#Critical Role Rant

[robert-bond]

Starting to get really fed up with the discourse around campaign 3 and the narrative direction Matt is taking. Most arguments people are making that Bells Hells are muddy-ing the concept of religion in Exandria can be narrowed down to people impressing their own opinions/experiences of religion on to the world of Exandria and these players. 

People are calling out the players for doing the same thing, and citing that the gods of Exandria are the Dawn War Deities, but Matt has been SUPER explicit that the Dawn War Deities may have been the starting point for these gods for the ONE SHOT adventure for Liam, but ultimately over 12 years the deities, and Exandria as a whole have been shaped and morphed as time goes on. 

It’s no longer accurate to say that the gods ARE the Dawn War Deities. They are the Exandrian gods. Not to mention two normal individuals have ascended to godhood over history, further muddy-ing the original ideas of what it meant to be a god and their alignment.

Speaking of alignment, C1 was the ONLY time that alignment mattered. Vex was forced to change their alignment mid campaign because of a choice, but from then on this was no longer an issue and it was almost never brought up again for C2 or C3. SOOOO, with that said, the gods ALSO don’t fit the traditional alignments anymore. I’m sure they still fit close to their original placements, but Matt is allowed to reveal more information about the god’s actions and to what extent that fits in their alignment image.

In addition, the Krynn dynasty actively takes the original concept of the gods on creation myth and turns it on it’s head, further breaking down the idea that these gods deserve their place of high holy-ness.

Overall, Critical Role is 8 players (plus guests, sometimes) and 1 DM playing a tabletop RPG and telling their own story the way they want to. Fucking LET THEM LIVE and play the way THEY WANT TO

/endrant

#critical role #critical role spoilers #c3e64 #critical role rant #it's not your world it's theirs #we should be thankful we even get to watch this #go watch something else if you don't like it #cr spoilers

[uselessgayshit]

some of y’all watching critical role have never played d&d and it shows… even in the show, plenty of times, they use AOE spells that negatively affect their friends. and y’all are asking FCG to not use an intrinsic part of their character class because it’s disrespectful to laudna????? there is never a fear that he could destroy her using that. her level is always going to be higher than what FCG can destroy. there are mechanics in this game and sometimes they exist completely outside of character choices and that is okay

#random rants #critical role #critical role spoilers #laudna #fcg #fcg critical role #laudna critical role

[that-ari-blogger]

Critical Role's Cameraman

So, Critical Role (@criticalrole) just released their newest opening title sequence, an animated sequence in the same style of Your Turn To Roll and I would be remis as a film nerd to not pick apart every detail.

What fascinates me about this introduction, however, is the camera movement and shot composition. Allow me to explain.

I DONT THINK THERE ARE SPOILERS AHEAD, BUT JUST TO BE SAFE

So, we open with a hand, this is a close up, I don't think that is unobvious.

But this stops being a close up rather quickly, before it starts moving away. The shot just gives the hand context, and suddenly you aren't in an extreme close up of a hand, you are in a medium shot of a very large person. Then the camera pans backwards, and you can see villains and places spring up, although the perspective on Matt remains weird. Is he a few metres from you, or a hundred? How big is the Game Master here? There's a sense of mystery, of incomprehension. This is setting up some cosmic horror shenaniganry.

Then, we get Fearne. This is a wide camera motion, swivelling around her in a tracking shot that focuses on her face, and those eyes. It is like a reverse panorama, where Fearne is taking in the world, the world is observing Fearne.

But I want you to take note of the leaves here, because they are used to form a connection between her and Orym. The transition uses them, while it isn't a direct wipe transition (the leaf just flies close to mask an abrupt cut), it is framed as one. The name of that isn't important, though, what's important is the leaves. By being in both shots, they emphasise the relationship between the two characters. But where for Fearn they show off her sense of wonder, for Orym, they take on a very different meaning.

Notice, however, how still this shot is. There is no sense of danger here. This is a scene of a warrior with a sword and two people passing on from this world. But it's calm. Because this is a memory. Orym might not be at peace with the death, but the memory isn't a violent one, it's a memory of his family's lives.

Cut to a close up. Orym creates a gust of wind.

And cut to the next shot.

I will not lie, Bertrand is my favourite character across all of Critical Role, so this shot of him made me smile, but it isn't the point here. The point is Imogen's introduction.

Although is Bertrand not actually the point? Because take a look at how Imogen is shown here. Do you notice anything?

