that came to light late in the piece. In the absence of that, Kieran's words after the fight with Benjamin resonate just a little too strongly for me. Are they actually in love with one another, or are they in love with what the other represents to them?

Is Benjamin a gold digger? Not, I think, in the traditional sense of the term. He sees in Julia an embodiment of the life he wants to have, but had always been excluded from. My take is that the attraction and burgeoning love is real, but that it is also inseparable from her aura of wealth, education and intellect, which are an integral part of who she is and how she moves through the world.

He was certainly not honest with her, and that also poses an interesting question about how much of our ourselves, and our actions, we can mask, ignore or conceal before sliding into deception or disaster. Alongside Benjamin editing his past to hide a terrible act (in which he played a supporting role but shouldered much of the consequences), we have a younger Julia peddling the fiction that all was well with her (first) marriage, Ted hiding his violent streak, Patrick having an affair, Leo knowing about Ted and Marsha but not telling his mother. The list goes on.

The lingering disquiet of how much of Benjamin is a performance, and how much is real, never quite leaves. We do see sharper edges to him at times, which are in keeping with what is revealed about his past (you couldn't come out of young offenders unscathed, and you certainly wouldn't get through it without developing some pretty decent survival mechanisms), although Julia herself is not privvy to them. It is in the rawness and desperation of a couple of his reactions that a measure of confirmation is provided that his feelings towards Julia are genuine. There is a two-fold element of unreliable narration with Benjamin, yet it feels not entirely unreasonable to conclude that Benjamin the construct is underpinned by a longstanding and deep-seated need, and has largely become Benjamin the actual. But how recent was this process, and was it a legitimate one? We don't ever really find out, and that matters when it comes to our central conundrum.

But as may have become evident throughout this long-winded ramble, one of my own personal failings is that I like my fictional endings to be happy, and unambiguously so. I want Julia to enjoy her 'after', just as much as I want Benjamin to revel in the safety and belonging she provides. So holding onto a suitable measure of optimism (or perhaps of wishful thinking - our characters may not be alone in their penchant for self-deception), let us now return to their wedding reception and one of my favourite scenes. Watching a truly beguiling Julia invite Benjamin to dance, and an utterly charming Benjamin follow her onto the dance floor, made me smile. A lot. And with that in mind I am going to find myself a glass of champagne, ensure my best smile is firmly in place, and head out onto the dance floor to wish the two of them my very best.

#gold digger #gold digger 2019 #julia ormond #ben barnes #will I still agree with most of this on a rewatch? Who knows. #gold digger series #julia day #benjamin greene #long-winded ramble because there can be no other type

[library-child]

Hello may I aggressively ramble at you about how Marsha, Thankk You for the Dialects, but I need you to Leave Now by Will Wood really really fits Max-Ernest

Yes, I certainly get the vibes. And talking about aggressively rambling: I hate Max-Ernest's parents with a burning passion. They have been burdening him with keeping the peace in the family since he was born, making him constantly walk on eggshells, terrified to ever make a false move. And now they're surprised he has issues? But instead of taking ownership, they are desperate to find some external problem that can be magically cured.

#pseudonymous bosch #the secret series #the secret series max ernest

[utilitycaster]

Episode Thoughts

Just putting a bunch here, in some kind of mildly intoxicated ramble. Turning anon back on after, but if you're weird about it I'm turning it back off.

I already talked a lot about combat earlier, so I'll leave it at my issues with the structure of the combat still stand, but the choice to have Otohan leave was the correct one, and I think were I not dealing with a lot of questions about the plotting of this campaign I would have been far more generous with misjudging the strength of an NPC and doing a weird panic pivot, which is what I suspect happened.

The resurrection was pretty fraught but understandably so. I will say FCG has been a surprising highlight. The murderbot reveal in and of itself didn't do much for me...but the interaction with Dancer (only a few hours pre-combat, in game!) and FCG this episode were both absolutely stellar. I hope the quiet, nascent interest in Avandra continues because I find that fascinating and exciting, and I'm always down to hear more about Aeor. Fearne's resurrection (which was, honestly, the one I cared about) was touching, and props to Sam: when he's on, he's ON. My issues with the subclass are going to remain, but we're moving in a really promising direction; recently, FCG and Ashton's relationship has finally started to click for me, and we've seen some great stuff with both FCG and Chetney and FCG and Imogen throughout the campaign that's starting to pay off.

I do think that Laudna's death should stand. I think, to be honest, that while I enjoyed the potential of Imogen and Laudna...it was yet unrealized. The past few episodes have felt, and I know this is cynical of me, like the John and Marsha sketch - emotional yelling of names with no context. It was unsurprising but also baffling that Imogen had such little knowledge of who Delilah was, given that the two of them had traveled together for two years. I understand her grief...but I think that it would be good to keep that grief in the story. It also seemed to gently guide Imogen's discussion of her powers into a more honest place. And, as I've said a few times today about Orym so I won't repeat it in detail...I think cutting the ties to Campaign 1 will only improve things because I feel it's painting the campaign into a tough corner.

Chetney and Ashton were also highlights this episode. I have to admit, after last episode, I did not necessarily see a way forward for the party as a whole, even if they survived, and I felt that these two have been shouldering the brunt of...well, frankly, everything. Their backstory teases were a lot of fun. I should also note that Travis and Taliesin are consistently two of my favorite actors at the table (even when I haven't vibed as much with their characters, I've always felt they had a sense of purpose and deliberate choice about them such that my feelings were just me not vibing rather than poor build or concep) and I think that's served them in this campaign. Ashton's anger, frustration, and leadership with regards to Treshi and Chetney taking the lead on dealing with the boxes were both a lot of fun.

I do remain frustrated with the plot...but it's not that it's a vast conspiracy, which I love, or even has a whiff of a Chosen One plot, which I enjoy in fiction though usually not D&D. It's that these both require a slower burn, not a quicker one, than a more "typical" D&D game. They require more connection to the setting from the characters (I am not saying everyone has to be from Marquet...but they do need decent ties to it, and I could make a whole other post, and basically have, about this being one of my issues). And they require a villain who isn't just Powerful And [footage not found]...like, Ludinus or Vess did a lot with their minimal appearances that Otohan just isn't hitting.

I think that's kind of the issue I have with the campaign overall - a lot of the concepts are so close to good (Orym and Laudna would be fine, honestly, with some smart tweaks; the plot would be fine with a little bit of editing; I really, really think that like...a single 2-4 hour group session zero could have addressed almost every criticism I have.I'm sure there's more to say, so I guess feel free to ask, but this is already pretty long.

Finally: this came up last week and I wanted to address it. I am still enjoying myself. I love complaining, first off, and I truly do like the characters, most of the NPCs, and the setting. At the end of the day these are all still great actors playing D&D. I don't like the campaign as much as previous campaigns, and I'm going to talk about it, but...look. I made my point about toxic positivity and the reluctance to handle even measured and minor criticism in the fandom, and I don't think it's worth making it again, but also at the end of the day this is my blog, I'll say what I want, and you are encouraged to engage or not engage depending on how you feel about the things I say. I'm not going to pretend I understand why people are weird about criticism, because I never will, but I will defend your right to choose who you follow or don't follow on social media. I only ask that you be open to the idea that some people (me) can find profound flaws in a work and still also find a lot to enjoy.

#long post #critical role spoilers #cr tag