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pepsiwriteswords · 2 years

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!! !! !!

(for that oc introduction thingy <3)

!!!!! <3

Okay, three characters!

Hmm... who do I introduce you to?

~Going under a cut bc I decided to add picrews & songs & they make this seem very long to me even though the intros are actually really short xD~

We'll start with one of the Disconnected ladies. xP

Desina!

(picrew link will be at the end, because tumblr formatting >.>)

Desina Belleville, or CallMePerfect/PerfectionDraws/BelleoftheVille (depending on the website), is a relatively well-known artist. She grew up rich, & is still rich in the present-day. Her family was loving, but stifling. Affectionately called 'Princess' by the love of her life (who I am not introducing rn, despite how much I love her. xP Gotta iron out some character details).

Have a character theme song, too. XP

Okay, moving on to another WIP...

Uttara!

Uttara is baby. The younger sister of the new queen of Alia Terra. She's the kingdom's favored daughter, but she wouldn't know what to do if she was given the crown & everything that comes with it. (Her sister would have to act as regent, anyway, she's like, 14.) She's a sweetheart & I love her.

Annnd for the last character...

I mean, it's not a new introduction, but maybe if I talk about one of the polycule I'll be able to write them again. xP

Orym!

(With a different picrew, just because xP)

Look at pers! I love this picrew, it’s so cute. & it made me decide that Orym’s gonna get a snake at some point.

Anyway.

Chaos gremlin. Weak necromancer but incredible with per nature magic. Looks like a cinnamon roll but can & absolutely will kill you. Had a grand total of one (1) decent adult in per life growing up. Definitely autistic. Is currently taking over paying for the polycule's room at an inn bc Sanev & Devdan were just harassed by one of Sanev's siblings & need a minute. xP

Picrews used:

https://picrew.me/image_maker/1769085

https://picrew.me/image_maker/1414503

This took me forever, holy hell. Thank you for the ask, Mara! ♪(^∇^*)

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agarthanguide · 9 months

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Very much love your take on the new looks for Orym and Ashton! I saw a bit of your post about how Liam and Tal give feedback... would you be willing to share any information about how the back-and-forth process works between you and the actors as you work on their stuff? (I just love hearing HOW the awesome happens, not just the end results.)

Yeah okay. Lemme think, here. Alright let's so this as a numbered list-

1- Actor sends description of character. This is pretty broadly interpreted, in my experience. It's something between a brief paragraph, an annotated pdf, and multiple pinterest boards.

2- I send back a Pitch. This has taken multiple forms in the past, but it's generally settled into a few pages, that kinda go- a- Poses and Vibe Sketches- This includes little portraits, attitude poses, a couple sketches showing extreme dynamism or movement. I try to suggest outfits and weapons or accessories, here, but I don't spend a lot of time fleshing it out. b- Outfit Poses- usually on a turnaround or one fairly lowkey pose. I try to include 3 or 4 serious attempts at outfits and maybe a couple of backs, if it's important. c- Color- I usually just pick an outfit at random and try to give it a few different palettes. If the actor is absolutely sure what the palette is, or if it's a character I've worked with before, I might just make one palette and briefly color each of the outfit sketches from b in that palette d- Accessories, Weapons, Other Important Stuff- if the character is carrying around like a book or a bird or a really specific weapon, I try to address that in its own space, though sketches for all of those things may exist on other pages. This has been known to be very pretty or a bit boring.

3- There is some form of back and forth between me and the actors (and a producer, who are all lovely and don't step in on creative things but are always working against a schedule and need to know how things are going. I just want to be clear that every producer at CR is a secret angel who eats deadlines and shits magic and every one of them totally Gets It. They are all One Of Us). The back and forth is always individual and based on the actor but it can be- a- Actor picks from menu, usually via complex "circling" system (also all sketches are numbered, so they can just ref numbers). b- Actor sort of picks from menu, while moderating and adding further references. c- Actor just sends a bunch more shit and I narrow stuff down based upon what they seem to be getting at.

4- There's this bit of finding what the pose is gonna be, marking in all the necessary accessories, getting that last email about adding a scar, can we add a necklace? etc. What you are left with is something that the Producers call "pre-final." If it hasn't already been with the modelers and painters this whole time, this is when the modelers and painters get the design and start their magic.

