#S3 will probably address that more with Raishan

[thelonelywhale]

I'm thinking so much about Keyleth's discussion of anger with Orym in ep.66 and haven't been able to get this scene from campaign 1 out of my head:

Echoing Grog's advice back to Orym is just *chef's kiss*

She is the most character of all time.

[utilitycaster]

I'm at a similar place than you, I think, regarding Scanlan's departure in the campaign vs the show.

Do you think, however, that Pike's presence throughout the show is possibly why they didn't go for the more violent Lament that people were expecting? Her support with regards to Kaylie was, I think, a big difference from where Scanlan was in the game.

(Also kinda sad that we're probably not getting Taryon, though cutting him makes sense especially if season 4 is the last one)

So, if I recall correctly, Scanlan's departure was much more motivated by the fact that he'd died in the Thordak fight, again in the Raishan fight, and everyone mocked him in Ank'Harel for the whole spice situation (and more generally that he was genuinely terrified throughout the entire conclave arc). It also, out of game, was partly inspired by Sam wanting to play another character for a while! I believe Sam at one point said that Scanlan's intention was not originally to spend time with Kaylie but just to leave; he brought that up while lashing out at everyone because he brought up anything he could because he was hurt and angry and scared and full of self-loathing, and when Percy said "then GO SPEND TIME WITH HER YOU FUCKHEAD" it changed what he was going to do. So I don't think that changed it.

I think what changed it is that, to be blunt, a lot of things that work in actual play don't work well in scripted narratives, and this is really one of the first cases we've seen of an adaptation where the original is fully available as well (I never watched Adventure Time but I know it's based in part off the creators' D&D games). Like...Scanlan messing around with suude works in-game, but it's kind of underbaked if you look at it. It's the same thing with Glintshore, and D&D combat in general. It's the same with Scanlan dying multiple times, which was a factor in him leaving, and frankly that kind of was an issue in-game: the amount of resurrections Vox Machina had was fucking bonkers, and everything CR has done since has made it clear they want to tell stories where character death is much more possible, likely, and permanent, from Candela to Daggerheart to the choices made in C2 and C3. Like, I don't think "oh it's an adaptation" is an answer to everything and I don't think that's how you should address people who are disappointed, but I do think that the changes made are in service of adaptation. It is really hard to write a S3 TLOVM script where a Bard's Lament makes sense, especially since my guess is S4 will be the last season.

Perhaps an unpopular opinion but while I adore Tary, the stretch of episodes he is in is the weakest part of the campaign since the pre-Briarwood arc days and as mentioned it's hard to write him in in a way that makes sense. The Vecna arc in-game is narratively great, but Vax's death comes quite early and it's GRIM. It's essentially an extended dungeon crawl where no one really thinks they'll make it out. I think the cast, to be clear, was still having fun! But Campaign 1 ends where it should have ended; Vox Machina's exhaustion by the end is palpable, and I think the improv nature and slow pace (not a bad thing, usually) of Actual Play lets the audience tolerate things far longer than they will in a scripted narrative and S3 of TLOVM seems to be thinking ahead in a very smart way, despite some of my personal critiques of Vax in particular.