She's shown in the exact same way. Imogen is shown doing the exact same thing that those who have died have done. And she can see them ahead of her. The camera panning back shows a wider perspective here, showing her as she tries to run, tries to get away from the same path as Bertrand.

The wind from Orym's blade that came to this scene gets across a consistent element: Memory. This is a dream. But dreams can become nightmares.

As Imogen loses her footing, the camera gives some of its wildest movements yet. It tumbles around her, then looks up.

The camera stops moving when it sees the red moon, because now the viewer has something to orientate themselves around. There is a constant point, and we can see Imogen falling down. And getting closer, and closer, and closer, until.

These are the three frames in order, there is nothing in between.

Imogen crashes into the screen, and we get an abrupt impact frame (that's the black and white one) then Ashton. This is so cool to watch, in my opinion, but it is quite possibly the opposite of smooth in camera work. So why is it so cool? Motion.

The motion is in towards Imogen and out away from Ashton. They are both falling, just in different directions. And the impact frame both helps smooth over and accentuate the abrupt transition.

The camera around Ashton is a tracking shot. They are falling, but they remain the exact same in the screen (shrinking slightly). The rest of the world moves. And when Ashton lands, the screen cracks. The tracking shot is used to show Ashton's disassociation with their surroundings. Not in a "I feel nothing" type of way, but in a "it's me vs the world" type of way.

Then, there is an abrupt cut away. Nothing hides or smooths this at all, because Ashton's memory isn't smooth, and neither is Ashton. Remember the disassociating thing I mentioned, now it changes again to someone who gets lost in his thoughts. Medium.com calls this an "anxiety stare" and as someone who does that on the regular, I can attest to this abruptness being exactly what that feels like.

I'm not going to talk too much about the ship, but just be aware that there is a Dutch angle (the horison is diagonal) here to heighten the stress of it.

Likewise with this shot, there isn't much to talk about. The slow outward zoom and triangular composition are neat, and the tiered reactions (bottom row reacts, then middle, then Fearne) are amusing, but other than that, not much.

Then we meet Laudna, playing with Pate and giving him life. That's a neat little shot, I wonder if there's a metaphor there.

Oh.

This is a super cool visual because it establishes exactly who this character is in two seconds. But I also want to point out the symmetry of this. The hair becomes the blood which becomes the hair again, and then the tree.

Laudna is introduced as big and scary and imposing, and that is very intentionally undercut by making her look small.

Being small means you are less likely to be the focal character, so shrinking Laudna takes away her agency. Only to give it back through Imogen, and when the camera pans back outwards, Laudna is the same size, but the colours and the surroundings make her feel less alone, and as a weird result of that, less small.

And last but not least in this moment, there is the delayed drop of the hands. Laudna finally feels safe and finally breathes a sigh of relief.

That, however, imediately match cuts to this. FCG's vision. The red tinting has obvious implications that I don't need to explain, but the match cut heavily implies a connection between this group and the Bells Hells. There is a fear that this might happen again made clear by a single transition.

Here's something else. FCG doesn't move. At least, the camera doesn't treat them as moving. It's a slow panning out as if nothing is happening. It's the disassociation vibe that you get from Ashton's falling shots now repurposed to someone who isn't in control of their own actions. This is what FCG is afraid of, this is the important pieces of his character. This is FCG.

And just like Laudna, FCG finally gains agency when surrounded by their friends who hug them, and FCG finally moves.

Chetney Pock O'Pea, outlaw of the RTA, alpha of his own heart. A fundamentally chaotic character who takes rules as suggestions to be intentionally ignored. A man who's first instinct upon meeting you is to consider how you could be killed. And he is introduced whittling, with a steady camera and warm light illuminating his face. This is a peaceful side of Chetney, there is a duality to him.

Speaking of which, notice how Chetney draws back from the light as he transforms. His eyes begin to glow, but they don't illuminate him, until this:

Chetney is now backlit by the cold light of the moon itself (There's a neat reveal of Ruidus caused by the pan, but that's only tangentially relevant). Notice how much further you are from him here than in his first shot. But notice how much of him is visible, and how much of the screen he takes up. It's the same, this is still the same character. It's a true Doctor Jeckyl and Mr Hyde character. This isn't split personality, but a character who can be a different person in each form, while still remaining Chetney at all times.

There is more in this video. I encourage you to watch it, but unfortunately, Tumblr has a limit on how many images I can include, so I will leave you with this final shot. A group of heroes looking up at a threat that is so much bigger than them, a threat that is literally controlling the light. But the Bells Hells are closer to the camera, they take up more of the screen. The battle isn't lost, instead, it is just starting.