5- I go away into a cave for a time period of quiet reflection with my Gods. I refer to this period as "rendering." I cannot be reached by the reason of man and spend a lot of time bitching to my friends while I try to figure out why shading a cape is suddenly the most difficult thing I've ever dealt with in my life.

6- Done!

#i hope this is what you were asking for #and i didn't just write out a really boring list of chores lol #what's important is that the whole process feels private #even though I know it has the eyes of a LOT of people on it #including sensitivity consultants and friends and family of the actor #i consider that a Good Thing #it takes a village to raise a dnd character

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utilitycaster · 1 month

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You described C3 as frequently feeling like it's accelerating only to pump the breaks, and that really perfectly articulates some of the mixed feelings I have about this campaign. There have been a couple of times now when I've been really excited and invested in where the story is going (Laudna's death, the party split, Ashton blowing up, now with FCG's death, etc.), and then it's felt like that momentum has been either derailed or softened (either immediately or after an episode or two). It's all moments on the darker end of the emotional spectrum, so I wonder if it's folks wanting to pull back from it, but it feels like it's been a theme in this campaign in a way it wasn't in C1 and C2. Maybe there's something else going on that I'm not thinking of though?

So I think this post about pacing I made earlier this week covers this indirectly. I think it's a mix of the early groundwork for the party developing a culture of checking in with each other, working through conflict, and deciding what to do being constantly interrupted; and the fact that this is a more heavily railroaded campaign. I want to be clear - I don't think the railroading is bad at all! But I think that the prep for a campaign that had a more defined plot, especially starting quite early on, needed to be more extensive. I think it should have probably had a session zero that was a tradition one - not a playtest of two or three characters who knew each other, but the main cast members sitting down and saying "oh, huh, no one here has a high INT score" - or a heavier hand from Matt.

I think, for example, Ashton exploding was great and the choices afterwards were sound, it's just that the party doesn't have the tools to resolve this sort of conflict and so they shy from it. I also think some of the players who tend to embrace difficult choices and conflict that ultimately lead to those darker places and, in my opinion, better story, have chosen to take a back seat; and some of the players in the position to make those bold decisions have declined to make them, which is their right in terms of agency but is less of the story I personally wish to see.

I do want to note that like...they have interrupted the story but they have not yet been proven to have pumped the brakes now; it is possible the cast will pick up seamlessly with the next episode. It's really just that like...as you said, it feels like a pattern.

I suppose the next thing I'm going to say is going to be unpopular, but let's be honest, that has never once stopped me. I think a lot of Campaign 3's more passionate defenders are people who prefer what I'd consider quick, easy, feel-good highs, with a trade-off of a deeper narrative since that requires effort. The people who unironically said "must a story have conflict?" The people who just want weeks on end of downtime after this moon plot (and look this campaign has surprised me many times, and as this question indicates, not all were positive nor narratively satisfying, so I absolutely could be wrong here but I'm just increasingly like...what will they do after this moon plot. Name a significant plot hook that isn't part of the moon plot.) The people who are like "why would the party attack Bor'Dor simply because they tried to kill them? Why would Orym contact the person he clearly has a massive crush on when he's upset when other people are right there? Why would the people of Gelvaan have reservations about mind readers? Why doesn't Ross, the largest friend, simply eat all the other friends?"

But getting back to the original point I really do think that because of the different nature of this campaign - and it is different, structurally, and I don't think that's the root cause - more intense prepwork needed to be done both leading in (character creation) and in the early stages, and I think because it was going to be so tightly plotted later on I think it needed looser plotting earlier to allow the party to mesh and be easier to guide.

#cr spoilers

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kaylor · 2 months

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Is campaign 3 worth watching 😭 im somewhere near ep 45 and there have just been so many arcs that do nothing for me. The stakes feel absurdly high for uhh level .. 6? and i thought it would get good at some point but if they still cant make a plan by ep 80 i dont think i care to waste my time 😭😭

yuhhhh i don't know man. the malleus key and the fallout of it is pretty dope, and idk how many spoilers you've seen so i'll leave it there. but after that it gets very boring again i can't lie.

you're so right about the high stakes!! these characters haven't had any space to breathe or grow since like episode 20 or whenever it was they found out about predathos and the world ending. they've been chasing a plot they're not ready for without doing any of the character work that makes you care about their goal. it's difficult to see why the party is together in the first place because they don't talk to each other or have any reason care about each other (except fearne/orym and imogen/laudna but the latter is so bland it's actually painful).

