#previously on

I’ve been relistening to “The Wizard, the Witch, and the Wild One” (WWW) from the beginning (starting with the Children’s Adventure). My work life has gotten super crazy in the last month (yay promotion!), and I’ve found the first arc (and firesides) to be a great boon during a stressful time. As I already know the story, I’m less concerned about missing something and will listen to it whenever I need to—note that when I listen to a new episode, I allocate free time to listen and do only that (and play solitaire so I don’t scroll social media). Anyways, when I got around to episode 10, I was reminded by how much I loved the “Previously On” recap at the start. I don’t know if it was written separately or improvised, and although I suspect the former, I wouldn’t be surprised if it was the latter (1).

Before I get into it, y’all, this podcast is so fucking good. I’ve said it before, and I’ll keep saying it. There have been numerous moments, developments, episodes, etc. that have grabbed me by the shoulders and shouted in my face, “HEY! STUFF IS HAPPENNING! PAY ATTENTION TO THIS! MAKE THE HAPPY BRAIN CHEMICALS!” (in the Fox’s cadence and voice, of course). And sometimes, that voice compels me, perhaps as a Geas, to Do Something creatively (much like what you’re reading now). Early on, this was mostly a ramble to a friend, or word dump in a doc or group chat. Then, I wrote some music and some lyrics and some poetry, and then a full-length academic essay (…5k words long), and then designed a magazine cover, and on and on. (I don’t know why this podcast has my brain in a vice, but also, I sort of do, which is another essay in the drafts.) Regardless, the first instance of Creative Compulsion that manifested in a more structured manner was when episode 10 debuted and is in fact this very essay (that has since been rewritten and fleshed out). I didn’t have a Tumblr at that time, so my thoughts on this recap have just been collecting dust in my documents folder for more than a year. But, upon my relisten, I realized this episode introduction was significant and that there was more I wanted to say and praise, since I haven’t heard another one like it since.

When the episode first aired, I heard the first 90 seconds (2) of “Of the Reaching Green” and instantly replayed it three times before moving on to the rest of the episode because I was so captivated. After I finished the episode, I listened to it again. The episode had just come out, so the transcript was not yet available, and I wanted to see the recap as well as hear it. *Above, you will find my transcript of the recap, preserved as it was on that day, so my apologies for any unintentional spelling or grammar mistakes (3). Then, I stared at it and reread it, and started to piece together my thoughts on why the hell I’m so enamored by this. It’s 90 seconds of an hour and twenty-minute podcast, and not only that, it’s not even technically part of the diegetic episode, since it’s a recap! (What the hell, Brennan?!)

I promise I’ll get to those specific thoughts soon, but I think it’s important to alight briefly on the nature and necessity of recaps. In serialized storytelling mediums, most notably television shows, the audience often requires a recap of the previous events to refresh one’s memory since it’s been a week (or more) since the previous episode (TV Tropes). I think these may have fallen out of favor as of late, especially in the advent of prestige television, DVRs, and streaming—most producers probably assume that their audience is either binge-watching the show, has access to the previous episode, or can just look up a summary. Or if not done well, it may further confuse the viewer if too much or too little information is included (4). Further, recaps are NOT synopses of the previous episode—they serve to highlight the main points of the previous episode/storyline and specifically underscore what the audience needs to know for this episode. Additionally, these don’t necessarily show up before every episode; for some shows, these only happen for mid or end of season finales, when major storylines conclude. These are not just for returning viewers- in the bygone age of broadcast tv (I jest, kind of), people didn’t always catch every episode every week, so recaps also needed to be compelling. They needed give any random channel surfer the general gist so that they could watch the episode and convince them to not change the channel. Recaps don't need to execute on these all of these elements, nor do them perfectly, but a good recap communicates all of these things well in a very short time frame (usually around 1 minute). Essentially, "Previously On" segments say, 'pay attention to this.'

