#critical role meta

[blorbologist]

Y'know, I think I figured out why the Hells still feel like a new low-level party to me, even though they're level 13 and almost 100 episodes in.

I don't quite think it's the lack of conversations, or the fact half the party's plot hooks are big ties to past campaigns - though that definitely plays a part.

... Bell's Hells still primarily rely on quest givers.

Most of their goals are given to them and do not feel organic to the party, and constantly remind us that the Hells are pretty much never the most powerful people in the room. Which is usually something you see with a low-level party.

NPCs offering jobs is not a bad thing; it's a very common plot hook. Matt has been extremely skilled with using NPC quest givers in those two campaigns. Not only do they provide an obvious plot thread, but they can put the party in the path of others (say, the Nein running into the Iron Shepherds while doing a job for the Gentleman and everything that came of that). And the Hells had a solid start with it too - Eshteross was an excellent quest giver!

The problem is that Bell's Hells have never really not had a quest giver.

Maybe it's a byproduct of the more plot-heavy structure of this campaign? But while prior parties have felt like they decided on their course of action and what they prioritized, Bell's Hells feels less like level 13 (13! Level 13!) experienced adventurers and more like an MMO group clicking on the exclamation point over an NPC's head. Where does the plot demand we go next? Who do we report back to?

They're level 13.

At level 13, Vox Machina had just defeated a necromantic city-state to clear their name and Percy's conscience. And, you know, the Conclave just destroyed Emon. No one was explicitly telling the group to gather Vestiges and save the world (though Matt guided them there), and they were usually among the most powerful people in the room. They chose which Vestiges to prioritize, which dragons to tackle when, even if the over-all plot was pretty clear.

At level 13, the Mighty Nein were celebrating Traveler Con (another PC goal, I'll note) after brokering peace between two nations, accidentally becoming pirates and heroes of the Dynasty. The Nein regularly chose what to do based on personal goals, not grand ones. Though definitely smaller fish than Vox Machina at this level, they were very independent and gaining solid political clout.

While we're at it: level 13 is one level lower than the Ring of Brass, who had a huge amount of sway over Avalir. They ended the world, and also saved it, while in the grand scheme of things being only a smidge more powerful than Bell's Hells are now.

Can you really see the Hells wielding that amount of influence, when they're constantly being told what to do next?

The god-eater might be unleashed, so Bell's Hells have no time to do anything but what is asked of them. No time for therapy unless stolen from Feywild time, no travel on foot and late-night watches. They haven't even had time to grieve FCG. Percy was grieved in the middle of the Conclave arc. Molly was grieved when half the party was still in irons.

Matt is in the very unfortunate spot of not being able to give the Hells the same agency as the other two parties. Not only because of the world-ending plot introduced so early on; they are surrounded by characters they know (and the cast knows) are stronger and wiser than them - the familiarity of the past PCs and NPCs is to their disadvantage.

Why would the party reasonably ignore Keyleth's task that will help save the world and go off on a romp? Why would the cast when they know well Keyleth has to be sensible and with the best intentions in mind? The stakes are just too high.

It means that the Hells still feel like they're running errands instead of pursuing their own destiny. Their accomplishments are diminished as just being parts of a to-do list, and any stakes feel padded by several level 20 PCs/NPCs standing 5 steps away ready to catch them.

This isn't Bell's Hell's fault, nor is it Matt's. It could be amended, I think, if the Hells are really left to their own devices for a long period of time without support and shortcuts (like during the party split)... which would be really tricky to pull off at this point in the campaign.

They're level 13. They're big fish, but they're stuck in a pond full of friendly sharks, so they don't feel big at all.

[ludinusdaleth]

there is SO MUCH to talk about but i personally am obsessed with silaha. to be the god who created elves & fae, to have created beings of utter magic & wild, choosing to be molded by mortal hands as an aeormaton. to be the paragon of a fae's whimsy and yet act the part of rigid robot under watch, switching between the two as rapidly as a cloud passes over sun. before you was dweomer & loquatius, aeormaton & fae, watching the calamity begin. after you will come fearne & fcg, fae & aeormaton, watching ludinus rip the sky apart. before you was the tree of names, a fragment of the limitless potential in your once infinite home, swallowed, gone, by something that seeks to hunt you. after you comes the malleus key, a ghost you thought you completely destroyed, promising to hunt you. thank you abubakar salim for my entire LIFE

[abitcaughtinthemiddle]

Glintshore is going to mean something different in The Legend of Vox Machina than it did in the original campaign

At this point in campaign 1, Vex and Percy has not yet hooked up and had been dancing around their feelings for each other. Laura and Taliesin have both said that Vex and Percy would never have admitted their feelings for each other hadn’t Percy died and Vex made her plea to him (true love’s Nat 20).

In fact, Taliesin has said that he was ready to let Percy die permanently and move on with his backup character (fun fact: it was actually Mollymauk from Campaign 2 that was his backup C1 character) but Laura’s choice and the Nat 20 roll was too much to simply ignore (and thank god for that because Perc’ahlia is my prized ship and my Roman Empire).