the party doesn't gel, there's no motivations from anyone beyond orym having a personal stake in it. imogen is so wishywashy about everything. none of them care about the gods except FCG, and no one in the party cares about FCG. except ashton, who is played so passively and unpleasantly that it doesn't even matter. there's no caleb/vax doing his biweekly checkins with each party member to unlock new dialogue. there's no fjord/grog to make a buckwild (yet thematically relevant) decision to direct the party in any direction. there's no driving force behind any of these characters like sorry liam and travis, turns out if you take a backseat to let your friends have the spotlight, they will do sweet fuck all!!

another problem i think is how they're given so many pieces of the puzzle at once, whilst the big bad is already in play. i don't know if that was matt's intention, but it's led to them barely following up on any character driven plot points because, well, the world might end. so any extracurricular character development is nixed in favor of chasing a maxxed out uberbaddy who is almost definitely going to kill them. any cool character moments kind of happen in spite of rather than thanks to the events, and honestly feel a bit forced sometimes because the characters have all been so stagnant for so long, and honestly the most interesting things about the characters are their backstories, which have already happened. their current motivations are a mystery and none of them seem interested in learning more about each other. it just feels very awkward and stale.

PLUS, the stakes are absurdly high but also there are no consequences for anything!! laudna dying didn't feel important because it wasn't permanent! because they can apparently just ask a member of vox machina for a resurrection!!! absolutely bizarre choice from matt to allow that, if i'm being completely honest. like sorry i know that's your wife but marisha should be 40 episodes deep into her backup character by now because there's absolutely no way anyone in VM would agree to resurrecting a delilah briarwood puppet let's be so serious. the party (especially imogen) dealing with a PC death would have made for some really interesting development, and would have created an opportunity for imogen to either take a leadership role to get revenge on otohan, OR break bad and turn on the rest of the party. some delicious pvp. but unfortunately laura doesn't seem to know what to do with her character and therefore does nothing, so it felt extremely flat and meaningless, which kind of sums up c3 tbh. some of the highest stakes but barely a PC who gives a shit.

the past say 10 episodes have been a slog for only a handful of cool moments, so i really hope post episode 82 it picks up a bit. plot is fun and situations are fun but i'm struggling to care about any of these characters because it doesn't seem like any of the cast care about them either. which is a shame because some of them have huge potential, FCG is literally an aeormaton!!!! my god you have GOT to get into it. why is no one getting into it!!!! will someone PLEASE pick up what sam is putting down!!! the payoff is always so good!!!

#also if i were matt i would ban the use of the guidance spell #some of them just seem to only care about rolling high and winning d&d #critical role

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masterqwertster · 10 months

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24. "Unless you ask me not to in the next five seconds, I'm going to hug you." from the vague dialogue prompts for Chetney and Ashton please? in the secret library AU.

-@inconmess

Prompt Gotta admit, I'm really pleased to see people asking for prompts with the different AUs this go around instead of me picking at random. I love getting engagement with them. The fun thing about the Secret Library AU is that it's (as @thecassafrasstree pointed out in the concept post notes) very well suited to extra little tv show style episodic adventures. And one of those little "episode" ideas that's been chewing at me is Ashton getting their genasi curse removed in a mishandled artifact incident/accident. And they're excited to be human again, but also just kinda bad at it. He's been made of stone since he was 15-ish and just doesn't know how to be physically soft and squishy anymore, leading to some (kind of funny) accidents around the library. Ashton takes the curse back, in the end though, because being human hasn't really been him in a long time and the strength he has as a genasi lets him better protect his people. ...And there's probably some desperate situation where he needs his old stone strength/body back to save everyone, as these things usually go. This little tidbit would be in the fallout of Ashton taking back their curse. 24 "Unless you ask me not to in the next five seconds, I'm going to hug you."

Chetney knows what it's like to go between human and what most would call monster.

That's kind of the whole deal with lycanthropy. Sometimes you're pretty normal, sometimes you're a fucking sexy beast ...with some feral instinct issues.

Anyways, point is: Chetney's got some idea of what's going on in that opal brain of Ashton's, and it's about time the punk rock stopped moping.