#rants #literary analysis #literature analysis #media analysis #critrole #critical role #bells hells #imogen temult #laudna #ashton greymoore #fcg #orym of the air ashari #fearne calloway #chetney pock o'pea #its Thursday night #critical role bells hells

[ohmaillegode]

As a freaking therapist, if I see another post about how Imogen and Launda are co-dependent, imma throw something.

Having someone you can count on, someone who validates you, reminds how strong you are, how loved you are, listens to you and accepts you without jugement, someone who's with you no matter what IS NOT co-dependency. Everybody fucking needs that! They have also been traumatized by their forced separations, and it is very valid that they are scared about it happening again.

I've also seen people say that they don't challenge each other enough. So what?! Are all your relationships 100% blunt and unbiased? Of course not! That's why you need different people you can trust to be honest with you. You can not depend on your partner to be everything you need.

#imodna #critical role #rant #imogen temult #laudna

[captainsparklefingers]

I bet Brennan Lee Mulligan is jealous of Nana Morri for having a second tummy face.

I'm sure this observation has been made already, but hey, never a bad time to bring it up again.

#brennan lee mulligan #critical role #(sort of?) #tummy Brennan head exclusively for the consumption of almonds and salami #can you tell I watched the Almond Rant™ again earlier today

[reilora-borealis]

Broke: c3 is not as good as c1 or c2

Woke: c3 is just as good as c1 and c2, anyone who says otherwise is a hater

Bespoke: we actually can't compare the three campaigns on equal terms until c3 is over, so that we can see the overarching story and every individual character's narrative arc from inception to completion, instead of wildly speculating about what should or shouldn't happen in a storytelling format that is built around improvisation

#sometimes I wonder if people just like c2 more because it's finished #I also think people sometimes forget that critical role is improv #anyway hope you enjoyed my rant of the day #critical role #cr1 #cr2 #cr3

[milquetoad]

of the many injustices put forth toward the show by fans i think the most overall damaging and telling of a complete lack of critical viewership is the idea that sam riegel builds his characters with nothing more than the bit in mind. like you are only telling on yourself if you think characters like scanlan shorthalt and veth brennato are one-dimensional and depthless

#if im being exTREMEly generous i can maybe understand this view of scanlan if you started c1 and then gave up 30 episodes later #he played the long game with him more than any other and a lot of his growth could be looked at as shallow if you DIDNT watch til the payoff #but any time this opinion is used as a blanket over all of his characters including tary and even FCG.. like be serious #i mean at this point im definitely biased bc he is my favorite player at the table. However. that wasnt always the case #and even when i was myself writing some character choices off i NEVER applied that to the characters themselves. how can you?? #seen sooo many ppl criticize him for making veth an alcoholic or scanlan irreverent & hedonistic as tho it’s only possible #to play these traits as shallow jokes or at best played out satire…. and then the same person will turn around #and praise how percy was built to be pompous & superior and jester immature & self-centered and caleb steeped in self-effacing hubris #why are these characters and their players given a near universal acceptance of nuance and acknowledgement of growth & healing #but SAMS CHARACTERS ARE NOT!!!! #this turned into such a rant but it bothers me SO much. everyone at the cr table is so goddamned talented #and takes the game as seriously as it deserves #so many more points i could argue but this is already so goddamn long no one is reading this far. i love sam and all of his characters <333 #critical role #sam riegel #scanlan shorthalt #veth brennato #my posts

[beauregardlionett]

did i rant to my friends about dorian and orym just to be called a simp? yes i did. and i'll do it again.

these two characters? consume my waking thoughts. because just fucking think about this from a timeline/literary point of view for a second with me.

orym lost his husband and his father-in-law (who he always calls dad because he didn't have a dad growing up) in a violent attack on his leader a while ago and whatever magic was used to kill them kept them dead - no reviving magic worked to bring them back. in the space of a single attack, he lost two of the most important people in his life, and now he's a widow who still mourns and loves in equal measure even while far from home trying to save the world. he loves even though he's scared of losing again.

