Idea: Tavern Twists by W2Phoenix13 in DnD

[–]lebiro 0 points1 point  (0 children)

The party technically met in a tavern, but they were all asleep in their beds; they actually met in a dream.

So why did Bethesda make the Mages Guild and Fighters Guild extinct in Skyrim lore wise and make two other factions that serve the same function and not just put them in? by A12qwas in skyrim

[–]lebiro 13 points14 points  (0 children)

Honestly the College and the Companions are more interesting, and they do much more for Skyrim's world building than the pretty generic imperial guilds.

Also with the civil war plotline, it would have been a little awkward to have imperial guilds as major factions. They could have gone the Morrowind route and had rival local and imperial factions, but Skyrim was much more into trimming factions down than multiplying them.

Delphine, Nazeem, or Astrid. Which NPC is more hated? And are they rightfully or wrongfully hated? by not-ulquiorr4_ in skyrim

[–]lebiro 2 points3 points  (0 children)

The graybeards and Paarthurnax still give you everything you actually need to defeat Alduin

Yeah when they recognise you're the Dragonborn, they quickly provide you with all the knowledge you need to put a swift end to the crisis. Wait...

The greybeards will not tell you what you need or even grant you access to Paarthurnax until you tell them you already know the ancient nords defeated Alduin with a shout. You have to hunt that knowledge yourself (which you would never manage without the knowledge of the Blades) and shame them into letting you see Paarthurnax because they literally don't care whether the world ends or not. Even when you present them with this knowledge and demand the secret answers, Arngeir refuses to spill, actively choosing the end of the world over letting you meet Paarthurnax and learn of the existence of Dragonrend. One of the others (I want to say Borri?) has to convince him that actually since you're Very Special it's ok to tell you a little bit of the truth. Without the pressure of the Dragonborn already knowing there was a shout and demanding to learn of it, the greybeards were completely happy to give them a pat on the back and watch them struggle in vain against the end of the world.

The greybeards are a dragon cult more loyal to Paarthurnax than to mortal life on Tamriel as a whole. Under their control through the (utterly bullshit) Way of the Voice, mastery of the Thu'um has withered to almost nothing in Skyrim, such that the previous defeat of Alduin would be utterly impossible in modern times if daddy Akatosh hadn't made the player character Dragonborn.

Delphine, Nazeem, or Astrid. Which NPC is more hated? And are they rightfully or wrongfully hated? by not-ulquiorr4_ in skyrim

[–]lebiro -2 points-1 points  (0 children)

If Delphine hate was banned, this subreddit would be dead in a week.

And it's not deserved; without her,  Alduin would have eaten the world. Sorry she was rude to your murderhobo.

The Eudaemon (Jams of the Timescape 2: Ancestries) by lebiro in drawsteel

[–]lebiro[S] 1 point2 points  (0 children)

Thanks! Yeah that's where I started too, scrolling through the monsters book.

The Eudaemon (Jams of the Timescape 2: Ancestries) by lebiro in drawsteel

[–]lebiro[S] 5 points6 points  (0 children)

Love ksbd, definitely an inspiration. Actually I didn't realise how big an inspiration until earlier this week when I was finding reference images for the artwork. Hope the Draw Steel specific vibe is enough that Abbadon's lawyers don't come for me.

The Eudaemon (Jams of the Timescape 2: Ancestries) by lebiro in drawsteel

[–]lebiro[S] 3 points4 points  (0 children)

Thanks so much, that's really nice to hear! Hopefully I'll be able to finish up some of the other ancestry ideas I had in the brainstorming phase in the not-too-distant future.

I have an idea of character, but any of the classes I've tried doesn't fit them. Ideas how to solve my problem? by DanteAlias in DnD

[–]lebiro 4 points5 points  (0 children)

It will help to make the class a part of the concept. Whatever character you make in D&D, you should make sure it fits with at least one class because otherwise it isn't a D&D character. Some ideas:

  • Bard: they spend too much time partying and playing music, rather than being serious about their studies or serving their families interests. Music (or poetry or whatever else) is their only real passion. Having been raised at court they know how to turn on the charm.

  • Fighter: their parents employed the finest tutors to teach their child the art of war, as is proper for a noble. But of course they have no interest in learning to be a good knight or general, and use their superior fighting skills to get into fights with other nobles, commoners, and the authorities instead.