The timeline of things being very different in TLOVM means that we’ve gotten a sort of sped up development of not only the relationship between Percy and Vex but the relationship Percy has with himself. As we’ve been seeing in the show, Percy seems much lighter, much less burdened by the weight of Orthax and revenge. In episode 6, we see him have a touching moment of with Vex about the future, talking about his hopes for Whitestone.

In the campaign, he was still carrying around this weight of guilt and shame in a way that wasn’t dealt with like it was in the show (with his self sacrifice in Ank’Harel, taking responsibility for inventing guns- bringing widespread consequences across all of Exandria). This never happened in the live stream. Glintshore ended up acting like this penance: Percy dying at the hands of the very weapon he created.

Since we’ve seen a more “carefree” happier Percy in the show, and he’s already had his moment of self flagellation, Glintshore is going to mean something else in the show.

Of course, we all know this is going to be a wake up call for Vex to finally admit her love for him and stop pretending she can just fool around with him -heart be damned. I think it’s going to mean a lot for Vax and Keyleth too.

Since they’ve set up plot line that Vax is the one concerned about Keyleth’s long life span, I feel like Percy’s death is going to wake Keyleth up tot he fact that everyone she knows and loves will die before her, and she’ll see a little bit more where Vax is coming from- and I think Vax is going to start to realize that Keyleth can handle herself around loss and that he’s being an absolute fool by pushing her away.

Like Marisha’s said in interviews, these upcoming episodes are going to deal with facing fears- and I think Percy’s death and finding a way to resurrect him is going to touch on a lot more of Vox Machina’s fears than just Percy and Vex. I can’t wait to see how it plays out.

[the-kaedageist]

I can't stop thinking about the developing dynamic between Essek and Fearne, especially since Fearne seems to have discovered a particular joy in needling him, possibly because a lot of his sarcasm has been aimed at her.

But then there was that little moment where Fearne said, "I thought you said don't touch anything" and Essek gave her that little smile and replied, "I'm not touching it, am I?", and I thought - oh. He's starting to like these little shits, especially the faun who won't stop giving him trouble. From Fearne's reaction to this - the mocking that turned into a grin, calling him cheeky - you can see her starting to understand Essek's particular brand of humor in return.

It would be so hilarious if Essek comes out of this adventure having been adopted by an entirely new adventuring party who have forced friendship on him. I can think of nothing I'd wish for him more than that.

[deramin2]

Orym's argument against Ludinus Da'leth and the Ruby Vanguard is essentially "The purpose of a system is what it does."

This is a systems theory coined by Stafford Beer around 2001. He posited there is "no point in claiming that the purpose of a system is to do what it constantly fails to do." It does not matter what someone tells you a system does if it does not reliably do that. The things it does consistently do are the actual purpose of the system.

Ludinus (and Liliana) claim the purpose of the Ruby Vanguard's violence is to free Exandria of oppression from the gods. Orym's point is that they have not consistently protected anyone from oppression. They consistently murder innocent people, indoctrinate vulnerable people into doing terrible violence (including children), support a ruling class that dominates the population through mind control and eugenics, and seek to release a predator so terrifying that the warring alien gods and native primordials worked together to seal it away as a threat to both of them.

So the logical conclusion is that the purpose of Ludinus' system is not to free anyone from tyranny, it's to install himself as the tyrant. And it does not matter what Ludinus says it's for or even what he believes it's for. The purpose of a system is what it does. And Orym has been personally and repeatedly victimized by what it does. Why wouldn't he keep reminding them of that?

Add onto that, the Ruby Vanguard is a death cult. They lure people in with believable lies. They use propaganda to control how people view them and to convince people to support them. Liliana has been groomed into a true believer who genuinely thinks what she has been told is true and that Ludinus' system does what he says it will. She has been convincing other people of this for years. Not because she's an inherently bad person but because everyone generally tries to convince others that what we believe is true. It is actually dangerous to let a cultist try to talk you into the cult's perspective. That's why Orym shuts it down.

Orym was already on edge but it's fully in a breakdown after FCG's sacrifice. One more iteration of Ludinus' system consistently murdering the people he loves. But he still told Imogen he wants her to have a good relationship with her mom again. He wants Liliana to make it through the other side of this. But that has to involve consistently stating the reality of what's happening against what she believes.

Ludinus believes in the rapture of the revolution. Burn everything to the ground on a fundamental level and a new perfect society will grow, with him to guide it. The reality is that kind of power vacuum consistently leads to horrific violence and conditions often get much, much worse. Especially for vulnerable people, who often do not survive. A lot about the gods' relationships to mortals probably needs to change, but this an incredibly dangerous gamble to fix it.

The purpose of a system is what it does. Any suggestion otherwise is cold comfort to Orym's family in the ground.

[ladyfoxfire]

Going to throw my hat into the “Liliana sucks” arena with this piping hot take: She doesn’t really love Imogen.