dorian is a runaway heir to a title he never really wanted, a musician for himself, a charlatan hiding behind an easy smile, who has really only ever wanted to see the world in his own time and make real friends for once in his life. and he did that! all on his own! he was with the group at the beginning of the campaign but then they ran into his older brother who was in trouble and needed to lay low and dorian went with him, falling back on old instincts that family by blood comes first. he ran from the group and from the foundations he was building with them. because dorian has only ever run from the things that scare him. but now he's back, re-traced his frightened footsteps toward the daunting promise of tomorrow - not yet with the group, we're getting his side of the story first. and he even said it himself, that he ran from the group and now he's not sure why he did it, why he left, when he stands here now and realizes everything he wanted was already in front of him.

they have sending stones, a once a day chance to say something to each other in 25 words or less. they've been using them, keeping each other updated on where they are, that they're still alive, and kindling this flame even without dorian at the table, without even seeing each other, and liam has been carrying this torch alone for 78 episodes but damn it the flame is still lit regardless!

and orym always updates on their progress and location first, and with whatever words he has left he drops in a sentiment to remind dorian that they still care - that orym still cares. and orym is practical through and through, he's a strategist so he always always always uses his words wisely because he's so fucking limited by this spell but the last message he sent? he repeated himself, he admitted a weakness, he faltered.

he told dorian where they were. he asked if dorian could come their way. he admitted to struggling while his voice broke. he asked again but in a different way if dorian could come their way. he ended the message with the most heartbreaking "fuck, i miss you," i have ever heard in my life.

orym, the man who messaged dorian 52 episodes ago and said "glad you're not here, wish you were anyway." because they're constantly in danger, and he wouldn't wish that on dorian, but he still aches to have him near. orym, the man who confessed 13 episodes ago during a trial with his friends that he's lonely, that he misses dorian and sometimes he thinks it's okay and sometimes he doesn't - because he was married and is still mourning and how dare he have feelings for someone else? how dare he move on even when his husband would WANT him to be happy again? he indicated dorian was missed by everyone in three of his previous messages before the trial, before finally shifting to 'I, orym, me - it's me who misses you'.

and dorian, the one who replied to a message orym sent him with "stay steadfast, sending you fairer winds" in the most longing tone i have EVER heard. dorian, who kissed orym's forehead when they parted ways but that is the closest they have come to acknowledging whatever is between them. dorian, who has been to orym's home between exu and c3 and met orym's mom and knows about orym's husband.

when orym died 58 episodes ago, he went limp and the sending stone slipped out of his hand because he was trying to message dorian before he died, before he ran out of words and breath. before he was revived, there was a moment he stood in the beyond and saw his husband and he told orym "you're not done," and orym said "i really wish i could stay," and then his husband said "i'll still be here," and orym said, heartbroken, "oh, i miss you so bad."

he told dorian, "i've really missed you," and "fuck, i miss you." i miss you is orym's way of saying i love you.

they're so close. they are so close. and orym fully died 19 episodes after dorian left, but he was revived and then never told dorian via sending that happened. part of me wants dorian to find out and the other part hopes he never has to feel like he failed orym by leaving. because nothing could have changed that from happening, not even dorian.

they are so close to reuniting, orym has needed dorian back for WEEKS and he's so close. i'm begging them to hold on so they can hold each other again.

and, again, from a literary point of view, you know the wildest part about all of this?

none of it is scripted.

#cr #critical role #dorian storm #orym of the air ashari #dorym #writing #my writing #i guess???? idk simp rant or whatever #anyway. am i making a hell of a lot of assumptions about their dynamic? yes. #will i be stopping? n o p e #this ship hasn't sailed far but i'm clinging to the steering wheel regardless #i had to get this out of my brain so i could focus on finals

[blorbologist]

two types of awakenings going on here

#critical role spoilers #cr spoilers #critical role #also I love Ashley/Gale's rant here fuck yes #NRKGNTKRNH THIS IS JUST. THE HOT PINK. THE GAYS. THE CHOKER???? #liam o'brien #ashley johnson #laura bailey #taliesin jaffe

[utilitycaster]

Wait sorry I will discourse over basically anything but I literally do not see the point in having any thoughts over Orym telling Keyleth Imogen is Liliana's daughter other than "yeah Captain Obvious"; this is not like, trampling over someone else's viewpoint, this is "Imogen said something very unclear and the entire interaction made Orym's statement virtually moot anyway":

Probably most importantly, Keyleth isn't stupid and has, per the TCSR, +12 to insight. You think she sees a human woman with hair the exact same not-typically-found-in-humans shade of Liliana's and goes "golly gee who could that be?"