For actual play shows (a catch-all term for recorded or streamed TTRPG games), recaps serve this same purpose of reminding the audience of previous events, but these also do the additional duty of reminding the player characters themselves at time of recording of what is important in the story they’re telling and game they're playing. Often, the GM will recap the previous session so that everyone’s on the same page, and this is often improvised (as most things are). Needless to say these aren’t usually the most compelling part of the episode (though they don't have to be), and often devolve into synopses of the previous session (i.e., “Last time you guys did XYZ, Timmy fell down a well, ok let’s start…”). Or, if the GM does recap the most important points to know, it’s not usually that compelling to listen to—and honestly, why would one spend extra effort on something that insignificant anyway? Moreover, recaps in most actual plays serve the purpose of recapping for the players first and the audience second (5). The GM can remind, and players can ask questions, so the burden of this segment is lessened.

Ok, so back to our regularly scheduled essay about WWW. I mentioned earlier that I thought that the recap in episode 10 was not improvised at the start of the session and instead was written and recorded separately. While (to my knowledge) this hasn't been discussed publicly, there is some evidence in the structure, cadence, and delivery that lends credence to this assertion. On the whole, I don't think it particularly matters whether it was written or improvised; I merely mention it because the choice to script is significant when every other introduction is improvised (just look at much people love the "Fire" introduction for Calamity). This creative choice makes a lot of sense both in narrative and in production.

WWW first debuted in March 2023, releasing biweekly, so episode 10 aired in early July 2023. I would wager that most listeners don’t relisten to each episode in the intervening weeks, so most episodes start with an informal recap or general scene setting. However by this point, the story had just reached its major turning point at the end of episode 9—the recovery of Wavebreaker. This sword is the MacGuffin of the first arc, and each character is connected to it in some way—it breaks curses (one of which Ame is under), Eursulon was the last one with it but parted with it years ago in Port Talon (he also needs a weapon), and Suvi was the one that gave it to him in childhood. The previous episode also focused on Naram, a great spirit trapped in the harbor of Port Talon, who up until then seemed tangential to the protagonists—but then Ame discovered on her own that Wavebreaker originally belonged to Naram. This pivotal moment is what propels the story to the conclusion of the first arc, thus the need arose for a moment to remind the audience of the stakes and current landscape.

From a production standpoint, this podcast has a lot of love and care poured into it, especially with the marriage of masterful improv and immersive sound design. It’s clear (and has been explicitly stated) that this crew prioritizes the quality of the final episode through little details and extra effort. So, whereas with other APs, fewer resources would be allocated to a recap simply because it’s not necessary, Worlds Beyond Number finds the use-case where it becomes necessary to put a little extra mustard on it.

That said, it’s a really good recap, excellent even. It contains everything a good recap should have: it paints the big picture, snapshots the major players, flows perfectly into the opening scene of the episode, and above all, is compelling. To further support the theory that this was written and recorded separately, it also lacks the filler words, pauses, and direct address to the players (i.e., Suvi, you did X, and Ame, you did Y) that are typical of an improvised introduction and recap—and thus it has the tone akin to the opening crawl of Star Wars. It is eloquently written, with so much information communicated by inference in just seven sentences, so let’s analyze line by line:

“Previously on “The Wizard, The Witch, and The Wild One.” Naram, spirit of the gentle sea, lies bound at the base of the Calabel Nautomantic Apparatus by Guild Mage Morrow of the Scepter’s Chorus. Our heroes stand divided.”

Translation: It all starts with Naram. Naram is a gentle spirit held captive by another wizard and his fancy machine. “Our heroes stand divided”—they had an argument in the last episode about whether or not to free Naram (and how). Needless to say, the situation with Naram is more complicated, but those four words express that succinctly.

NB: Naram is alone.

In the context of the previous episode, the listener is reminded of this quandary—what to do about Naram. But, there is an ingenious double meaning here. That last line not only alludes to the philosophical division amongst the party, but a physical one as well.