It's not very difficult to track Ashton down. When they're in a mood that isn't punchy, they can be found in the lounge, binging documentaries, snacks, and/or alcohol.

By the looks of it, they're not full on wallowing today, as there's only one empty beer bottle on the coffee table and the second in their hand is still half full by the swish of its contents while the mess of emptied snack bags speak to Ashton having parked their ass on the couch hours ago.

"So. How long do you plan on moping?" Chetney lightly asks, sitting down on the sinfully comfy couch and swiping a packet of jerky to gnaw on. Mmm, teriyaki.

"Shut the fuck up, Chetney," Ashton grumps, eyes fixed on the screen. Looks like a Western Wynandir castle documentary. Chetney's actually been to a few of those places.

"Right. No plans. Cool, cool," Chetney rolls with the attempted shutdown. "If you want my opinion on the whole thing-"

"I don't," Ashton growls.

"-as someone who's been a boring ass normal human for 70 years," Chetney continues undeterred. "I've never felt more alive than after I became a werewolf. I can do cool shit, and what I do here at the Library fucking matters. Can you really say you wanted to give that up?"

Ashton actually pauses the documentary, turns to face Chetney.

"Orym's a regular fucking human, and he does this shit. Being human doesn't mean giving up all of this," Ashton argues. But Chetney can see that it's more confusion, being lost, than anger behind the intense tone. The kid doesn't know where he stands anymore, and that's what's got him down in the dumps and tangled up in knots.

"True," Chetney softly agrees. "But Orym wouldn't be able to handle the problems here half as well as he does if not for all us not-so-normal types backing him up."

Ashton's eyes drop to their lap, their hands fisted in the fabric of their sweatpants.

"I just- I'm not like you and Fearne and Imogen and Laudna. I can't pass for human when pressed. I'm too hard, too heavy, too different. But I was human once and I don't- I can't be anything but this. Can't even pretend I'm not when I know how different it feels."

And Chetney's heart breaks for them a little bit.

"Fuck. Unless you ask me not to in the next five seconds, I'm going to hug you," Chetney declares. The kid obviously needs it.

"You're kidding," Ashton says, staring at Chetney in disbelief.

But Chetney's not, and he wraps the punk in a good ol' fashioned hug. Even gets fuzzy for it to make it even more comforting. Maybe. Look, he only caught a few minutes of that service animal documentary, but he remembers it saying that hugging animals is good for people.

Ashton stiffens for a second or two, and right as Chetney's thinking he should let go and back off, they lean into it. And fuck, the kid is heavy. But the wolf is strong, so he keeps them both upright for the hug.

After a little while, they pull apart and resettle on the couch.

"If you fucking tell anyone..." Ashton threatens a few minutes later.

"I won't," Chetney curtly agrees.

Neither of them are good at showing their bellies. It's the curse of a tough exterior and a gooey core. But every curse can be lifted, if only for a little while.

#MQ&A #MQfic #MQ AU machine #critical role #ashton greymoore #chetney pock'o'pea #bells hells secret library au #vague angst quote prompt

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mell0bee · 2 years

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bell’s hells as the oh hellos songs

i made this like 2 weeks ago and never posted it. so here it is. this is mostly about the Vibe rather than like the actual lyrics. and happy thursday!!!

chetney: eat you alive

these things that you're after, they can't be controlled this beast that you're after will eat you alive and spit out your bones!

it was difficult picking one out, but seeking new power and defying fear is pretty good.

laudna: grow

and the way the shadows on the wall are cast look like a twisted apparition from the past and all the memories come flooding fast a wilderness you kinda miss but you were taught you ought to cut it back

the nature theme doesn’t fit her exactly, but undoing death and shoving down your past does i think

bonus instrumental: danse macabre

orym: cold is the night

cold is the night without you here just your absence ringing in my ears hard is the heart that feels no fear without the bad, the good disappears

grief, moving on, traveling, home!

imogen: pale white horse

it was a pale white horse with a crooked smile and i knew it was my time it was the raging storm of a foreign war and a face i'd seen before

oh a song about the apocalypse? horses and storms? hmmm who do i know is associated with those things…

ashton: theseus

we keep fixing what we know is only bound to break what's worth saving is never worth letting go to waste i wanna mend what i've got, instead of throwing away

i think this is more what i hope ashton grows into, though there’s a bit of how they are now, fixing and rebuilding

fearne: there beneath

there beneath the willow tree i learned a lot about the way of things i learned that everything (the wind, the leaves) has breath inside

the feywild’s great yknow?