This happens immediately after an exchange in which FCG hedges on whether Liliana should be destroyed, and Imogen (again: looks a lot like Liliana) hesitantly says "well, she didn't help" and then proceeds to talk about how she too has powers that involve a bright white light and strange things happening after, and that it's wishful thinking to believe Liliana did something last minute to help. Again. Keyleth has +12 to insight and a positive intelligence score.

Marisha as Laudna suspects that Keyleth suspects but rolls low on insight, ie, the cast is openly thinking that Keyleth might be aware of the connection.

The exact words Imogen says to Orym are "Do you think you should tell her what y'all saw." This is extremely vague. I did not myself in the moment think this meant "the Raven Queen's vision"; I thought it meant more details of what had happened at the Tishtan site, especially in context of the prior discussion, which was about Liliana and not about Vax. I would not be surprised if Orym (and for that matter Liam) had a similar interpretation.

#critical role #critical role spoilers #insert barbie rant except about the execrable fanon of imogen

[elzorton]

sketches for the latest episode!

I find it hard to post things that doesn't feel perfect, so this time I wanted to just do sketches. I think it's good for me to not get too lost in details and just draw

#critical role #cr spoilers #critical role fanart #laudna #imogen temult #imodna #orym of the air ashari #fcg #ashton greymoore #milo krook #c3e65 #my art #yall. YALL! such an episode #can i kiss you???? helloooooOOOO #and as an extra treat I get Milo who's one of my fave rarely occuring npcs #i just think they're neat #AND ALSO i just loved the scene in the temple #the matron cleric was just such a vibe #AND THE VISION ohno #anyways rant over

[luckthebard]

So this is a very niche rant that is probably only something I've noticed or been annoyed by, but:

The longer Critical Role has gone on and the more changes they've made/content they've created, there's been an increase in weird people who are desperate and determined to prove that changes or content they don't like are "an objective failure" - but often lie or deliberately misunderstand viewership statistics to do so.

There are a few big "facts" I see repeated by people to argue that CR has "gone in the wrong direction" that are just plain wrong, and I think what annoys me most is seeing so many people engage with those "facts" without bothering to double-check them or push back against the certainty with which people state them. An example of one I keep seeing now is "twitch streaming numbers are down" and it's like, yeah, sure, in comparison to when they didn't simultaneously air on YouTube. If you add up the YT and Twitch numbers these days it's about the same as mid-late C2, but people love to act like YT streaming doesn't exist to make a point that "people don't like C3". And I tbh don't care if people like or dislike C3 but why this determination to falsely quantify and validate a personal preference?

The earliest I saw this was an intense agreement on reddit that Exandria Unlimited was a "failure" for CR, "unlike Undeadwood," because viewership numbers were lower. And it was tbh baffling to not see pushback against that narrative, because it's just objectively untrue. Original EXU's VOD streaming numbers are higher than every single episode of Undeadwood, and it premiered literally years later. It also has a lower "drop-off" in viewership (comparison of how many views episode 1 vs the finale has) than Undeadwood, despite frequent claims to the contrary. And don't mistake me here, I really enjoyed Undeadwood, but it actually was a viewership misstep for CR to the degree that they didn't try anything like it again for a while after and significantly changed how they approached marketing and airing miniseries. (A big one being: don't air a long miniseries simultaneously with the main series, it's too much content for most people to invest in during a week.)

(Sidebar, but another great miniseries CR did that didn't get a lot of viewership love is the Elder Scrolls Online trilogy, so I'm going to plug it here. It has some weirdly low viewership numbers on episodes 2 and 3 and I promise you they're both well worth it.)

The other one I keep seeing is "4 Sided Dive has lower numbers than Talks" which is also just not true. Most 4 Sided Dive VODs have nearly twice as many views as Talks VODs (and I'm using the ones that aired directly on the CR channel as a metric here, not the ones re-uploaded from G&S which lost numbers in the change-over). And I'll tbh chalk that up to the fact 4SD airs much less frequently - people are more likely to think it's necessary to watch whereas with Talks if you weren't interested in the guests you might skip a week. I'm not making any claims about the quality of either show, but the use of false viewership statistics to support "one of these sucks" is so rampant and so weird.

