just shoving some of my good playlists into spotify tonight i guess
hey y’all what are you listening to a lot right now, tell me about it
so degen and I are now watching Rapunzel’s Tangled Adventure which especially at the beginning does have a lot of goofy kids’ cartoon moments, but also: gets real fuckin’ alarming with pointy spooky black rocks and uhhh apparently rapunzel gets destructo powers at some point or something, and also a surprising character ends up having a real freakout and becoming an antagonist, which I’m always here for
but also, bonuses: snarky lesbian* best friend, and also there’s a hot older sword lady with white hair in the second season
on the other hand, no one can come up with a decent nickname for rapunzel and they all cause me physical pain
*unconfirmed obviously because fucking disney but she spends a whole episode pretending to date a guy so she can arrest him and hates Eugene because she doesn’t think he’s good enough for Rapunzel. Rapunzel’s bi now.
me: haha I don’t really have nonverbal episodes
also me: the idea of talking sounds overwhelming and excruciating so what if I just type at everyone for the next 12 hours
— from American Originality; this is the first paragraph.
I was talking to a friend about this last weekend and it’s still a little on my mind, so I wanted to get it down—basically, we were talking about how in LARPing and gaming there’s always someone who wants to try and cheese the mechanical system in a way that’s not appropriate, and I also posited that there are ways to have powergamers in rules-light systems, too.
(Admittedly, the presence of twinked out characters in both kinds of games is something of a failure on the part of the STs/GMs/whatever they’re called; being able to say “no” to a character build should always be the prerogative of the running team.)
Unbalanced characters in rules-light systems only become a problem if the gamerunning team isn’t paying attention to how narrative leverage is distributed; it’s true that you can have characters of all backgrounds if and only if the gamerunning team considers the balance of “how much influence can a given character have on the narrative.” Where you get into trouble is when adjudicating whether a character can or cannot do a thing comes down to “whether they could reasonably do [X] easily based on their background.”
I’ve seen a lot of characters in my time in systems that were relatively rules-light who were allowed to get away with quite a bit just based on their character pitch. (I am not entirely innocent of this.) When a character can say, “well, my character is over a thousand years old and studied at the library of Alexandria, can they have heard of this—” or “my character has an extensive military background fighting monsters, can they know the weakness—” and the storytellers say yes because it “seems reasonable,” that’s unbalancing the game unless they keep careful track of how often each character is allowed to draw on their backstory for expertise.
I suppose the other thing is that when you allow people to put wacky-ass shit in their backstories for whatever reason, the other way this makes the game unbalanced is that anyone who didn’t do that and is playing a mostly-reasonable character feels compelled to defer to the character who has this over-the-top stuff in their backstory because it Makes Sense, which can happen even without a storyteller allowing anything actively; it just becomes passively accepted that a character is The Shit and should be listened to, which is IMO not great. The thing about LARP is that stuff that could get a pass in tabletop now has to contend with the scale of 25+ players, and becoming much more of an ensemble cast show.
My sort of general recommendation for solving this problem is part—stick to the mechanics you have, and if you’ve got something like a fate point mechanic for influencing the narrative using character aspects, by God, use that fucking thing; the other part is feeling free to ask players to tone down or cut aspects of a character’s backstory when it gets out of hand on pain of haivng to submit a new character. Having to be harsh or mean about something sucks but I can say from experience that it sucks way more when you’re having to deal with it in the middle of a campaign when there’s no takebacksies.
i’m apparently just never sure if i like iz*one’s japanese releases at first and then slowly become obsessed with them
also the coats in both this one and suki to iwasetai are so choice, honestly. trying to figure out if i can assemble an outfit like this for summer…
putting discussion of this under a readmore bc it’s about the intersection of neuroatypicality + gender-nonconformity, but from like, a cis lesbian perspective? so your mileage may vary
tl;dr hannah gadsby, same hat
let’s take a moment to talk about AUDITORY PROCESSING HELL
A list of things I find difficult about sounds:
- When a lot of people are talking at once, talking over each other, or there’s several different loud conversations happening around me
- When someone’s trying to talk e.g. announcements, but side conversations keep breaking out
- When there’s audible background music in a space that I can’t control while trying to focus on a different activity
- When I need to be able to listen for a sound or sounds while doing something else
Unsurprisingly, this comes up a lot in LARP spaces. Admittedly beggars on shoestring budgets cannot be choosers about spaces in large metro areas, so the godawful acoustics of a lot of affordable spaces is not per se something I expect people running LARPs to be able to control, but the other stuff I think can be improved a bit.
Some of it I think can be fixed by having good moderation around certain times like announcements, or info sessions, where there’s an expectation that you don’t talk unless called upon and so on. Sound during game is a different and interesting problem.
I tend to prefer having more discrete spaces to put players in during LARP, and I think that can help contribute to a better sound environment—just so you don’t have a lot of people trying to hold conversations in the same space. Being able to put up screens or dividers in large rooms might help, also, and trying to get players to filter out into smaller scenes.
The other thing is I guess a plea to consider accessibility against a dramatic experience/immersion—to be honest, if I can’t parse sounds because there’s a bunch of conflicting background noises that I can’t filter out, it breaks my immersion because my characters don’t generally have mad auditory processing issues, ha ha. I’m not sure if it’ll really break anyone’s experience to not have a soundtrack, or to have to make a quick mechanical test to see if they can hear something, but it does honestly fuck with my experience to either start to go into shutdown or feel like I missed out on a cue I should have gotten.
Aaaaaaanyway this is just to say that sometimes something that is largely a pleasant experience can tip over into very draining just because Sound; please consider your friendly neighborhood sound-hating LARPer
also, unrelated, but another Twice comeback already?
…I guess since it’s a japan release I can at least buy a copy while i’m suffering importing IZ*ONE and =LOVE albums because idk why japanese labels hate putting stuff on american iTunes