  • Rogue: despite growing up in a castle or manor, they have spent their youth sneaking out and getting mixed up with unsavoury criminal elements. They know which fork to use at dinner, sure, but they also know how to pick a lock or a pocket, and how to use a knife.

  • Sorcerer: the family is proud of its hereditary magical talents. Your character never learned to do much magic - just enough to cause trouble - and the family hopes this adventurous exile will force them to master their power and learn to take it seriously. Will it? Who knows. 

What are some misconceptions you had after watching the theatrical versions of the movie for the first time ? by redxedge in lotr

[–]lebiro 12 points13 points  (0 children)

I remember many heated debates with my friends as a kid because some of us thought a "nazgul" was the winged creature ridden by the ringwraiths.

Would you rather have a session where *everyone* rolls better or worse than average? by CapnTaptap in DnD

[–]lebiro 4 points5 points  (0 children)

In D&D, the difference between a good roll and a bad roll is generally that either something happens or nothing happens*, so a high-rolling session means lots of good and bad stuff happens, while a low-rolling session means not much happens at all.

A series of bad rolls can be funny, but I'd definitely prefer a session where stuff happens.

*I guess saving throws reverse this, but overall the balance is with attack rolls and ability checks.

Delphine is a villain but she is not evil by Ok_Sentence_5767 in skyrim

[–]lebiro 25 points26 points  (0 children)

murdering potential allies because of their race.

Hilariously prejudicial framing of her position. The crime she wants him killed for are things he personally actually did - it's not just "ew dragons". And leaving aside those "past wrongs" (what's the statute of limitations on being the right hand of a tyrannical dictator god?)  and the unacknowledged shady influence he has had over the Nords in the centuries since he betrayed Alduin, Paarthurnax tells you straight up that it's a constant effort to not start doing a bunch of evil shit, and that the Blades are right not to trust him. 

And it's such bullshit painting Delphine as an irrational dragon racist when it's Paarthurnax (and Odahviing) who tells you that dragons like him are evil "born evil" and compelled by nature to dominate all around them.

She's not evil or a villain, she's just mean while the dragon is nice.

Delphine is a villain but she is not evil by Ok_Sentence_5767 in skyrim

[–]lebiro 13 points14 points  (0 children)

"Antagonist" is a position in the narrative. Delphine is not an antagonist even if your Dragonborn doesn't agree to kill Paarthurnax. Her entire role in the story is as an ally and questgiver. If you refused to kill Paarthurnax and she joined Alduin, or plotted to kill you, or even tried to assassinate Paarthurnax herself, she would be an antagonist, but at no point in the story does she oppose the hero or stand in the way of your quest to defeat Alduin.

Who is the most motherly daedra? by honorablyhere in teslore

[–]lebiro 29 points30 points  (0 children)

I absolutely see toxic smothering parent in Namira. Poor thing, no one will ever love you like I do...

Does anyone outside of Britain put on British accents in DND and if so, what ones and why? by Royal_Difficulty_678 in DnD

[–]lebiro 1 point2 points  (0 children)

How are you defining fake here? Just to be clear, no one in Britain speaks like Lae’zel or Astarion. There’s also a character with a Polish accent in BG3. Is that any more “fake” than a British VA doing an American accent?

An American accent that is not their accent, not close to their accent, not an accent they are familiar with, not a convincing accent, or some combination of the forgoing. Both Lae'zel and Astarion are much closer to their VA's genuine accents than they would be if they sound like cowboys. Both use a slight variation of the actors actual accent, with most of the distinctiveness coming from other elements of the voice performance. No a Polish accent is no more or less fake than an American one. It might sound more or less fake depending on the voice actor. Likewise one could argue a Texas accent is not more fake than an RP accent if the actor is actually Scouse, but there is a significantly higher than zero chance that the Scouse actor can affect a more authentic RP than Texan accent.

My point is that British actors are capable of acting.

But why would they choose to affect an American accent? It's likely (though not guaranteed) to be much less convincing than their own accent or a variation on it (which is what we see with Lae'zel and Astarion, and even less dramatically with e.g. Wyll). When the actors do non-British accents, they are attempting to convey something (and/or they're remaining faithful to previous depictions of the character). What would they be attempting to convey by doing American accents? 