All this to say that yesterday I saw a weird viewer-hungry YouTube clickbait video titled "Midst a FAILURE for Critical Role!!" with a truly absurd confidence on what the VOD streaming numbers for the Midst YouTube videos mean for the series mere days after the premier and snapped.

tl;dr, people just make shit up and say whatever on the internet all the time and we hopefully all understand and expect that BUT (and here's the more annoying thing) 9 times out of 10 people just engage with that WITHOUT LOOKING INTO IT THEMSELVES

#rant #critical role #long post #cr discourse #I guess? #as always I am begging people to fact check and question stuff that's just stated as fact by randos online

[that-ari-blogger]

Critical Role's Previous Cameraman

I put up a post the other day about critical role's new animated introduction and I couldn't help but notice a sudden spike in the analytical stuff that I don't really understand. A more tech orientated friend of mine informed me that this was a good thing, actually. So, I thought I might capitalise on that and examine the previous campaign's opening sequence through the same lens and do some more analysis.

Let me explain.

SPOILERS AHEAD

One notable thing about this song is when it starts. Exactly eleven seconds in. That's eleven seconds of wait before the final payoff. You catch glimpses of what's happening above, but nothing else.

And that is a key theme of this campaign. The unseen. The Mighty Nein was a party characterised by trauma, and a lot of the time, you don't see that, you only see glimpses. A flash of a fight they told you about, and the sensation of drowning.

But then we meet Fjord.

He's falling, and I'd like to point out the direction in which he is falling. You will notice the scars on his back, signifying he was probably in the process of running away, or was betrayed by someone, and he is falling towards those scars. Backwards. There is also a neat thing of falling away from the light, into the darkness, into the unknown. THis is someone out of control, leaning into the pain. And what is it that sees that?

There is a reason Uk'otoa's design looks so much like a leach. The creature is a parasite, it doesn't find someone strong to break down, it found someone weak, and at its mercy, and brought him under its control. What this shot does is highlight that creature's opportunistic nature, but it also associates it very clearly with the visual of that eye.

And it's that eye that carries through. When Fjord washes up on the beach, when he is finally safe, he carries with him a little piece of Uk'otoa, a little piece of that trauma.

It's also notable of that it is an eye. It's obvious, but it colours his vision, and changes how he views the world. Its effects aren't physical, but mental.

Beaureguard Lionet is a fighter. Not in the sense of class, because she isn't but in the sense of personality. Beau is a fighter in the sense that her first reaction to any problem is to punch it.

This transition is a wipe transition, but its important because of what it uses. It uses the opportunity to show off the uniforms of Beau's attackers, because otherwise the shadows of the rest of the shot make them hard to make out. These are wearing the same robes as her. Whoever they are, they are part of a team of some kind with her, they are people she should be able to trust, but look at how much damage they have done to her. Look at how heavily she is breathing. And look at what Beau does in response.

She fights back. This is how the animation gets across this character. She isn't complex, she doesn't need a great explanation, she doesn't have different sides to her, she just hits things until they stop being a problem.

I will also point out her eyes again. They are blue, not an unnatural eye colour, but they are the same blue as her robes, and the robes of those who are attacking her. Once again, the has warped the vision of its recipient, and in this case, it's creating a cycle of violence as all she knows how to do, is hit things.

We don't see Nott The Brave for a while in this animatic. We instead see, once again, the eyes. But I also want to point out that this was made before we knew about Veth. So we were just seeing the scared goblin.

This is as close as we get in this scene, and its Nott actively hiding from the light. The warmth scares her, and for good reason, its the same heat that we see emanating from her eyes. Once again, the trauma that has contaminated a character's vision is changing their reactions to the world.

And with that, I would like to talk about Jester, and I would like to do that in context.

The term "foil" in the context of a character was actually popularised by William Shakespear, who handily explained the metaphor for us.

"And like bright metal on a sullen ground, My reformation, glitt'ring o'er my fault, Shall show more goodly and attract more eyes Than that which hath no foil to set it off."

Put in English, I shine brighter when you have something to compare me to. And this is what a foil character is, a character who brings about elements in other characters that can easily be missed, or who shows off by contrast their personalities.

Jester is one of the two characters in the Mighty Nein who is not a child of trauma, and her introduction shows that. She reacts to her life by laughing, and contrast that with everyone else. Fjord reaches for a sword, the item of his trauma; Beau tries to fight her trauma despite that approach clearly not working; and Nott hides from it, unable to reach out for help.

And it is notable that the first time we see an adult Jester, she looks normal (if a bit over cheerful), then is immediately contrasted with the rest of the Nein.

This not only shows just how different her demeanour is from the rest of the crew, but it shows her effect on them. She makes them all smile. Jester and Caduceus are very much support characters in the truest sense of the word. They support others. Jester shows genuine kindness towards everybody else, and it reflects onto them.

