@Rubiksmoose The MCU developed a really bad bathos problem over the years: undercutting dramatic moments with humor. The best example is probably in Guardians of the Galaxy when the group has a hard-earned "we're all in this together" moment but instead of giving it a beat to breath and be appreciated, Rocket immediately punctures the mood.
Bathos isn't inherently bad, but Marvel movies have been escalating it to the point where serious or dramatic moments seem unwanted because they're always undercut by a joke instead of being given room to just exist.
(I'm really struggling with whether "bathos" is an unusual and illuminating term of art I'm about to learn from BESW--as is a near-weekly occurrence around here--or if it's a typo.)
So, Taika Waititi is well-known for making films that are really hilarious, but which take their characters seriously.
And they do this with a particular kind of humor style that's common in Māori rhetoric, but also I've seen it in a lot of colonized indigenous cultures.
It uses bathos to undermine unearned pathos.
If you take a superficial read of Thor: Ragnarok you'll think it's full of bathos, just nutty with it, the most bathos-riddled Marvel film so far.
user15026
I'm kinda not sure what it is, entirely, even after reading that :(
Marvel movies usually undercut dramatic moments with a joke regardless of why or how the drama was developed.
Waititi uses a particularly biting deadpan form of bathos by following the simple rule that the joke is on the person with the overinflated sense of self-importance.
That means you don't undercut pathos when the pathos is earned... but if it's not earned, you savage that pathos without mercy.
The rhythm and tone that Waititi uses to do this is uniquely Māori in flavor. And I've seen it in a lot of cultures that value helping each other maintain face, or exposing hypocrisy to each other without the hypocritical person noticing.
Dan Talupa calls it "the comedy of deflation," and he points out that Waititi isn't just doing it diegetically: he's making explicit callbacks to MCU staples.
Like Stark's thoughtless banter (he re-named Thor with a dismissive nickname that's a joke in a culture Thor doesn't know, and Waititi shows us it actually hurt Thor's feelings) and Whedon's unearned dramatics (Thor being confused why "sun's going down" didn't work for him works on a meta-narrative level because he's actually got MORE established chemistry with Banner/Hulk than Natasha did).
Though it's easy to find reviews which completely missed this and accuse Ragnarok of being the most inconsequential film of the MCU because they're just looking at the setup/punch structure and missing who's being punched and why.
Even though Waititi laid it out quite explicitly in a few scenes, like when Hela explains to Thor that the previous Thor movies were glorifying a nation which pretended to be peaceful and benevolent while still benefiting from centuries of un-atoned-for colonial bloodshed.
@trogdor It made a lot of sense to me: she doesn't see anything wrong with the old ways, but she (rightfully, which is why it burns) sees hypocrisy in a nation that ignores its cruelty while pretending to be kind.
See also Killmonger: villain has a legitimate concern about the hero's situation, reaches the absolute wrong conclusion about what to do about it.
It's a lot better, I think, than the previous MCU villain formula of "what if hero but without morals?"
Which is, ah. We're tired of the Joker being an elemental inverse of Batman, thanks. Don't need four films where you do the same thing with Tony Stark.
@BESW the only thing that hits me about that is that she showcases a large amount of awarness about the situation right? But she doesn't have enough to know that what she is doing is wrong too?
@trogdor ...there are some really upsetting online conversations about te reo that I think would provide some real-life insight into that attitude, but I won't inflict them on you.
There are a lot of people who are so immersed in a cruel, exploitative power structure that they think it's not just normal but default and beneficial.
He does a terrible thing, eventually realizes it's really bad, sweeps it under the rug and only shows what might be genuine remorse when it's ready to bite him
Which makes her even less likely to re-evaluate her stance, because she's been put into a defensive posture: last time someone admitted that what she did was bad, she got stuck in an alternate dimension for a thousand years.
(While the person who put her there benefited from her work.)
There's a surprising amount of sympathy you can wring out of Hela, if you dig. It's almost like someone in charge of the story was intimately familiar with people who benefit from a violent system and are afraid that admitting the system is wrong will get them punished.
But yeah I'm guessing that most, if not all, of this narrative is driven by the game's existing mechanics, rather than the players and DM coming up with embellishment for a back-and-forth grindfest
I answered this question a couple weeks ago. Today the publishers put out an update to the system that changed the answer to the question, and I edited my answer to account for that.
Should I have just edited my previous answer (which the asker might not look at and see) or should I have created...
Question... I need a few game suggestions for 2 people (me and my dad) to play in our free time. We're out of town together, and outside of watching dvds, there is nothing to do here
In one game we spent ten minutes on ten seconds of a retired samurai being ambushed by ninjas in his garden, and then a scene later it was one roll for him to hop in his one-man spaceship and fly to the Jovian system.
A skill's rank is one higher than the rank of the skill that it's derived from.
If you roll a rank 2 skill and get two sixes, you get a rank 3 skill out of that.
If you roll a rank 2 skill and get one six, you can spend one XP to treat the other die as if it were a six for the purpose of "do I get a new skill?" and get a rank 3 skill out of that.
> If you roll all sixes on your roll, you can get new skill one level higher than the one you used for the action. [...] XP can be used to change a die into a 6 for advancement purposes but not for success purposes.