“Having re-established contact with The Citadel, a castigated Suvi now has direct orders to do nothing until Steel arrives in Port Talon three days hence.”

Translation: Suvi has been reprimanded by Steel after unintentionally going AWOL (“re-established contact”) and now she has to keep the situation with Naram locked down until Steel arrives. The audience is reminded that Port Talon is remote from The Citadel since it will take three days to get there.

NB: Suvi is alone.

Steel, Suvi’s adoptive mother, is flying by airship because the travelling door is broken, but since this is extraneous information to the immediate situation, it is left unsaid. As Suvi is the party member with the least connection (relatively speaking) to Wavebreaker and Naram, I think it makes sense that Suvi is mentioned first and has the least airtime in the recap.

“Eursulon, having returned to the Ace of Wands alone, once again wields Wavebreaker, the sword that legend says belonged to Naram himself, with the power to break the spells and curses of his foes.”

Translation: Eursulon ran off to see Will Gallows (proprietor of the Ace of Wands) but got his sword back (“once again” wields Wavebreaker), and it is a legendary sword belonging to Naram that can break curses.

NB: Eursulon is alone.

This section is also brief but sets up the pattern for a clever sequence that subtly shows the movement of the sword over time. First, Naram (who owns the sword), Suvi (who gave Eursulon the sword), Eursulon (who got the sword back), and then finally Ame (who needs the sword). The last phrase, “with the power to break the spells and curse of his foes,” neatly sets up the next line.

“And Ame, with just such a curse still clouding her mind and concealing crucial memories of Grandmother Wren and her most important lessons, now rushes forth to find her fox familiar, chasing him beyond the walls of Port Talon into the wasteland of witch fire and ash that stand between the city and the wrath of creeping kudzu beyond.”

Translation: Ame is cursed and because of that, she is lacking crucial knowledge (but the sword can break the curse). Now, she has left Port Talon and is chasing after her fox into the dangerous wasteland choked with smoke and treacherous forest outside the city.

NB: Ame is alone (do you see the through-line?).

Now, with the major characters introduced and with the stakes increasing, the segment concludes as it introduces the present moment and establishes the opening scene:

“We now return to Port Talon in the wee hours, as a tall and tipsy traveler ambles contentedly down a cobblestone street, a gleaming sword swinging at his side.”

Translation: It’s the middle of the night and Eursulon is triumphantly (and drunkenly) wandering the streets of Port Talon.

It’s notable that Eursulon is not mentioned by name at the end but trusts the listener to have been paying attention, though the next spoken word as the recap fades is “Eursulon.” The opening scene transitions seamlessly to him arriving at the Chantry—now we've come full circle. (This is Morrow's HQ, who trapped Naram in the first place).

Thus, it’s clear that this recap is descriptive yet not needlessly verbose or rambling (unlike this essay), due to its well-formed sentences and syntax.

But beyond that, it’s pleasing to the ear. There is ample use of consonance throughout (e.g., “bound at the base,” “wields Wavebreaker,” “curse… clouding… concealing crucial,” “rushes forth to find her fox familiar,” "walls... wasteland... witch fire," "creeping kudzu," and “tall and tipsy traveler ambles contentedly down a cobblestone street, a sword swinging at his side”). There’s also an interesting alternating alliterative and rhythmic pattern of k and s sounds with “contact with the Citadel, a castigated Suvi”. There's just enough to be noticeable but not too much to become annoying, and the brevity certainly helps. It's poetic.

In the sound quality and design, there’s an air and cadence in Brennan’s voice of being read a bedtime story, and he speaks clearly and with purpose. Further, the musical motifs of the chorus signifying the spirit world at the start transitions to a carefree, plucky tune during the last line that embodies Eursulon’s mood and instills it in the listener. As it ends, this musical transition is reminiscent of waking up and slowly starting to hear the ambient noise around.