This shot is neat but not too special. Its a tracking shot on the hat of all things, because thats what important here, and it shows the traveling dynamic of the group. It's a tiny bit of tension in an otherwise calm scene, so the camera is steady, but speeds up slightly to match the movement of the object, then comes to a stop when it is caught. There is very little stress, but there is a sense of comradery.

Similarly, this shot establishes some stakes with a rising pan to show the scale of the threat and to show some more information, but it is hardly a monster, so the camera isn't really in a hurry.

Enter Caleb Widogast, born in fire. I don't think they could write a more thematic entrance if they tried. An abrupt cut shows the night, then it is entirely consumed by fire, only to reveal Caleb.

There is no motion here. The camera is stock still. This is the exact same thing with Ashton and FCG in the Bell's Hells. Caleb is disassociating from the heat in front of him, and there is a fascinating reason behind that. Caleb has two characters that need to be introduced to better understand him, the man, and Bren, the boy.

The flames consume the screen again, and then part to show a boy, staring at the screen, in horror. This is what you need to know about this character, this is a character forged in flames, born from the Ashes. Bren is dead, Caleb Widogast remains.

And this shot, with Caleb, Astrid and Eadwulf silhouetted against the fire, shows what kind of trauma we are talking about, and what effect it has. This is guilt, and in contrast with the rest of his party, this guilt is paralysing.

Yasha, however, is introduced in a calm way, in contrast to everything around her. The camera shows you a woman, meditating, and then pans backwards to reveal this:

This is a woman surrounded by bloodshed, who has made a concerted effort to look away from it, and to look to the Storm Lord for guidance. This is a woman looking for healing, in comparison to everyone else, but that looking doesn't change the fact that that trauma is still there.

The next few scenes are cool, but don't really add anything to this analysis and I only have a few more images I can show here, so I'm going to skip to Taliesin's characters.

Caduceus has two introductions. One is this shot, which is a cool action shot of him casting an epic spell and vanquishing a crowd of enemies. But instead of the incredibly animated (in the sense of exaggerated poses) nature of his companions, Caduceus clay is calm and collected. He is unquestionably the anchor of the group, and where Jester contrasts them emotionally, Caduceus does so on a philosophical level. Caduceus is a gardener of fungus.

Mushrooms and other fungi are recyclers, they grow on dead trees and creatures and give a forest new life. They clear out the debris and make way for new things to take hold. That's what Caduceus does for the Nein, he helps them get through their trauma so that Jester can help them improve and become better.

Caduceus's actual introduction is muted, and there's a point to that. He's not trying to be the main character, you don't need to understand his family life to understand him. You need to understand that can stand in a graveyard and see the light, that he is at peace with what has gone before him and helps people to get past it, and that his entire mission, to regrow the grove, isn't to bring back what is lost, but to help regrow something new in its place instead of the blight that lingers there.

Mollymauk is introduced as a weapon transformed into a grave. That is what this transition is and I think that's really important. Mollymauk is, very clearly, a repurposed soul. He isn't the first person to inhabit that shell, and he isn't the last. I also want to point out how this character is represented here, not with a heroic memory, but with a quiet moment or remenicing on times gone by. He is a shadow that haunts the Nein.

This is by far the simplest shot in the entire video, and that's because it isn't telling you anything. You bring your own emotions to the table here, you bring the memories to the grave, that's how grieving works.

Once again, there is more to this video, but I'm only allowed to put 30 images in a single post. So I leave you with a quote from Niel Gaiman.

"Fairy tales are more than true: not because they tell us that dragons exist, but because they tell us that dragons can be beaten."

DnD likewise, and all TTRPGs for that matter, are powerful because in them, with a little bit of help from friends, any monster, no matter how personal, can be defeated.

#rants #literary analysis #character analysis #literature analysis #what's so special about...? #critical role #critical role campaign 2 #the mighty nein #mighty nein #caduceus clay #cr caduceus #fjord stone #fjord cr #beauregard lionett #cr beauregard #nott the brave #cr nott the brave #veth brenatto #veth the brave #mollymauk #yasha #caduceus #beauregard #nott #jester lavorre #beau #jester critical role #caleb widogast #caleb critical role #yasha nydoorin

[ozbian]

Hey so The Nod meant that Orym was okay with Laudna killing Bor'Dor and gaining power from it.

It did not mean he wanted Delilah to syphon Bor'Dor's soul/essence off Laudna like a starving tapeworm to fuel an eventual takeover of her body.