bonus instrumental: a convocation of fauns (a faunvocation, if you will)

fcg: boreas

in the end all i hope for is to be a bit of warmth for you when there's not a lot of warmth left to go around

this one was also really hard lol but being a caretaker with pent-up anger works

dorian: lay me down

see, i was born a restless, wayward child i could hear the whole world calling me outside of the masses i routinely sat behind and lord, i had to see with my own eyes

DUH.

also i ran out of links but bertand is 'i have made mistakes' ALSO DUH

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utilitycaster · 1 year

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If you could build a character to screw with Bells Hells (in an ideology way Deanna already did the other) how might you build them?

You know, this is a very difficult question for a couple reasons:

The first is that the party itself has a pretty wide range of ideologies! I think it's very hard to faze Fearne or Chetney (unless you're his ex, apparently) simply because she's so open to experiences and he's lived such a long life. Imogen and Ashton are both very cynical, but I think they'd mostly be disgusted at worst by a super perky and naive person. Laudna likes most people, as does FCG, and Orym is unlikely to make waves even though he does have plenty of personal preferences.

The second is that I firmly believe that you can make a character that intends to push people's buttons...but you are here to work with the party, if you're playing a PC. I've been thinking about this a lot actually, what with all the "Emily breaker of DMs" discussion, because on NADDPod's various commentary shows (both the Patreon-only Short Rest after show, and also a lot of their D&D Court/Hearthside Chat episodes) she always talks about being very sensitive to both party composition and wanting to play a character who very much has a reason to be there and to bring everyone together. I find that aspirational, and so some friendly ribbing or playing someone who will challenge a character ideologically is fine, but I'd be reluctant to be actually antagonistic.

So I think like, the true answer is "Aabria sufficiently messed with the party by being a cleric with a complicated deity relationship, which messes a bit with both FCG and Imogen, and also was Chetney's ex so that got him good, but at the same time her build was incredibly beneficial to the party composition; she has won, and no one's going to top that." But were I to attempt to compete: I mean, I'm going to take @captainofthetidesbreath's suggestion here and do cleric of the Dawnfather/Chronurgy wizard:

Cleric of the Dawnfather now is going to fuck with everyone, especially if you are just straight-up a generally nice person who follows the Dawnfather and has no specific ties to Vasselheim or the larger church hierarchy. I think a life or light are the obvious domains to pick; the domain itself won't really affect how the party feels about you.

Chronurgy wizard who just knows Ashton's whole deal immediately is going to totally mess with them.

I think the combination of cleric and wizard would do all kinds of wild shit with Imogen's understanding of power; following a different god than FCG and having very high intelligence/knowing the world isn't flat is going to be a whole fun thing there as well.

For maximum fuckery: Be an elf who's like...450-500 and a survivor of Molaesmyr. This achieves several things. First off, you can feasibly call Chetney a young man while being middle aged yourself, and see what the fuck happens. Second, you can just hate Ludinus for petty reasons. Literally if anyone breathes any positive words about the Vanguard be like "did you know? Ludinus HATES dogs." Go full Bitch Eating Cookies on him. This is hilarious and great because it shuts down conversation but you can just be like "no I have ideological reasons, obviously, but more importantly, he failed to reimburse me for 400 gold worth of high quality paper."

Be very slightly dismissive of druidic magic. Not in like a bad or hurtful way, but just enough to make Fearne and Orym sort of grit their teeth a bunch. Also, just be like...not into Pâté. Like, not freaked out, not upset, just. Not into it.

EDITED: I was so caught up in the flavor and details I forgot this was a cleric multiclass and your wisdom has to be decent so take either the observant feat or locate object and make it super hard for Fearne to steal from you. (Sorry, I am envisioning this as like 2 cleric levels and the rest wizard, so I'm thinking of them as mostly wizard).

Have an ring of mind shielding that you have made invisible.

#answered #Anonymous #cr tag #this was fun

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utilitycaster · 2 years

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So. I haven't seen The Episode in Question (how y'all are able to keep up with 4 to 5 hour episodes weekly is serious dedication) and most of the information I have about it has been by reading you discuss it with your followers, but you've mentioned a few times that you think Matt should've 'called a time out' because there was an obvious lack of realization/picking up on hints from the players (Whether that's on the players or the DM in this case I cannot render an opinion).