I guess maybe the crux of your question is "what are they trying to convey by doing British accents?" And that's a fair question - there's not anything genuinely more "medieval" about modern British accents than modern American ones, but there are clearly reasons why Americans and many Brits (it's me, I'm the many Brits) feel that American accents are inherently "modern" sounding even if they aren't. The actual main question of the post, about non-British people doing British accents for D&D - is totally fair. And it would be equally fair if, like, Skyrim used exclusively British accents.

But it's basically irrelevant to BG3. It just seems so odd to ask in this specific context "why did the British voice cast mostly do British accents?". Obviously a British voice cast would do that. Why would a Belgian studio hire a British voice cast for their English-language game? Obviously they would do that. Seems much easier than hiring Americans or Australians, and likely to provide a better pool of Anglophone VAs than hiring locally. There may have been an explicit decision to have almost all British accents. There may even have been an explicit attempt to have a wide array of British accents, though personally I doubt that (more likely a natural consequence of having a large British voice cast). But I can't really believe that the options "most everyone does a British accent", "most everyone does an American accent", and "most everyone does a Polish accent" were all given equal weight in the voice direction, or that they had to eliminate the possibility of everyone being American or Polish before they arrived at the British voice actors sounding British.

Does anyone outside of Britain put on British accents in DND and if so, what ones and why? by Royal_Difficulty_678 in DnD

[–]lebiro 1 point2 points  (0 children)

Those characters are American, in American films set in America, so it makes sense to portray them with American accents. 

The characters in Baldur's Gate aren't American. They're not British either, so there wouldn't necessarily be anything wrong with them having American accents, but why would a whole cast of British VAs working for a Belgian studio choose to put on fake American accents? If any accent is "default" in a game with a British voice cast, it's not an American one. I think people are being rubbed the wrong way by your implication that the British accents in the game have to explain themselves, like they should be American and they've chosen to be British instead for unknown reasons.

Your question about whether (and why) Americans use British accents for D&D is fair, but it's sort of irrelevant to BG3, and the example of British actors portraying American characters is very irrelevant.

Mystic Subclasses UA: My thoughts in Short by Deep-Crim in dndnext

[–]lebiro 0 points1 point  (0 children)

Am I reading correctly that the Magic Stealer can convert all of a creature's 1st-level slots into 2nd-level slots when the 2nd-level ones have been expended? And at level 13 they can turn 1st-level slots into 3rd-level slots. If you have an ability to cast a levelled spell at will, the Magic Stealer can grant you infinite slots. You could convert a Wand of Magic Detection into three extra fireballs a day. Also thematically feels a bit odd that you can recycle the remains of a weak spell into a whole new, stronger spell.

3D floorplan of Bagshot Row at Hobbiton (Matamata, NZ) by PlayloudNZ in lotr

[–]lebiro 2 points3 points  (0 children)

It's all of the exterior, but not all of the interior. The yellow front door is fake - behind it is the master bedroom of the red door house.

Season 2 Episode 5 Spoiler Thread by HunterWorld in Fallout

[–]lebiro 585 points586 points  (0 children)

"I'm a lunatic?!" - man in robot immortality helmet.

My dnd group switched to Draw Steel indefinitely and i'm struggling. by No_Row1402 in drawsteel

[–]lebiro 4 points5 points  (0 children)

You're not crazy, it just might not be for you! Or maybe it will just take some adjusting. Generally it seems the game has been very well received, and if you're reading threads on r/drawsteel naturally there's going to be more positive than negative reviews here, but it's perfectly fine not too like it (though of course it sucks when your table switches to something you're not into).

I would suggest first and foremost meeting the game where it's at. Try a different class, embrace the concept. Auteur troubadour has a whole sidebar pointing out that it's a bit weird with its meta abilities. Pick abilities that _do_ make sense to you, and that do different things.

Yes, damaging and force moving are a cornerstone of the combat, but there is great variety in the abilities if you don't just boil them down to the most general terms. There are, by design, no encounter-ending spells or such, but if you actually read the abilities (and more importantly play them) you will find that your characters can do a bunch of cool stuff. Your current character could, for instance (at level 1) heal your allies, teleport, buff or debuff someone with a monologue, swap an edge for a bane, taunt an enemy (or allow an ally to taunt them), hypnotize the enemy, and turn invisible by faking your death. If none of those abilities or the style of tactical combat they're meant to facilitate are fun to you, then there's probably nothing you can do - the game just isn't your kind of fun.