When analyzing any kind of creative choice in any medium, I tend to remind myself that the creator(s) could have simply chosen to not make that choice, for any number of reasons or limitations (6). The "Previously On" in episode 10 could have been unremarkable, rambling and verbose, it could have had no music or sound effects, it could have been written and structured in an entirely different way, or it could have simply not existed at all. But it does exist, so I look at what is there. Now, this analysis is not intended to be prescriptive for future recaps in WWW or other APs. As is evident, this recap is one-of-a-kind and serves a greater purpose overall in the first arc of the story. In writing this, I spot-checked a handful of other opening moments of WWW, and while those introductions were improvised, Brennan is so adept at it that I would not expect to hear another a written recap unless the narrative and production calls for it again.

These seven sentences are truly brilliant. There are plenty of moments that have stuck with me since WWW started in March 2023, but it speaks volumes that something this insignificant spawned a ~3000-word analytical essay (7). Damn.

Footnotes:

(1) I elaborate on this later in the essay, but I suspect it was written and recorded separately solely because of how concise it is, both in word choice and in delivery (the lack of filler words or pauses), as well as the difference in tenor/tone as it transitions to the opening scene. We’ve also heard plenty a recap from Brennan in WWW and other shows, and I have yet to hear one as crafted and, dare I say, perfect as this one. Not to knock other improvised (or otherwise) recaps of course, as those fulfill their purpose well and fine. I just appreciate the extra mustard on this one (no shit, I just wrote a whole damn essay with footnotes). I suppose I could submit a Fireside question and ask (lol) but I think that (sky)ship has sailed, since we're now on episode 35. (If for some godforsaken reason someone involved with WBN reads this... let me know if I'm right, I guess? If I'm wrong, I don't want to know /j)

(2) I refer to the recap as 90 seconds as shorthand throughout, but it technically just ends at 90 seconds. And I think that’s neat. It's also easier to just say 90 seconds—a nice, distinct chunk of time—than its true length, which is 72 seconds (due to the WBN theme).

(3) Formatting the quote in this way also neatly organizes my analysis of it later in the essay, which is not exactly reflected in the transcript (but that’s because it’s for readability).

(4) Complete tangent to the podcast discussed here is that I’ve seen DougDoug (internet streamer) do a blind reaction to just the “Previously On” recaps for "One Tree Hill" and "24" (without knowing the plot of either show) to hilarious and baffling results. It further demonstrates my point that recaps are not synopses, and you can’t fully grasp the plot of something through these. Because that’s not their purpose—which is to make clear to the audience what they need to know for that next episode-- not necessarily explain what happened in the last episode (and clips can be from earlier episodes as well).

(5) Something that I think is often discussed by WBN et al. (among others) is the distinction between an actual play and a home game. In a home game of D&D, the sole audience is the people playing the game. In actual play, the audience is BOTH the players and the viewer, and (good) actual play has to balance the two—you want to make sure the people playing are having a good time but also that it makes for a good viewing/listening experience. This tension between the two audiences can be balanced for- either in the moment of recording or in post-production, and I think WBN does an excellent job at this balance. However, I make the point that players come first and audience comes second specifically for recaps, because if your players don’t know what’s going on beforehand, then the whole shoot/recording could be in jeopardy, and it may simply not be worth the time, effort, or resources to craft an outstanding recap. So, there’s fundamentally going to be less effort put into the recap from viewer’s perspective in actual plays, and they just don’t matter that much, since players can just ask questions/GM can remind players of things.

(6) Might be a hot take, but I find it counterproductive and uninteresting to engage in editorializing player and DM choice in APs when it is presented as critique or literary analysis (i.e., "they should/could have done this instead" or "XYZ would have made for a more interesting story"). I've noticed this sentiment crop up in AP spaces/fandoms, but there isn't a writer's room to edit and revise the story being told (well there is one, and it's happening in the moment). To me, it's more interesting to look at the story that is being told and the choices made, and ask, why? Which is the point of this whole essay—to look at those seven sentences and go, "why is this here and what does it mean?"