I have a hilarious and perfect DnD campaign pitch. Are you ready? Here it is:
Each PC is a Shakespeare character. Each from a different play. They don't have to be the main character. They can be, but it's better if they aren't. The setting is either Another Shakespearian play that is unrelated to all the PCs Or has nothing to do with Shakespeare. For example, Shakespeare pcs in a high fantasy world, Shakespeare pcs in Sci-fi world, Shakespeare pcs in modern day. Give me Mercutio, Stephano, Horatio, the Bear, and Donalbain getting up to shenanigans and generally being very confused and paranoid.
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A Christmas Story – An Abandoned Car
A nice Christmas morning read, a short story with a few twists and turns, new fiction from Ireland. Merry Christmas!
Winter gales swept across the country and in response, the Government swept away all public transport and the need to travel to work or school. The roads of suburbia Dublin at dawn lay deserted, their un-walked footpaths covered in a layer of multi-colored leaves that were further dissolving with each passing day.
Photo by Marta Dzedyshko on Pexels.com
The latest blustery storm had arrived at…
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My favorite Shakespeare thing is when he writes a major plot point but just has someone tell us about it to save on special effects.
Hamlet gets kidnapped by pirates but we don’t see that part. It’s a letter.
The Oracle of Delphi shows up in the Winter’s Tale and rather than do all the special effects required to make that adequately supernatural, two guys come on stage and go “woah that was cool”
There’s a big storm on the night that Duncan is murdered and we learn about this when half the cast of Macbeth says “sure was stormy last night”
Shakespeare, the OG low-budget director taking the easy way out.
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Told y'all I'd be back with more Duke. Today I demonstrate how Duke is as much of a chaos gremlin as the rest of them. Case in point:
Danny as Duke's son
Duke is getting ready to end his patrol when he hears crying coming from an alley. He goes to investigate and quickly finds a baby tucked away in a corner. The first thing Duke notices about this baby is the soft green glow around him (so either a meta or something else got it). The second thing he notices is how this baby fits in perfectly with the rest of his brothers. This quickly sparks an idea in Duke's mind.
There's no way he's putting a meta baby in the Gotham foster system. He might as well just hand the poor guy to the traffickers at that point. Instead, Duke decides to play a prank on his family while giving this baby a safe home at the same time.
The prank is simple, he's going to take care of the baby as if nothing is out of the ordinary. If anyone asks, he's gonna pretend it's someone else's secret love child that he's just babysitting. Given that the Wayne's have never heard of the term communication, Duke imagines it's going to take painfully long for everyone to realize the truth. The only people he's telling are Alfred and Barbara because let's be honest, there's no he'd be able to keep the truth from those two. Plus a little help from them will really help sell everything. Let the prank begin!
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In defense of Shakespeare's Daughters
When students find out that:
Shakespeare has no living descendants (and that's why we don't have to ask "Which Shakespeare?" like we do with the Bach family),
That he did have a son, once, but that boy died when he was only ten years old, and
That son was named "Hamnet" (not a typo, BTW)
Those students who go on to become Shakespearean scholars can get a bit obsessed when it comes to themes of fathers, sons, and grief (particularly in that one play about a Prince of Denmark).
So I'd like to take this time to point out that Shakespeare was also the father to two daughters: his firstborn, Susanna, and Judith, Hamnet's twin sister.
And to help me make the point that the Father/Daughter relationship was important to him, and not just a consolation prize, here's a few of the plays that hinge on it (an incomplete list):
The Tempest: a father and daughter as the only humans on a tropical island.
Romeo and Juliet: The tragedy unfolds with exponential speed when Juliet's father decides that she must marry Tybolt immediately.
Much ado About Nothing: The comedy almost becomes a tragedy when Leonato rejects his daughter during the wedding ceremony.
The Winter's Tale: In the first half of the play, the jealous king rejects his infant daughter, wrongly thinking she is a bastard. In the second half of the play, we see the daughter as a teenager, and her relationship with her adoptive father, a shepherd; the play is resolved when she returns home, with her adoptive father, to her birth father.
Hamlet: Let's face it -- the whole play gets mired in schemes, secrets, and second guesses until Ophelia's response to her father's death unleashes a flood of action.
Merry Wives of Windsor: the "B Plot" is all about how the young adult daughter of Mr. and Mrs. Page successfully schemes to marry the young man she actually loves, instead of either of the arranged marriages her parents are hoping for.
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