She loves the idealized version of Imogen she’s built in her head over 25 years of absolutely no contact with her. She loves the innocent little girl that needs her mommy to protect her from the big bad gods. She loves the daughter who will be grateful to her for all the hard decisions she had to make.

Her denial and self-absorption were enough to protect that ideal of her daughter from actual Imogen begging her to reconsider; she could tell herself that Imogen just didn’t understand what was at stake, or why these hard decisions had to be made.

But Imogen finally crossed a line that Liliana couldn’t reconcile with her idealized little girl, and that’s why Liliana broke so dramatically. Her “daughter” is dead, replaced with a hardened adventurer who’s willing to make her own hard decisions, and isn’t going to thank Liliana for the carnage she and Ludinus have left in their wake.

[thisisnotthenerd]

putting the tl;dr at the top as a poll and the commentary under the cut because it’s quite rambly and it’s also late and i’m tired.

*whether dorian is one of these is up for debate

there’s some discussion of bell’s hells not having the “it” factor for a lot of people. even though it’s my first campaign and the only one i’ve mostly watched live, i kind of have to agree.

there’s a distinctive lack of investment in backstory for the group in terms of what they’ve spent time on in campaign. i think fearne is the only one who’s been done justice, even though we’ve seen other exploration, because they’ve been to her home multiple times, and while her backstory isn’t central to the main plot, it is close. it’s enough distance for her to be able to develop as a character but also for us to see where she came from.

imogen’s is tied directly to the main moon plot, so she’s had screen time aplenty, but less time to develop quietly, as laura does really well. i might argue for orym, but that’s because his is kept simple but with depth. his backstory comes through in the acting because he’s put up against his family members occasionally, but he’s a little guy at root.

for everyone else it’s been short detours. sometimes not even that. the spotlight oscillates between moon plot and god arguments with indecisive wandering in between.

while not everyone in vox machina inherently had a deep personal connection to the big bads of their campaigns, they didn’t need to. they did it for their friends, because they loved and trusted one another deeply. they made decisions about what they were facing and stuck to it, even when it meant sacrifice. they made multiple levels of friendship around and across the table.

at this point bell’s hells has been told a bunch of different things to do. and honestly i don’t know if they ever decided on one.

that’s not the point of this though.

there’s some archetypes or dnd players out there: roleplayers and power gamers. people who are all in it for the story and people who are all in it for the game. and it reflects in the characters they build.

somehow bell’s hells (collectively) is neither.

they don’t have strong investment in the plot collectively. the character concepts range from simple to deeply complex, and i have to say that i think the simpler has worked better for a plot-heavy campaign, because the characters that started simpler had a chance to develop over the campaign rather than competing for time between the plot and their own stories hanging over their heads.

take dorian. he was a humble bard, a former noble, who’s trying to make his way in the world. he refused great power from an evil source and paid the price in the loss of his brother. he fell in love as the world ended, and is still trying to sing the songs of the people he loves because he wants to bring people joy and bring them together. he’s invested in stopping predathos because of his friends, but also to avenge loss, and to protect the people of his homeland and take up his responsibility as heir to the silken squall.

it took a paragraph. but at the table, even when he was with the crown keepers for a few months, he fits right in. he’s had growth while keeping true to his core.

i’m not going to get into the rest now but there’s a definite element of throwing shit at a wall and seeing what sticks.

anyways, beyond the difficulties of backstory, they’re not super optimized. i’m of the belief that optimization works in tandem with roleplay—the characters are growing and changing over the course of the story, and having the mechanics trace that and make choices impactful is a big part of the appeal of the game.

watching vox machina and the mighty nein fight is a treat because not only are they level 20 and therefore godlike in power, their mechanics support interesting combat where failure hits hard because they’re built to succeed. when someone fails a save or misses it means something. they have options in their wheelhouse but they’ve found their niches and know how to play to their strengths.

bell’s hells is playing high level combat right now, but they have middling stats: lots of dump stats, 10-14s in the middle and some attacks/spell saves that aren’t as high as you’d expect of level 15 characters. they have several characters with perhaps too many options, and have made some weird strategic decisions. they’re indecisive. in combination with fluctuating luck from the dice, there’s times where they can wreck house, but also times of them failing saves, missing on full turns, losing resources, and overall failing more than they succeed.

also bell’s hells don’t make big decisions in combat unless they’re absolutely forced to. in the last arc pre-final battle, the big battles were otohan on ruidus, dominox and ludinus in aeor (+delilah), zathuda and the unseelie in the feywild. with otohan, they were dying all around until fcg’s sacrifice. literally end of the line. then in aeor, they fought to end dominox, got whammied with downfall, and then had the delilah fight, but then her sealing came later. they fought in the arch heart’s temple, but the big revelations came on the heels of that, between the arch heart themself and then zathuda being strung up on the loom.

