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Context Switching Paralysis, or Why we Will Always Have the Thief Debate
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<blockquote data-quote="Mercurius" data-source="post: 8749399" data-attributes="member: 59082"><p>Yes, although with the caveat that as a general rule, at least at certain stages of adolescent development, the best way to get your kids to do something you don't want them to do, is tell them they can't do it - and in reverse <img src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" class="smilie smilie--sprite smilie--sprite2" alt=";)" title="Wink ;)" loading="lazy" data-shortname=";)" />. Like the old joke about if you don't want your daughter to date a certain guy, tell her how much you like him.</p><p></p><p>My dislike of certain D&D races is less about the range and diversity of races, and more about the aesthetics of the specific races that I don't like, and/or how they fit within (or don't) the campaign setting and tone I'm wanting to set.</p><p></p><p>For example, I love Talislanta - which is about as Mos Eisley-esque as you can get. I think most of the races are very interesting, both aesthetically and culturally. But for whatever reason, I dislike many of the more "non-traditional" D&D races: dragonborn, ardlings, etc - at least within the context of my own D&D settings (as a general rule). Some of that is due to simply not liking them on an aesthetic level, and some of that is because they don't fit in with the tone of a specific setting.</p><p></p><p>But I hear you about escalation, though I don't think it is inherently from "mundane vanilla fantasy to crazy gonzo, techno-fantasy" (or whatever). In a similar sense that most songs don't develop into all sounds happening at once, which is total chaos. A campaign is like a jazz suite: It develops along certain lines and limitations, both through the initial themes set down and through the improvisation of the players. But only the rare avant garde piece ends up in all-sounds-at-once, and even then, most of them come back down to earth.</p></blockquote><p></p>
[QUOTE="Mercurius, post: 8749399, member: 59082"] Yes, although with the caveat that as a general rule, at least at certain stages of adolescent development, the best way to get your kids to do something you don't want them to do, is tell them they can't do it - and in reverse ;). Like the old joke about if you don't want your daughter to date a certain guy, tell her how much you like him. My dislike of certain D&D races is less about the range and diversity of races, and more about the aesthetics of the specific races that I don't like, and/or how they fit within (or don't) the campaign setting and tone I'm wanting to set. For example, I love Talislanta - which is about as Mos Eisley-esque as you can get. I think most of the races are very interesting, both aesthetically and culturally. But for whatever reason, I dislike many of the more "non-traditional" D&D races: dragonborn, ardlings, etc - at least within the context of my own D&D settings (as a general rule). Some of that is due to simply not liking them on an aesthetic level, and some of that is because they don't fit in with the tone of a specific setting. But I hear you about escalation, though I don't think it is inherently from "mundane vanilla fantasy to crazy gonzo, techno-fantasy" (or whatever). In a similar sense that most songs don't develop into all sounds happening at once, which is total chaos. A campaign is like a jazz suite: It develops along certain lines and limitations, both through the initial themes set down and through the improvisation of the players. But only the rare avant garde piece ends up in all-sounds-at-once, and even then, most of them come back down to earth. [/QUOTE]
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