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== Questions == | == Questions == | ||
* How did the ending sequence come to be? | |||
* Friends at the Table’s score always has great usage of leitmotif, but in this season, every character got their own little theme song, and the use of motif was so much more prominent. How do you think the use of motif impacted the soundtrack of the Twilight Mirage as a whole, or what was the thought behind the decision to make motif more heavy in this season? | |||
* How did you decide on Gumption’s fate in the Divine Principality? | |||
* Was it possible for the group to have averted the formation of the Divine Principality, or the Rapid Evening and DFS going in that direction, given how far in the future that occurred? Would it have come down to not engaging with the DFS in such a detrimental way regarding stealing Gumption, or would they have had to have made more of an active effort? | |||
* Was it a conscious decision not to include Belgard in the second half of the season? | |||
* Players, is there an aspect of the world, or your character’s backstories, that never came up on air, that you wish had? | |||
* Tender was a catgirl. What animal people would the other PCs be? Yes, I’m asking what their fursonas are. | |||
* (To Sylvia and Jack) Did you think of your characters as disabled? | |||
* What is your favorite decision another character made? | |||
* Over the course of the season, many of the player characters hinted at attraction, and even romantic feelings towards each other and NPCs. However, by the end of the finale, many of these connections went unaddressed to varying degrees, even during the character’s epilogues. Were these questions purposefully left unanswered, or do the players have personal feelings about how those relationships might have continued, or ended? | |||
* What does marriage look like in the Twilight Mirage? Were there cool traditions that were different on different planets of ships? | |||
* It was an interesting choice to make the main utopia of this season a theocracy. What were some of your goals and concerns going into that, and how do you feel like that aspect of the fleet, and other religious and pseudo-religious groups, turned out in play? | |||
* What were your biggest influences in creating a utopia? Were there certain things you set out to do with utopias in Twlight Mirage that you felt like other utopian fiction or political philosophy missed, or things you’d seen elsewhere that you wanted to be sure were included? | |||
* The way violence was handled this season was really interesting, and felt in line with the portrayal of a utopian vision for the world. Could you talk a bit about violence in role-playing games, and how you feel it can and should or should not be used? | |||
* So as Twilight Mirage went along, it felt like there was less playing to find out what happens, and more talking to find out what you want to happen. The best example of this is the scene where Grand traded Independence to save Fourteen Fifteen. This happens in my games as well, and I was wondering, do you feel the same way? Do you have any ideas how to combat this in play? | |||
* This season has been described as ambitious and experimental. How did Twilight Mirage help you grow as a player, GM, or storyteller? What were new things that you tried that you think worked, or didn’t work? Did you try anything new that you’d like to carry with you to future seasons? | |||
== Cast == | == Cast == | ||
Revision as of 23:17, 7 June 2023
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Questions
- How did the ending sequence come to be?
- Friends at the Table’s score always has great usage of leitmotif, but in this season, every character got their own little theme song, and the use of motif was so much more prominent. How do you think the use of motif impacted the soundtrack of the Twilight Mirage as a whole, or what was the thought behind the decision to make motif more heavy in this season?
- How did you decide on Gumption’s fate in the Divine Principality?
- Was it possible for the group to have averted the formation of the Divine Principality, or the Rapid Evening and DFS going in that direction, given how far in the future that occurred? Would it have come down to not engaging with the DFS in such a detrimental way regarding stealing Gumption, or would they have had to have made more of an active effort?
- Was it a conscious decision not to include Belgard in the second half of the season?
- Players, is there an aspect of the world, or your character’s backstories, that never came up on air, that you wish had?
- Tender was a catgirl. What animal people would the other PCs be? Yes, I’m asking what their fursonas are.
- (To Sylvia and Jack) Did you think of your characters as disabled?
- What is your favorite decision another character made?
- Over the course of the season, many of the player characters hinted at attraction, and even romantic feelings towards each other and NPCs. However, by the end of the finale, many of these connections went unaddressed to varying degrees, even during the character’s epilogues. Were these questions purposefully left unanswered, or do the players have personal feelings about how those relationships might have continued, or ended?
- What does marriage look like in the Twilight Mirage? Were there cool traditions that were different on different planets of ships?
- It was an interesting choice to make the main utopia of this season a theocracy. What were some of your goals and concerns going into that, and how do you feel like that aspect of the fleet, and other religious and pseudo-religious groups, turned out in play?
- What were your biggest influences in creating a utopia? Were there certain things you set out to do with utopias in Twlight Mirage that you felt like other utopian fiction or political philosophy missed, or things you’d seen elsewhere that you wanted to be sure were included?
- The way violence was handled this season was really interesting, and felt in line with the portrayal of a utopian vision for the world. Could you talk a bit about violence in role-playing games, and how you feel it can and should or should not be used?
- So as Twilight Mirage went along, it felt like there was less playing to find out what happens, and more talking to find out what you want to happen. The best example of this is the scene where Grand traded Independence to save Fourteen Fifteen. This happens in my games as well, and I was wondering, do you feel the same way? Do you have any ideas how to combat this in play?
- This season has been described as ambitious and experimental. How did Twilight Mirage help you grow as a player, GM, or storyteller? What were new things that you tried that you think worked, or didn’t work? Did you try anything new that you’d like to carry with you to future seasons?