but of a tangent: i don’t think naddpod and critical role can be fairly compared, because they’re different in tone and telling very different stories. i relistened to naddpod c1 recently along with the last few episodes of c3 as we approach the finale, and while they have gotten more creative on the character building side, the story is still well done and combat is fun to listen to. they have had moments of deep tragedy on naddpod. they’ve had cameos of old characters, and even had one of them as a pc for a full arc mid-campaign 3. they’ve explored the future of the world of bahumia after the events of c1.

and while the story is satisfying and fun, the combat is also satisfying and fun. not just because murph is really good at building combats that are interesting in theater of the mind, but because the characters are built to be good at what they do. and when they go down, when they miss, when they fail, it hits harder. but they bounce back and keep going even when the circumstances suck. and they make narratively important decisions during combat.

with bell’s hells, i have often noted a split between their combat and roleplay. i like matt’s combats. i think they’re fun and make good use of a variety of enemies, terrain, and complicating factors. with vm and mn, it makes for really engaging episodes of combat, where they make use of the environment tactically and get to discover elements of how the field is set up as they go. i’m using the recent examples, which are not entirely inclusive but generally reflective of their combat trends.

vox machina fought their way off an airship, onto a chaotic battlefield, and then stealthed up to the malleus key, where they proceeded to defeat ozo cruth, break the bloody bridge, and get vax out of imprisonment. the mighty nein stealthed around kreviris, met with the volition, zip lined to and blew up the arx creonum, and then snuck through to meet the weave mind in combat. i can recall fun details and clutch moves, big risks including characters dying, and overall, battles that had character interaction.

as i’ve talked about before, bell’s hells gets whomped. they swing for the fences on some things, but when it doesn’t pay off it’s not just a missed opportunity, it’s often an active barrier or a loss of valuable resources that drive them closer to crisis.

imogen’s whirlwind, laudna’s disintegrate, and dorian’s forcecage were all great moves this episode. it also means they’re down some of their highest level spells before they actually face ludinus and/or predathos. granted they have the orb. but whether they can use it will be variable.

[franavu]

While the Archheart's plan seems completely in character for a chaotic god who just wants out of their current situation (kudos to Abubakar), it's also an absolutely terrible idea. Let's say the absolutely best case scenario is going to happen. In that best case:

Imogen and/or Fearne can control Predathos enough that they're not completely erased (this would be the least important part in the grand scheme of things.)

When Predathos is syphoned from the moon it only takes the energy and doesn't cause the moon to crack/explode/implode, causing it to rain chunks of moon down on Exandria.

All the gods actually leave. This is not a certainty as per Taliesin the Wildmother has invested so much of herself in the world that she likely can't leave. I would imagine that that means that the Lawbearer is sticking around as well. Not to mention what would happen to the Chained Oblivion, it's not the same as the other gods, and as far as I know it only showed up sometime during the schism. (Is it even prey for Predathos? Is it of the same species? Would there be a Chained Oblivion Predathos Kaiju battle, with Exandria as the battleground? Who knows?)

On the way out the lower and higher planes get locked down so there is no extraplanar invasion. (The biggest worry would be demons/devils but I can imagine planetars etc. can make a problem of themselves if they see a good cause)

On the way out Predathos doesn't decide to snack on lesser divine beings/things (Uk'otoa, parts of the Luxon, etc) leaving its mutating properties behind. (see the Savalir wood)

The bloody bridge gets dissolved and doesn't tear Exandria's magic apart.

Now, in the absolute best case scenario, none of the above is going to be a problem. Regardless, what is going to be a problem:

Divine magic is going to be weakened at the least. The number of divine healers is going to tank, and while there are lesser beings that can grant divine magic, and it is possible, but difficult, to wield it without any (see Calamity). That's going to take a while to sort out, and in the meantime there's going to be a lot less healing.

A lot of things that got out during the Solstice are still out, like the Phoenix thing that is similar to Uk'otoa (which is probably out again as well) and they are a lot more difficult to seal without divine aid.

There is also still a significant invasion force of Ruidians that are going to be a problem, not to mention the Ruby Vanguard

With the gods gone, a lot of semi-divine powers, whether good or bad, are going to be empowered through new followers and/or warlock pacts, without anyone to keep them in line (again, see Artagan or Uk'otoa)

Vasselheim, the oldest city in the world, is going to have massive issues of at least morale, and is likely not going to be in a state to do anything outside of its own borders.

Other political entities are also going to be looking inwards, consolidating their own resources, and shedding their pereferies. I'd say that, for example, the Dwendalian Empire is likely going to shrink. Countries that are less effected by the loss of the gods, may very well go to war. Places that have been protected by the gods are going to lose that protection, Niirdal-Poc and the other cities which were protected by the Wildmother are probaly going to be run over by the Iron Authority.

Outside of actual war, demagogues, warlords, cult leaders, etc. are going to spring up in the chaos, with various degrees of violence.

And finally there is the biggest problem, wizards. Since long before the Calamity the holy grail of magic was ascension to godhood, and now the thrones are empty. A whole bunch of wizards are going to try for them, and in the best case scenario they fail and only take a chunk of empty countryside with them. In the worst case they succeed, seeing that wizards who's ambition is godhood absolutely should not have it. And now there is no divine gate or other deities to curtail them. So there'll soon be a new, worse pantheon.