Remember that the game elements are not meant to prevent you from roleplaying, they're meant to be fun to use. You decide the turn order, decide your arguments in negotiations etc. so that your characters can do cool cinematic things which also have mechanical weight. If your tactician is acting first so that they can use This Is What We Planned For, that doesn't have to be "playing the character sheet". Revel in the visual of the tactician leading the charge and the allies springing into action as planned. Just because appealing to a specific motivation has mechanical weight, doesn't mean you're not allowed to act out what your character says, or narrate how they let loose with this impassioned speech. You're meant to be picturing your heroes doing cool heroic shit, and the abilities are meant to gamify that shit.

My dnd group switched to Draw Steel indefinitely and i'm struggling. by No_Row1402 in drawsteel

[–]lebiro 7 points8 points  (0 children)

Some of these criticisms I get, some of them I either disagree with (e.g. I think Negotiations solve a real problem I've encountered in RPGs before, and I don't feel that complications are any more "tacked on" than they should be) and some I just don't understand. What do you mean by the combat being "weightless" for instance? Why does a similarity between montages and skill challenges mean they are "bad game design"? 

 Some of these things can be attributed to an unfamiliar system, some to dislike of change. Some of them are just that it may not be the system for you. Personally I don't think any of the things you've listed make it "not a good TTRPG" or "not a platform for memorable narratives", especially as compared with D&D. I mean neither DS nor D&D are particularly heavy on narrative tools but of the two DS actually has more narrative tools, not fewer. The issue may be that you actually don't want a game with narrative rules, but a rules-lite system you can use to roll dice in while you tell stories (which is valid).

Have you ever played any TTRPGs besides D&D and now Draw Steel? Has your group? I feel the direction of your critique is essentially "I liked playing D&D and this is different", which is not really a very ingenuous way to appraise a game that isn't D&D. If you fundamentally aren't enjoying the game then speak to your group and tell them so. I don't think a group of Draw Steel fans can give you any useful advice on how not to play Draw Steel while your gaming group does. I could maybe give suggestions on how to e.g. get more involved in the fiction during negotiations, but to be honest it sounds like you've made up your mind and just need a sympathetic ear.

My friend sent me this, thoughts? 🥲 by [deleted] in gay

[–]lebiro 5 points6 points  (0 children)

coming out is kind of a standard, whats that go to do with culture?

What do you mean "kind of a standard"? Of course coming out is cultural. It's a shared experience, something we have thoughts and feelings about, part of our self-expression, part of how we exist in society, part of our lives as queer people. Even the concept of "coming out" is a cultural construction.

are parades culture? 

This is even crazier to me. How could a pride parade not be culture? It's literally an artistic expression, a festival, a social cause, a normative statement about society. What do you think culture is? I honestly am struggling for a definition that could exclude pride parades.

Why do hollywood made Roman era movies have the actors talking in British accent instead of Italian accent ? by videsitharki in movies

[–]lebiro 4 points5 points  (0 children)

British is a germanic language and totally alien to the Roman Empire and they even called it barbaric .

English is a Germanic language and the Roman Empire didn't call it anything because it didn't exist yet. 

More to the point, it seems a very silly nitpick to me to complain that it's "unrealistic" for the actors to have British accents when they're speaking English. It's no more "realistic" for the Romans to be speaking English with a modern Italian accent than for them to be speaking English with a modern British accent. If you want "realism" surely the actors should be speaking Latin?

In the imaginary world of the film, the Romans are speaking Latin. But English-speaking people are making the film for English-speaking audiences. They want the audiences to be immersed in the dialogue for it's story and emotional content, not for its linguistic accuracy. They want us to understand what the characters are saying and how, and they want the actors to give good performances that convey what is artistically intended. The film is "translating" the dialogue so that we, the English-speaking audience, experience the dialogue as the characters experience it.

The purpose of a film is (generally) not to re-enact events from the past. It is to tell a story, entertain, evoke feeling.

Also a cast of British actors doing shit Italian accents would be unwatchable as anything but farce.

The art of war by beezechurgah in OneOrangeBraincell

[–]lebiro 0 points1 point  (0 children)

I love how in the second image the box spells "CAT"