This is for D&D 5e.
I'm currently making a reoccurring antagonist NPC that is a master thief. It's CR 6 and I want it to be capable of making three attacks per round like multiattack but also have their thief subclass's enhanced cunning action with fast hands.
This would normally mean they'd get 3 attacks and a varying options for bonus actions, however I'd want them to be able to trade up to three if these attacks to have more uses of cunning action (this would of course stack the ability to dash 4 times per round but I'd just not do that while running the monster). They also have a special once per day ability that I'd want them to be able to swap a single attack for.
It got me thinking, instead of trying to make an unwieldy combination of multiattack, a special action and cunning action, could I just give them three actions?
The simple way this NPC works that I want them to pick 3 options from:
- Dagger
- Crossbow
- Special action
- Dash
- Disengage
- Hide
- Make an ability check
- Use an object
- Use a set of tools
At this point, what do I actually lose from letting them take 3 actions? They aren't a Spellcaster so I'm not worried about them throwing out three fireballs or the like.
At least I expect that from him and basically all his characters. It's most irritating when it's a character who should have eloquence, ht doesn't.
Also by extension, film / TV is the ideal medium for imperfect dialogue. The medium took queues from theatre and literature in it's inception but there is truly no other medium suited to the imperfection of real dialogue like real life.
Mediums which demand a high critical analysis like most paintings invite the viewer to study and puzzle over the narrative, but film has it's roots in cinema, and lowbrow cinema at that. I don't really mean that critically, it's my preferred medium, but nothing expects an easily digestible narrative like film and TV.
I don't think it's inherently the mediums flaw, duration and viewing time dictates a lot.
Film and TV his a wired niche. Although mainstream TV also takes days, weeks of months to compete, the vast majority intentionally invites you to consume without analysis. Mainstream film fully invites the average viewer to see it once, and anything further than that is for chance or deeper fans.
However film and modern high budget TV is mor* e venture capitalism than art, it's just that in it's method of consumerism, it poses as art. This gives it its own rules, and one of those rules is that comprehension is only a useful tool when it favours creating and retaining viewers/income.
But as it's rose to dominate all other media, there and many, many people who enjoy film and TV without any media literacy outside of it, and therefore their only touchstone is reality. That paired with the fact that we've largely cracked our ability for movies to direct focus via mise-en-scène, cinematography, editing sound etc, means it's the ideal medium to not just emulate realistic performance, but focus on it and celebrate it. This often comes with unclear dialogue.
Then the only way for deeper fans to enjoy this mediu BBm is to re-experience it By re-exploring rit. Each additional delve, albeit short - often just an episode or feature film length - gains that viewer status unlike other mediums.
This forces realistic dialogue to be idolised by fans bove clarity, while being irrelevant to the casual viewer. At last in my opinion.
This is a lunatic ramble, which I'm writing at 3am in my time zone after being unable to sleep. Beyond any typos, I apologize if this is entirely incoherent or just wrong and assumptive.