So the Archheart is right, there will be a new balance, but as that usually goes, the new balance is going to be built on a pile of corpses, and is likely going to be worse than the previous one.

But hey,

[demigoddessqueens]

What I said: I’m fine

What I meant:

Thinking of how Zerxus tried to see the good in Asmodeus and it cost him everything in the Calamity, how he sees the same parallels with Pike, how Campaign 3 shows the dynamic between Asmodeus and Everlight and how all the gods need their followers to stay in power

[aspiringsophrosyne]

The Mighty Nein: Weird Coincidences.

I've been compiling these here and there when I've had time, but there was a particular reason I wanted to get this post out of the way now. And it's this.

There's been some nervousness surrounding this, and I'm of two minds about it. On the one hand, people overstate just how hard the Nein's story would be to adapt and how much it would need to be changed for another medium. Can it be one-to-one with the original? Absolutely not. (Just as TLOVM couldn't be one-to-one either.) But the main issue is editing; the content is fine on its own.

And if this is the CRew themselves thinking the same thing, that's a little troubling, because it makes it sound like they might be changing more than they need to out of that unfounded fear.

On the other hand, all they might be talking about here is hindsight. The Mighty Nein's Campaign had a lot of strange coincidences, fortuitous thematic consistencies, and one-of-a-kind moments. The CRew is poised to reap the benefits of having these in mind ahead of time. This allows for some remarkable set-up and payoff if those involved are up to the challenge. Which, in the end, could be all they might be augmenting the story to do.

So maybe it's a good time to get into those weird coincidences, huh?

(Spoilers for basically all of Campaign 2 below the cut.)

Names

Veth Brenatto, her alias Bren, and Caleb’s original name: Bren. (This may have been inspired by the German word "Brennen",  which means “to burn”. Thanks Liam.)

Fjord Stone. Cad’s families: Clay, Dust and Stone. How the Wild Mother fits the story of an orphaned sailor like a glove. And how Cad, his family history, and likely the Wild Mother herself never would’ve entered the story if Molly hadn’t died.

A Mollymawk (spelled with a w instead of a u) is a type of albatross. Albatrosses are supposed to be unlucky, but only if you kill one. Per the Rime of the Ancient Mariner, everything goes to shit after a sailor kills an albatross. Molly’s death is just as unlucky, as it paves the way for Lucien's and Cognouza’s return. (In a meta sense, it’s also unfortunate for Matt and Taliesin, as it derails whatever plans they might have had for the character.)

Nine

Whelp.

Nine. Lots and lots of nines. And while Nein doesn’t mean nine in German/Zemnian (it means no), the wordplay works.

Nine schools of magic.

Nine people killed in Obann’s attack on the Cobalt Soul in Zadash.

The three titans (Uk’otoa, Quajath, and Desirat) collectively have nine eyes and nine crystals to unlock them and set them all free.

Nine hells.

Nine betrayer gods as of Vecna’s ascension.

Nine eye tattoos on Molly, each a mark of the Somnovem, the sleeping nine.

And of course, eventually, nine members of the Mighty Nein.

(Just for fun, Tharizdun’s sacred number in its premier in Greyhawk was 333. [3+3+3=?].)

Nein and its actual meaning work thematically as well. The Nein repeatedly clashes with forces and entities that want to mold them against their will into vessels they can use for their own purposes. And the group repeatedly says “Nein!” to that.

Tarot Readings

Molly deliberately pulls specific cards for his readings. Taliesin makes that explicit. However, some folks have pointed out that you can interpret his original reading for Jester where he tells her “You’ve already found what you’re looking for,” to be true in a few different ways. (She’s already found the people who will help her find her father. She’s discovered the company she sought that she only ever had with her Mamma and the Traveler prior, etc.)

But once we get to Jester’s readings, things really pop off. (Pop-pop off?)

Fjord's Reading

In episode 110, Jester draws two cards for Fjord: one for his present and one for his future. His present card is the Eye, which has two hands holding an eye above a restless sea.

There’s no need to elaborate on how that relates to Fjord’s then-present.

His future card is the Home And Traveler. This card could work for all the Nein if you interpret it as someone who will find or reach their home after some travel. But it hits especially hard for Fjord, who finds a home with Jester, the devotee of the Traveler, on a ship that travels up and down the coast.

And then...

Lucien's Reading

The three cards Jester pulls for Lucien are his past, present, and future. Even at the time, they seem pretty fitting.

His past: History and a Dream, which Taliesin clarifies as depicting the Calamity. This fits perfectly with the Tomb Takers’ previous job for DeRogna and their coming into the Somnovem’s patronage.

His present: the Tyrant. We don’t know either Lucien or his goals too well at this point, but we do know he and his troupe kill indiscriminately and he holds an unnatural sway over the other Tomb Takers.

