No Turning Back – Entry into Dungeons and Dragons

A couple of years ago we were above it. We admired nerd culture from our superior positions atop the popular culture wheel. Like parents sitting on the park bench at the playground. ‘Oh no,’ we’d say, ‘you go on, it’s not appropriate for us to play.’

Cut to yesterday where I sat down with my buddy and we plotted out her new Dungeons and Dragons character with such a heavy weight you would think we were deciding the future of our organs. Questions such as ‘am I better off having the ability to summon stars out of the sky or to cast flames from my fingertips?’ were treated with complete un-ironic seriousness.

Before my foray into D&D I would’ve happily called myself a nerd but would’ve shied away from taking on the title with the full vigour of a true disciple that so many other incredibly smart, socially awkward, loyal, cashed-up consumers do. But acceptance into the D & D universe means something serious. It’s the pop culture equivalent of deciding to be married. It’s a commitment. It means that hours will be given up rolling dice, building stories, and pretending to be a dwarf/elf/dragon. And not just over one session. Not every so often like a game of Monopoly. No, the proper D&D experience requires regular meetings of your group to improve your characters and keep them travelling together, sometimes for years.

I blame, mostly, the D&D episode of Community. I challenge anyone not to watch that episode and to not feel an inkling towards wanting to play. (Also, if you haven’t seen the first three seasons of Community yet, what are you doing? I know I’m like the fifth person to say this to you, but you really would enjoy it.)

I also blame the skinny pale-faced young man who asked my nerd friend and I whether we wanted to learn how to play Magic: The Gathering at the last Brisbane SupaNova. We went home with a deck of cards each and a whole new world to play in. With the enthusiastic purchase of way more cards than we sensibly needed, it seemed we were teetering on the edge of a beautiful cultural cliff. D&D awaited at the bottom of the fall.

It’s hard to describe what makes D&D so fantastic without making muggles roll their eyes. Maybe it’s the perfect combination of math and creativity that lies at the heart of the game’s mechanics. Maybe it’s the ability to create private art that feels down-right theatrical. Maybe it’s the appeal to our inner-child to play with imaginary friends (but with dice and formula so it feels grown-up).

Whatever it is, I’m proud to be a ring-bearing, card-carrying, orc-slaying, old-fashioned nerd. I shall tell you the tales of our groups adventures as we travel forth.

(Un)fashionable Television and the New Golden Age

We’re in a Golden Age of television. Film is slowly becoming more and more intolerable, drowned out by sequels and too much loyalty to supposed successful formulas (Avengers 2, Lord of The Rings 5, Star Wars 7…). We’re now more likely to knock over half a season of the latest Emmy-Award winning hit then slump our way over to Event Cinemas to pay $50 for the privilege of being served the latest piece of Hollywood blockbuster bullshit. And there’s a reason for that. Television is better.

There’s a lot of reasons for it, but a
primary cause is the rise of cable television in the States. In particular, HBO and Showtime, which were deemed once to be on the fringes of television, have grown up to lead the way for a new wave of TV with FX, AMC and others following in its wake. In very roughly chronological order, these shows happened and changed everything: The Sopranos, Six Feet Under, Sex and the City, The West Wing, House, Breaking Bad, Mad Men, Louie, The Walking Dead, Game of Thrones…insert your personal favourite here.

We’ve gained a lot, but what’s been lost?

Well, for the most part, the sitcom. (And don’t suggest Big Bang Theory. In my experience, comedy should be funny.) Modern Family, The Office, 30 Rock and Parks and Recreation have set a new standard and tone. Nobody could really beat Friends, so we re-invented the wheel. These comedies are acerbic, built on the contemporary taste for the awkward, and the documentary style of filming gives us something that the deliberate staging of sitcoms never could: a deeper sense of the real.

For the contemporary drama, however, we seem to have lost a sense of innocence. Adult drama is incredibly binary: it’s either ultra-light, tasteless reality television, or hardcore sex and blood filled romps with themes of evil, adultery, murder, and substance abuse. There’s nothing wrong with this, but there’s a category of television that’s almost untouched: the contemporary and meaningful drama that’s about real people, with real struggles. A celebration of the normal.