Talking in a more general sense, as a budding DM (session 4 later tonight), doesn't that, pausing and telling the players what they're missing…I know this is going to sound a bit Adversarial DM vs Players...kinda rob the game of consequences a little bit? I know consequences in DnD, especially the kind of DnD Critical Role plays, can be final and harsh...but, like, I'm just thinking from a player perspective: unless I'm sitting there obviously frustrated and confused, I don't want the DM to hold my hand and tell me the answer, I just want a more obvious hint.

So this is completely fair and I should note: I have never, personally, called for a time out, and I don't think it's necessarily the only way this could have been handled. I bring it up here because the degree of miscommunication truly felt egregious to me.

If you want a summary, feel free to check CritRoleStats' live tweets which I think are pretty matter-of-fact and neutral, but in short:

The combat, which occurs by surprise (it's fair to say the party was aware of Otohan's existence; it's even fair to say that something Laudna did might have tipped Otohan off, but I think it is still not well telegraphed), after a pretty long day, is immediately shown to be extremely brutal. The party fairly quickly agrees to run, with some party members choosing to stay to allow others to run. The resolution ultimately is that Imogen needs to give into the storm within her; attempts to surrender or bargain do not work.

It is a six-round combat. Unless CRStats missed something or I missed something, the first explicit mention of a roiling storm calling within Imogen comes in round 5, after both Orym and Fearne have been killed. This is also definitely the first time she is asked to make a wisdom save. She explicitly states that she will not lose those party members only to give into Otohan and passes the first save, and then, in round six, after Laudna is knocked unconscious and knocked to two death saves, and she has explicitly surrendered herself, and that is still not enough, she fails a wisdom save. We end the episode with everything going red, then white, and Otohan exulting.

At this point we return to my opinion: if the way to end combat was that Imogen had to give into the storm:

It seems apparent to me, and perhaps this is subjective, that Imogen is still very much at this point in the story resisting the storm. She has only just begun to consider exploring it in her dreams, let alone in a real-world scenario. It feels out of character for her to give in voluntarily, and I think the point where Imogen outright says "I won't lose them only to give into you", which happens after two party members are dead, is a sign that this is an end goal that the character is going to resist.

Which brings me to the point of "why, if the goal is for Imogen to give into the storm, and if this only happens after she starts making wisdom saves, and the episode only ends - combat doesn't even necessarily stop, though Otohan seems somewhat appeased - after she fails one, was she not asked to make wisdom saves from round one."

Again: I really can't say if there was no other way out (other than killing Otohan, which would have been very difficult, and the party very early on decided to run). But Laudna's 22 persuasion check failed. Imogen repeatedly offering herself up failed. Midway through combat, Otohan stopped just taking people down but not going for attacks while they were unconscious into outright killing them.

Imogen is also a character with, I believe, a +2 to wisdom saves, and a 16 passed. I don't know the DC; I don't know if the DC was going to increase; but I find myself asking what would happen if she managed to keep passing her saves? What if Laura kept rolling crits? would Matt kill the entire party until Imogen did precisely what Otohan wanted? Is that fair to the party, who did not seem to have any ability to stop the fight, only to try to kill Otohan or run?

There's a line Brian Murphy of D20 and NADDPod says sometimes, of "sometimes you can just sense the DM sweating" with regards to certain strange decisions. I don't know if I'm right here, and I cannot make any final judgments until next episode when we see how it all resolves. But it feels like Matt was deeply caught off guard by the party, and especially Imogen's resposne. And perhaps I should probably give him the benefit of the doubt I've granted the cast, fog of combat and all that, but also, he is a very experienced DM, and the fundamental structure of what the enemy wanted from combat does not feel like something you can reasonably expect D&D players to understand without explicit statements.

It feels to me as though the consequences hit before it was even remotely clear what the DM wanted. The cast repeatedly says out of character that they don't know what Otohan wants; like, I don't know if they were frustrated, but I think it's fair to say they were obviously confused.

So anyway I don't think a time out is the only way to solve it, but I think that perhaps the in-game attempt to course correct actually made things worse and a time out would not have done so.

#answered #punkrockgenasiashton #critical role spoilers #cr discourse #(just in case)

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