His future: the Death Card. You can attribute that to the upcoming fight between him and the Nein.

But in hindsight...whoo boy. In hindsight, not only do we know of Lucien’s plans to dispatch the Somnovem and become the Tyrant king of Cognouza and all its lost, broken souls, but we know of his fall. More specifically, who he falls to.

Jester, sitting across from him, pulls his last card and tells him “Facing you is Death.”

And then it’s Miss Lavorre who ends him for good.

Divine Intervention

Generally, a Divine Intervention is a Hail Mary. You roll a d100 (or an equivalent combination of dice) and only if you roll a number below your level do you trigger it. Logically, this gets easier the higher your level gets, but you can’t rely on it until level 20.

Taliesin rolls three of these for Cad in the last quarter of the Campaign. And that’s cool enough. But what’s even better is the Wild Mother’s Grave Cleric rolls successfully for Divine Intervention every time he makes a request (knowingly or not) relating to Cognouza. The city that's coming to swallow Melora's Exandria whole.

The first successful roll comes when Cad seeks info about Vokodo, the pseudo-god of the island of Rumblecusp. Vokodo, it turns out, punched a hole through the Astral Plane to escape the hunger of the lost ward of Aeor. And upon its death, it gives a vision that sets the Nein on Lucien’s trail.

The second success comes when the Nein is attempting to uncover the Tomb Takers' secret entrance to Aeor so that they can use it to set a trap. Cad’s success tells them exactly where they need to go. This allows them to get Zoran, Otis, and Tyffial out of the way early, even if it doesn’t stop Cree and Lucien from continuing towards the city.

As for the third, well...we all know what the third does. That it prevails after Critical Role’s first Resurrection Ritual failure, (due to a natural 1 no less!) is just the icing on the cake.

Caduceus even makes the point that Cognouza had functionally become a corpse that was unable to die and that he was uniquely called upon, given his family’s business, to put it down for good.

Odds and Ends

Nott distracts a Manticore from killing Fjord by killing its baby. Her own child ends up in need of a resurrection later on in the story, during their trip to the Fire Plane. Speaking of which, a painting of said Plane can be observed in Trent's house. You know, the one he would end up chasing the Nein to?

Fjord loses his chance to break the first seal to Avantika; he lands the first attack on her Revenant incarnation when the Nein catches up to her after she escapes with his orb, and he gets the final blow on her there, recovering said orb as he does.

Yasha and Caleb are the most susceptible to the Succubus/Incubus mind control. In the former's case, this could be chalked up to her low Wisdom score...but it also serves as some neat accidental foreshadowing for her time with Obann. And for Caleb, it can be a callback to his time learning under Trent.

The Circus Kids' stories sync up perfectly. Both of their bodies end up puppeteered by someone from their respective pasts. Both of them are used to try to end the world. And, probably once Matt noticed this synchronicity himself, both are revealed to have fallen under the sway of the Chained Oblivion. And their stories didn't have to go this way. Molly didn't have to die, and Matt revealed that Yasha could've theoretically made that wisdom save against Obann's control in the King's Cage. But that's not how things turned out.

Accidental foreshadowing:

Episode 19, Molly and Yasha, after acquiring an item from an Orc hermit living somewhat off the side of the road:

Molly: We made a friend. Jester: Did you kill someone for that? Molly: Yes. Yasha: He’s dead. Molly: He’s very dead. And then he rose up from the grave again and we had to kill him again. Twice. Same man.

Also, in episode 23, after meeting the Syphilis Bandits again and leaving one of them out cold:

Jester: What if we put some flowers in his hair; so when he wakes up, he looks really pretty? Beau: That’s good. Let’s do that. Molly: There’s nothing better than waking up in the morning with no pants and flowers in your hair.

In episode 48, Yussa and Caleb have a conversation:

Caleb: Sometimes I follow my friends places I shouldn’t. Yussa: That might someday get you killed. Or may one day get you what you seek.

Following a certain Tiefling up to Eiselcross got him both.

Nott also asks Caleb in this episode if he has an eye on his forehead. This is probably a callback/joke about Scanlan’s blessing from Ioun, but it foreshadows what happens to Veth much later.

Episode 49, about Ludinus Da’leth and in particular, Vess DeRogna:

Fjord: Then we kill the two elves. Jester: Easy peasy lemon squeezy. Maybe we go up into their room at night or something and just, you know... Stabby stab.

Episode 70:

Jester (to Essek): Maybe you’ll like us so much you’ll just hang out.

Dramatic Irony:

Everything the Nein say about Molly after his death and at his grave is, in hindsight, an awful twist of the knife, as his body's former life is far from finished with him.

Episode 41. The Nein learns Orly can make magic tattoos. Beau talks about getting an eye tattoo on her back to mirror Molly’s:

Jester: I mean, I don’t know, maybe it was really sacred to him and he would be really super offended by it. Beau: Oh, yeah, maybe it would, like I stole it from him? Jester: But it’s fine, I’m sure. Beau: Yeah, you know, he’s dead, so, what’s he going to do?