Glee comes close, but it’s burdened by, you know…all the singing. Family dramas have either become too sentimentalized to be meaningful (Brothers and Sisters, Parenthood, etc), or too trashy to be of interest to anyone but young women (One Tree Hill, Greek, etc). I’m talking about critically acclaimed, good-hearted family drama. Friday Night Lights is one of the best contemporary examples of this. Having just blitzed through the five seasons, I’m left with that rare mourning for a television show now gone. It did what all good television strives to do: create and nurture compelling characters that slowly become part of your life. I love The Walking Dead but I’m not going to enter into a mourning period when it ends.

But for the entirety of its run, Friday Night Lights was burdened by low ratings. Despite receiving mass critical acclaim and loyal fan support, it was so deeply unfashionable that it continually struggled to survive. Built around the lives of a small-town Texas football community, it wasn’t about drug dealers, had no nostalgia for the past (ala Mad Men or Boardwalk Empire), and while tackling many of the same concepts as Glee, it was about a deliberately poor, very middle-class, non-singing group of young people. It always refrained from sentimentality and preaching, but managed to touch on major issues implicit within the US education system and growing up working-class in the Southern states of America. Sadly, the show was too real, too ‘normal’ to be considered truly ‘edgy’ or thrilling, and suffered for it.

On the flip side, it seems like a great time to be writing and creating shows about fantasy or science fiction worlds. Game of Thrones and The Walking Dead prove this point. But these too are signs of a particular fashion. Bloody, sexy, and remarkably adult, there’s very little room, apparently, for the rollicking bollocking adventure television of Indiana Jones, Star Wars, Buffy or X-Files fame. The one exception to this rule is Doctor Who, an explicitly BRITISH show that is unburdened by the fashions of Los Angeles. The proof? Firefly. A wonderful American sci-fi show that’s literally worshiped by legions of fans. It lasted fourteen episodes.

Bottom line? I love television. But I can only watch one episode of Breaking Bad, Game of Thrones or Walking Dead at a time otherwise I lose the will to live. This is better than Keeping Up With The Kardashians, where I lose the will to live two minutes into your average episode. I want light, but meaningful. That’s what I want to watch at the end of a work day.

Clear Eyes. Full hearts.

The Reasons I Love Greg Proops

Remember the first time you ate an olive? You bit down and the salt hit your tongue. It felt like the whole ocean was slapping you in the face. You spat it out and yelled at whoever gave you the thing. ‘How the FUCK could anyone enjoy those?!’ you asked. A good question. But slowly, over time, your palate ’matured’, and you became addicted to the tang. Greg Proops’ podcast is like an olive. It’s sharp, insulting, disorganised and inconsistent. And it’s marvellous.

You may know Greg from Whose Line is it Anyway?. He’s the curly haired one with glasses. He describes his role on the show as supporting, next to two of the greatest improvisational minds of his time: Ryan Stiles and Colin Mocharie. But Greg does himself a disservice, proving on his podcast alone that the sharpness of his unplanned wit is comparable to Oscar Wilde with claws. Greg’s had an admirable and successful career, (including, surprisingly, voicing Bob the Builder for four seasons), and now trots around the world working extremely hard at being a fine stand up comedian.

But part of Greg’s initial saltiness is his inability to fit into any comedian’s paradigm that has come before him. He’s not interested in landing a sitcom. Not even a funky trendy one with HBO. In fact, Greg doesn’t particularly care what you fucking think. Take this argument with a heckler from his most recent podcast episode (they’re all live):

Oh no, I’m looking at you down the bar…no this isn’t a fucking cocktail lounge. There will be fucking silence in this room until I am finished tonight. You think I’m fucking kidding, I’m not fucking kidding. I’ll take the mic and I will walk down there and shove it up your ass like Alexander the fucking Great against the Persians. You will fucking taste my javelin here tonight. That’s how this fucking works. There are a thousand bars on this street. I invite you to FUCK OFF and go to one of them and be with your other douchebag dickhead drunk patty motherfucker friends, how’s that fucking grab you?

And the crowd goes wild. This is particularly vicious for Greg, but indicative of his underlying attitude. He’s pissed off at the world. But he manipulates his rage like a craftsmen. At times it’s hilarious and we’re laughing at him. At other times, it’s tragic. In his best moments, when he goes into his ‘boring preachy part’, he is capable of leading a revolution.