Right: "the sum of your roll is higher than the opposing roll, so "the thing you wanted to happen, happens." You did not fail, so you do not get one XP. You did not roll all sixes, so you do not learn a new skill.
I recently found the game Roll to See if I Have Shoes On and decided to give it a try.
There is something I was wondering though, can XP be used immediately after receiving it?
Consider the following two rules:
For every roll you fail, you get 1 XP.
XP can be used to change a die into a 6 for...
I'd say yes, what you're describing is totally cool.
You fail the jump, and you spend the resulting XP to gain a skill based on what happens to you.
It will probably NOT be "jumping 2."
One of the cool things about RFS is that it forces describing outcomes carefully.
You're trying to jump and you fail. What happens?
The new skill you learn must be derived from that outcome, NOT from the thing you were trying to do--the thing that actually happened as a result of you trying.
This means failure isn't just "oops, didn't work."
If nothing happens from a failure, no skill can be derived from it.
So every Fahrenheit you add adds 5/9 Celsius degrees, but doubling the Fahrenheit temperature doesn't double the Celsius temperature (because of the different zero points)
Fahrenheit: I put some marks on this beaker and that's cool.
(There's one account that 0F was supposed to be the temperature of a specifically measured brine, and 100F was supposed to be human body temperature, but... maybe?)
Several accounts of how he originally defined his scale exist. The lower defining point, 0 °F, was established as the temperature of a solution of brine made from equal parts of ice, water and salt (ammonium chloride).[2] Further limits were established as the melting point of ice (32 °F) and his best estimate of the average human body temperature (96 °F, about 2.6 °F less than the modern value due to a later redefinition of the scale).[3]
The scale is now usually defined by two fixed points: the temperature at which water freezes into ice is defined as 32 °F, and the boiling point of water is defined to be 212 °F, a 180 °F separation, as defined at sea level and standard atmospheric pressure.
@BESW that's why. I was mixing up Kelvins and Fahrenheits, I was substracting like if they were kelvins, but some random amount that I guess I missremembered from fahrenheits...
That's one of the cool things about units that evolve naturally rather than being designed deliberately: they're often actually more useful for a specific set of applications.
@trogdor Good question. As a physicist it seems like a pretty bonkers choice given that body temp is not only variable with time, but also in space within the body at any given time. So average body temp doesn't really seem to have a lot of true physical meaning. It isn't even like people would understand inherently what 96 feels like either. Could have been useful for medicine though. Scales weren't really meant to be understandable by everyone I think at that time anyways.
If you're a merchant who needs to be able to divide things between different numbers of clients depending on how many you've got, 12 is a lot more convenient than 10.
Hummm... I kinda get it... but isn't it such a "small scale" factor to really bank on it? I mean, In europe we use the International System for everything, and my baker can still sell me a dozen baguels, while our scientists can easily convert between units
@NautArch Everything is different, but only slightly. Except football. The American version of that is way different. And smalls. And shorts. And fanny.
@NautArch It is the same, depending on wich variant of english you are speaking. Some like to give a different connotation between cookies and biscuits, and even some biscuits are not even cookies at all (Biscuit can refer to "cake sponge" too. In fact the word here in spanish is "Bizcocho")
@ColinGross PLease explain smalls, shorts and fanny, please
"Cookie" is used as a fairly recent foreign loanword here to refer mainly to the slightly puffier variety, usually with chocolate chips or something along those lines.
@BESW I really wish I could send this conversation to my brother who studies film but had issues with Ragnarok's comedic undercutting (so I guess Bathos).
It's bathos, yes, but bathos is a tool like any other and Taika wields it with precision and purpose in service of the film's theme and its repositioning of Thor in the Marvel canon, while bathos in most other Marvel films reminds me of Ebert's witticism about Roger Christian's use of oblique angles.
(And if your brother isn't familiar with Ebert's review of Battlefield Earth then he's in for a treat, as is everyone else because you should all enjoy that prescient masterpiece.)
It's what the article refers to as the comedy of deflation, and which this film describes as an ongoing problem with the Marvel cinematic franchise because they misuse it.
The overuse of bathos is a common accusation of Ragnarok in particular though which I think is unwarranted, because Waititi is wielding it with precision and vision.
@BESW Do you have any specific examples of how it reinforced the themes of Ragnarok. I find that thesis fascinating. I'm unable to read the article at the moment so forgive me if that point is made in there.
I've had the most curious conversation the other day with one of my friends. I was using some of the ost of Ragnarok as bgm for our game, and he commented "Ugh, not that movie's music please". I asked if he didn't like it, and he told me it was a joke movie, that Thor movies had never been that good, but they had given up on trying to make a good one and that Ragnarok was just a comedy
Dan Talupa calls it "the comedy of deflation," and he points out that Waititi isn't just doing it diegetically: he's making explicit callbacks to MCU staples.
Like Stark's thoughtless banter (he re-named Thor with a dismissive nickname that's a joke in a culture Thor doesn't know, and Waititi shows us it actually hurt Thor's feelings) and Whedon's unearned dramatics (Thor being confused why "sun's going down" didn't work for him works on a meta-narrative level because he's actually got MORE established chemistry with Banner/Hulk than Natasha did).