Almost a hundred episodes later, Beau's new tattoo gets a little addition...

Episode 65

Jester: Are you nervous? Yasha: Yeah. Yeah, I’m nervous. I just don’t know what we’re walking into, you know? Jester: Yeah. We’ve got your back though. That guy isn’t going to do anything bad to you.

Episode 91

Veth asks Essek at dinner if he’s heard of a Nonagon, or someone named Lucien. Essek says he hasn’t. This won't be the case for long.

Episode 95

Jester, talking about Cad and the Wild Mother:

Jester: Yeah. So like, when he asks her questions, you know what she does? Artagan: “Nothing?” Jester: She blows the wind. Exactly, she does shit. So and he’s like, “I sensed, you know, I understand what she’s saying.” She’s not doing anything, but he thinks she is.

This commentary is particularly delicious, considering which Cleric's Divine Interventions end up working.

And there's probably some I've missed! These are just the little bits and pieces I jotted down during a rewatch. It wouldn't surprise me if there's more.

But that's to say, just what we've got here is a monumental amount of things to build off of and play with. The Mighty Nein's animated series has the potential to be something extraordinary if the CRew can make use of all these little gifts deftly and with subtlety. There's power and potential here, and I am nervous as hell about whether or not they can tap into it successfully.

[demisexualemmaswan]

taliesin admitting gwen is percy's favorite hurts me in a very eldest daughter kind of way because like.

vesper elaina was probably heralded as like "the future of whitestone" and the sign that whitestone was set to grow and propser after the briarwoods and after the chroma conclave and after vecna

literally her uncle says "the de rolo family is born anew" during the wedding oneshot and she probably has to carry that mantle as a child because even if her parents don't force that on her or remind her of all the things she is, she's still going to hear from the people of whitestone AND even if somehow she doesn't hear it openly, she is going to be well aware that her parents are heroes and famous and then the twins (wolfe and leona) are born and her mother was a twin, so then that's a little like thorn that she probably carries with her, especially when they both become invested in the hunt like their mother (which was shown when the Hells first went to Whitestone) and then her next sibling not only is named after her uncle but has a bear just like their mother which just leaves percy as someone she can feel close to and similar to and that goes on for about two decades until gwen is born and then gwen becomes percy's favorite and even though vesper is technically an adult it's like "oh. so I'm no one's favorite and never will be. but I still carry the burden of all the legacy."

there's also something to be said for the juxtaposition of potential aasimar Vesper due to the influence of Pelor during Vex's trial versus tiefling Gwen

[ludinusdaleth]

essek nearly forgot he only needed 4 hours of elven rest and not a human's 8 - hes used to adjusting to caleb. meanwhile liliana has severe bags under her eyes and literally has to force a daydream to communicate with imogen because ludinus watches her at all hours and keeps her awake - he as an elf (and perhaps more) barely needs to rest and she as a human is being worked to the bone. i think it's very interesting to analyze human/elf relationships and the worldbuilding showing how it can be about compromising with each other out of kindness, or set into a power imbalance (and how essek has grown from ludinus)

[12pt-times-new-roman]

"Light. In a space beyond the real, there was, made of light, a palace -- which is to say, a garden, or fountain, or a mirror, or a heart, or, more than any of these, an idea. A swirling nebula of glimmering potential, cresting eternally upon the threshold of being. But if it aids you, Exandrian, to imagine what the mortal eye can never see, envision then what I have said: a palace, its floors the dancing stars in unmapped orbit, its ramparts light and ice and fire, its hallways memory and time. Our story begins at the ending of the infinite, at the doom that pierced eternity. Fractured images of a lost world, and of the ones who lost it. Remember, now, a place which was not less, but rather more than real. Remember tragedy, betrayal, calamity, downfall. In the recording of this memory, may the answers to many questions lie; but one question yet, and shall forever more, remain:

is it Thursday yet?"

[mayapapaya33]

I just watched episode 107 and it is so fucking funny to me that half of these characters are so up their own asses that they somehow missed that the Archeart is trying to prevent Calamity 2: Electric Boogaloo with his plan, not save the Gods from Ludinus. The Gods apparently already have a Plan for dealing with Ludinus. That plan is to break the Divine Gate (I assume) and smite his ass. But the second they do that, it's game over and mortals are FUUUUUUUUUUCKED.

He basically said "Hey, you saw what we did to Aeor, we are about to do that to Ludinus as well, and there's going to be a LOT of collateral damage. Hurry the fuck up and chase us out of here or come up with a different plan already. Do something before Ludinus does, because we will make the decision for you at that point, and you will NOT like it."

The Archeart is actually much humbler than Bells Hells, this is wild. If I'm reading this situation right, he basically scanned them all up and down and figured them all out instantly; all of their resentment and anger and went, ok I know exactly how to act around these people. Then did what needed to be done to save his children from themselves and their own egos and resentment, because he knew they wouldn't listen otherwise. Amazing. I watched a switch flip in his eyes as he talked to Ashton, and it continued with Dorian.