The premise of the podcast is beautifully vague. Titled ‘The Smartest Man in the World’, Greg performs live to a crowd every week for free. He has semi-prepared talking points, but for the most part it’s a 90 minute improvised one man show live every week. The sheer ballsy bravery of this is only matched by the fact that he almost always pulls it off. The title works off Greg’s schitck: a faux arrogance that seeps through his rage. Listeners send in questions and must adress him in some sort of imaginative salute: ‘Your Most Proop-full-ness’ etc. But Proops is actually fiercely intelligent, and delivers profound and intelligent stand up apparently off the cuff.

This is how he opened a recent show:

Hallelujah! Once again the Proopcast takes to the butterfly’s wings that are so extent all around Chicago. As we once more take to the ether on the wing’s of a butterfly here at the fabulous Zany’s on North Wells, Chicago’s oldest and grandest comedy club. We seek to connect with each and every one of you out there in Proopland, so if you’re listening now at the gym working that stair master this is an awesome time to pour yourself a drink from that little flask you brought with you. If you’re sitting at home, this is a great time to light one up. And if you’re at work, why don’t you take a break? For about an hour and twenty-five minutes.

He’s poetic, and drier than a fucking nun’s nasty. He often refers to the show as a ‘vodcast’, as is he is delivered vodka throughout the show by whatever bar he’s playing at. He is an enormous supporter of recreational cannabis use, and is possibly the best mascot for that campaign. His frequent taking of drugs has apparently done nothing to damage his work ethic or sharpness of wit. It’s here that the podcast draws its most easy criticism. Greg makes pot and drink look fucking cool.

That aside, this is a cool guy, and the podcast will teach you about cool. Greg will often talk on men’s fashion. He wears a collared shirt everywhere, and most often a suit. This, along with his sipping of vodka throughout the show, gives him a vintage cool that is reminiscent of a Mad Men era of masculinity. Greg’s other favourite topics include: funk music, old movies, Negro league baseball and European and American politics. These potentially alienating niche interests are filtered through genuine passion and humour that make you want to learn more. I didn’t know who Satchel Paige was before listening to this show. Now I do. He’s fucking amazing.

His best moments are his insights into politics and media. Greg taught me about the occupy movement in a genuine and meaningful way. And the International Monetary Fund. And the recent Frech elections. His frequent discourse on the war on women is awe-inspiring. He is one of the most sensible and accesible voices on contemporary feminism I’ve encountered, and in this way is the very model of an honourable man. Because of him I want to know more and act more in making the world a better place. This from a ‘comedian’ who improvises a 90 minute show every week.

Greg’s comedy then is  a great marriage of past and present. There is so much about him that is of a different era: the suit, the drinking, the homage to a more Golden Age. The podcast itself feels at times like something from a great philosophical Greecian discourse or debate. The live format means there’s always a risk of something falling flat, but this happens so rarely. Greg slaps a crowd around and then leads them. It’s like Tristan Tzara, just slightly more organised. He enjoys ideas. And satire. And won’t stand fools. Yet his outlook is so forward, so progressive, that even in his cynicism he is filled with hope for the future. In 90 minutes, every week, Greg destroys the world and then builds it up again.

Oh, no! I haven’t lost hope at all! Look, we’re all here–we’re all having a good time on Sunday night! I just read you a lot of depressing shit like that and talk about these things because you have to think about them sometimes. I haven’t lost hope at all. There’s going to be abortion; there’s going to be health care; there’s going to be medical marijuana; there’s going to be peace in the world; there’s going to be homosexual marriage: all this is going to happen, because all the generation that hates it and is against it and is fervent about it is going to die. I may not get to see it, but . . . The people who are young right now don’t care about any of those things: they care about technology; they care about eating; they care about learning. They’re curious; they want to find out things; they want the world to be bigger; they want to know about other people in other places; they want to inform themselves and use analytical thinking; they don’t trust the traditional media sources that we’ve all been poisoned to fucking listen to like the television and the newspapers and all the shit that comes up on the Internet: they learn to fucking discern because they have to pick out pieces of information all the time. So, I have nothing but fucking hope for the world.

I would quote him more, but the thoughts are so tangential and disorganised that you really have to experience it for yourself. Stick with it for a couple of episodes. Like I said, Greg produces something so different to anything that’s out there that it can take a while to get your head around it. For that reason he should be celebrated. I desperately want to have a drink with him. Cheers.

Here’s the website and the link to iTunes.

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