The story the dice are determined to tell on Mice and Murder, man. They are loving the drama between Daisy and Sylvester.
Lint Roller? I Barely Know Her
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if i look back, i am lost
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@quietarchivist
The story the dice are determined to tell on Mice and Murder, man. They are loving the drama between Daisy and Sylvester.
this is one of, if not the best screenshot i've ever gotten from a game changer episode in my entire fucking life
It took a little while, but Rulette 2 is proving to be as chaotic as expected.
They just needed to start calling each other out.
Play Nice went right out the door, didn't it?
It took a little while, but Rulette 2 is proving to be as chaotic as expected.
They just needed to start calling each other out.
I know, I know, I need to get the shot.
Grogu was like “dad? DAD!?”
🚨Reminder that there's a NEW episode of Game Changer out tomorrow on Dropout...featuring the return of Paul Refereeno! 🤫
📷: Kate Elliott
ceruleanvulpine replied to your post:
trope: trapped in an elevator
i love that FatT doesn’t have specific characters here it’s just. every FatT
I mean, like, of my favorite interactions in Counter/WEIGHT, which is the only canon with elevators except Marielda which wrote its own elevator slapstick:
Aria & Jacqui: Aria jumps up onto Jacqui’s shoulders and burns a hole in the ceiling, finding as she does that she’s totally right and it is an assassination attempt! The ensuing fight takes place over three different locations, all of which she destroys.
AuDy & anyone: Upon realizing that they are going to be trapped in an enclosed space with a sentient being, it is AuDy’s settled and considered practice to turn themselves off until the experience is over. If necessary, they will instead pretend to turn themselves off and play as many rounds of mental solitaire as is necessary until the other person stops trying to talk to them. This explains September.
Cass & Aria: Aria is about to shoot a hole in the ceiling to stop an assassination attempt when Cass blurts out that the elevator was programmed to stop halfway between the medical wing and the xenobiology wing! So that they can access the secret back access ladder! Aria is thrilled at this evidence of Cass’s foresight; Cass is thrilled that they’re at the point where they can just say whatever shit they want and their friends will buy it as a master plan.
Maryland and anyone: No elevator has ever broken down near Maryland.
Jace & Addax: Jace gets two lines into the “ha ha, guess we should wait for the rescue crew, anyway what’s your sign–” before Addax has already called on Peace to interface with the elevator and they are out of there. Addax gets all the way to Peace’s hangar before he slaps his forehead and turns around to try to get that precious, precious hitting-on time back, but it’s too late, it’s all too late in space. Life is a series of missed opportunities and connections. He turns it over and over in his mind, sometimes as a fantasy, sometimes as a sharp regret, until years later– when Jace is a figure out of time, resurrected and renewed, and Addax by some grace is sitting next to him in bed and going over his dissertation for punctuation errors– Jace is like, “oh, shit, do you know what I just remembered? That time I tried to hit on you in an elev–” and Addax blurts out “SAGITTARIUS.”
Ibex & Orth: Orth chews off the elevator cable to escape
jeremy finally finished episode 1 of A Crown of Candy
My Shakespeare students (they are 12) wanted to summarize the lessons they learned this semester. If. Um. Anybody would like to see.
I cannot emphasize enough that they made these with very little input from me.
Henry the Fifth
- ALWAYS encourage others to do their best.
- NEVER talk about people behind their back.
Antony and Cleopatra
- ALWAYS check your produce for pests. [They liked this one so much made a rap about it.]
- NEVER count your chickens before they hatch.
Hamlet
- ALWAYS act decisively
- NEVER tell your girlfriend to go to a convent and become a nun [Oh boy they REALLY liked this one]
Romeo and Juliet
- ALWAYS collect all the important information before making an important decision
- NEVER bite your thumb at us, sir. [They enacted this scene in the original language a lot, except they swapped every “sir” for “bro.”]
The Merchant of Venice
- ALWAYS pay your debts.
- NEVER judge based on appearances, because “all that glisters is not gold.”
The Tempest
- ALWAYS try to forgive others.
- NEVER be a colonizer. [Yes, a middle schooler said this]
Midsummer Night’s Dream
- ALWAYS stay on forest trails
- NEVER fall in love with an ass. [They were excited about this one for obvious reasons.]
Twelfth Night
- ALWAYS stay in touch with those important to us
- NEVER read other people’s mail
Macbeth
- ALWAYS wash your hands. [One of the girls performed Lady Macbeth’s entire Out Damn Spot monologue at the end of the semester]
- NEVER succumb to peer pressure.
oh Of Mice and Murder is so good.
The drama! The intrigue! All of these little character moments and contested rolls!
It's so good!
The finale of Counter/WEIGHT is a really bleak and ambitious piece of storytelling, of the type that could only be done within a TTRPG campaign. The GM says: there is a way to defeat the main villain, but there’s no secret weakness, no superweapon, no shortcut. All you need to do is fight it long enough and hard enough, and you will win. It can be done.
The way this works in terms of game mechanics is that as a player, you get points for sacrificing non-player-character allies, and extra points for sacrificing your own player character. Get enough points and save the world. It is played out slowly, one by one by one. Every time it happens, the player, and the player character is given a choice: save this character, sacrificing a chance at victory, or let the character die, and get a point. These are characters we know and love and have followed for months, funny sad bold brave complex people. Most of them die. And that’s all it takes: warm human bodies, real human lives fed into a meatgrinder. It’s worth it. It’s incredibly sad, and it’s worth it. Despite being weird wobbly cyberpunk space opera shit, it’s one of the most meaningful explorations I’ve seen of the concept of a just war, except for some of the harshest passages in Marylinne Robinson’s Gilead about the American Civil War.
is a divine a god or just a machine? well, yes. but gods can be killed (insert le guin quote about the divine right of kings). it is a physical thing (wouldn’t it be beautiful, if we had a rigor, something we could just hit enough times and eventually it would be dead?)
but of course that’s not the end of it.
and this became what twilight mirage was about. the work is never over. to do it you have to do it.
wake up babes new date-based reaction image dropped
oh Of Mice and Murder is so good.
Truly, only Lou Wilson can push the limits enough for Sam to throw himself against the wall of the Game Changer set in despair.
We are so back.
🃏 TONIGHT! The season 8 premiere of Game Changer launches on Dropout at 7PM ET / 4PM PT!
Featuring host Sam Reich, and players: Jeremy Culhane, Ally Beardsley, and Lou Wilson!
➡️ Go to Dropout.tv to catch up on Game Changer:
The game show where there's a new, surprise premise every episode. New season premieres May 18th.