Dorian in particular is so deep in his grief fueled anger and pain that there's no real way to reach him with logic right now, and I think the Archeart can feel it. So he just goes with it, 'whatever gets you moving in the right direction beautiful, I don't have time to deconstruct your vaguely racist (deist? no, deicist? lol) clumping of all the Gods together under the sins of one of us'.

I watched Calamity, I know what the Gods can do, if they feel like it (Vivid flashbacks of Zerxus getting his face ripped off). Dorian is throwing a temper tantrum because his brother is dead and he's sad and angry. He's feeling reckless and powerful because the Gods need his help, this is his opportunity to be cruel and spiteful and regain some control of his life and make the Gods feel small like he feels small! The Archeart knows that, and simply smiles and calls him beautiful.

With Ashton, the hilarious "Does it make you hard?" turns into a seemingly sincere confession of needing their help. It is true that he needs their help. But the help he needs is on their behalf, to save mortals from a second Calamity and free them from the Gods presence in their lives. The presence that, no matter how far removed or diminished in the world, some people will never stop seeing as a tyranny, truthfully or falsely. He's sacrificing his own pride and dignity to ask mortals to help him help themselves and being insulted for his troubles. And people still wonder whether the Prime Deities care about their children!

[vethbrenatto]

time for me to reminisce on caleb widogast. not the man. the name.

how it was just one of a ton of aliases that bren aldric ermendrud used. it didn’t mean anything. if it was any other day he would’ve changed it the next day. but it was the day he met his best friend in a prison cell, so the name stayed.

and then it was the name he had when he met the rest of his friends that would become his family. it became his name because it was the name that the people who cared for him would use.

bren was never a deadname, becoming “caleb” was never any great show of choice. it was just a name that he happened to have on a particular day. the people that loved him made that his name.

[deramin2]

A Quick Guide To Getting Caught Up On Critical Role Fast

This guide is for people who want the fastest way official to get caught up on all 3 Critical Role campaigns without seeing the full actual play episodes. They're all made so that the AP will still be enjoyable later even if you know what happens. There's no "right" way to get into the series, and already having an idea of what happens can even help make the APs more enjoyable and easier to understand.

Summary:

The Legend of Vox Machina

Crit Recap Animated

Exandria: An Intimate History

Critical Role Abridged

Guide:

Campaign 1:

The Legend of Vox Machina on Amazon Prime is the animated adaptation of C1 by the same creators. Sam Riegel said the creative approach is this was the version in av later play. All the important bits are there, but they get to those moments differently.

The Legend of Vox Machina has 3 seasons out now that cover events up through at least episode 85. A 4th season is in the works and will probably cover the final arc.

Campaign 2:

An animated adaptation for Amazon Prime called "Mighty Nein" is in the works, but not out yet.

Crit Role Animated is an older comedic summary series presented by their Lore Keeper that covers the whole campaign in 10 videos. Great if you want the gist.

It's like a history crash course history video meant to get you curious to learn the full story later. Great way to get a sense of who people are and what they've done. Available on YouTube and their streaming platform Beacon.

Exandrian History Review:

Exandria: An Intimate History is a timeline review of key events in world history, starting from the creation.

It was released before Campaign 3 as bonus content. It represents what the average person in Exandria knows about world history up to that point.

Campaign 3:

Critical Role Abridged is the Campaign 3 AP condensed down into 1 to 1.5 hours. It mostly cuts down combat to the narrated results and reduces table chatter and indecisiveness. It's a great way to experience the full campaign.

Critical Role Abridged is coming out 1 a week at a time on YouTube and 2 a week on Beacon. YouTube is currently up to episode 25. Beacon is up to episode 47. The AP is at episode 109. At some point you'll have to switch to full episodes to catch up.

Wiki:

There's also 2 world-class wikis where's you can look up extensive and meticulously cited information about anything you need. I prefer The Encyclopedia Exandria.

Viewing Notes:

An important thing to know about "continuity" in Critical Role is that it takes a more realistic view of how history is passed down through the ages and even dedicated academics will never know the full story or be fully correct. They know versions colored by in-world biases and lost knowledge.

Which is great for you the viewer because any campaign you comes into, the characters don't know most of what happened in past games. What they actually know will come up in game. The players have above table reactions and some subtle in jokes, but try not to act on meta knowledge.

It's structured a lot like reading one history book and then wanting to go back and read more about past events that set the stage for all those things to happen. They've tried to make it easier to come into the story happening now.

I certainly enjoyed watching the full APs from the beginning, and I think you can get a deeper understanding of the story from them, but it takes thousands of hours to catch up on the story that way and it isn't realistic for everyone. Each series builds on the consequences of past events more than they rely on unexpected twists, so already knowing what happens just helps you notice all the little things that led to them. Similar to how Shakespeare's plays are often more enjoyable to watch unfold if you already know the basic plot points going into them.

Happy viewing, and I hope this helps you or someone you know get into this very rich and interesting story!