He is not hypocritical for not wanting to lose Laudna to Delilah?

Like

People are allowed to change their mind, especially (a) if you were in a really bad place and (b) have since been presented with new information

It was Laudna's choice to kill Bor'Dor, and she was more aware of the Delilah risk than Orym was, so let's stop denying her agency by blaming him for what happened

#critical role #cr spoilers #orym #laudna #i don't usually rant but i have Seen Things

[novelconcepts]

Thinking about Marisha’s “your best friend leaves for the summer and comes back different, leaving you behind” rant slamming BODILY into Laura’s choice in the very next episode. For no reason in particular.

#critical role #cr spoilers #imodna #I haven’t actually watched yet but I opened this app and instantly got bombarded with Laura Bailey being a legend (again) #and now I can’t stop thinking about imogen waiting patiently for laudna to stop ranting about how different their summers were #so she can Move #hilarious. good work all. very excited to watch this ep

[shorthaltsjester]

i do not want to dig a hole but i am too much of a laura bailey pc enjoyer to not make this post so:

selfishness ≠ a lack of kindness 

selfishness is a theme that has come up with all of laura's main campaign pcs. that doesn't mean that her characters are always making selfish choices or that they don't care about the rest of the people they're with or that they're not good. it's just that, for the most part, the first thing they're thinking of when they take action or make choices is themselves. 

in jester and vex both it is more typical and obvious selfishness. vex's developed because she needed it to keep herself and vax alive and as safe as possible and it grew into a behaviour that she had to actively work to avoid. it's evident in her greed, her theft of the broom, her reaction to her own death which relied heavily on i'm okay/i survived to which keyleth reminded her that she wasn't the only one who had to witness and reckon with her death. in jester's case, she grew up in an environment that literally trained her to make every decision based on two things - her mother's opinion and her own. so, when she's out in the world without marion for the first time, her choices are those that will benefit her and her actions are those that consider her own thoughts and not really many others' (aside from the traveler's). 

it isn't a criticism of either vex or jester to say that they are characters who act selfishly. in fact, i'd argue that to claim otherwise does a great disservice to exactly how immense both of their character arcs are. because the nuance of both jester and vex is that they are selfish, and they also hold extreme room for self-sacrifice and empathy. vex is much more brash than jester is, and jester is much more trusting than vex, but both of them are characters who begin with selfish impulses who grow with them. neither ever truly shed those impulses, but they use them in new ways, typically transforming them into impulses towards things that are in the best interest of the party. 

you may have noticed the lack of imogen in this post about laura bailey pcs and that's because of two reasons. one, we are an unknown amount of time into her story, i can't analyse her development the same way i can vex and jester's. two, imogen's selfishness isn't the blatant quasi-self-aware selfishness that we see in things like jester complaining about her lack of money to caleb or vex stealing a broom. instead, imogen's is very internal, like a lot of laura's character work with imogen. it is a bit similar to jester’s in the sense that it comes from a lack of awareness moreso than vex’s practiced behaviour, but imogen’s is a lot more tied to inherent beliefs she has about the world and the people in it.

as a consequence of her powers, imogen sees people's thoughts as their entirety, she holds it above their actions to be the truth of who they are - to act against what they think or to say something that doesn’t cohere with what they’ve thought is akin to lying, so for her to act empathetically is to act in tandem with what someone else’s thoughts are, not how they act, which is typically not all that wanted. the same as vex’s greed and jester’s naivety, this is a trait that makes narrative sense and it’s one i find quite compelling, especially when read in the vein of someone struggling through trauma that has made them assume that the world is against them. imogen’s cynicism is coherent cynicism, i can’t say that in a similar situation i wouldn’t have the same predisposition towards the world.

the part that is particularly self-interested comes in if you look at how imogen has actually been treated in the campaign (quite well) in comparison to the cynicism that she’s developed from her past (something that speaks to a world out to get her). certainly, a bunch of shitty things have happened to imogen in the time we’ve known her, but the same can be said for everyone in bell’s hells and pretty much everyone in exandria at this point in time. but, in a fight to save the aforementioned world, imogen’s focus was getting her mother back on her side. which, while very consistent with her character and a choice that i enjoy, is a very selfish one. the fun thing (to me, obviously) about imogen is that she has, more than most, an insight into the opinions of others and she also tends to seek others’ opinions out and genuinely engages with them and supports their choices. but she still very much acts towards what she thinks is best. it’s one reason i enjoy looking at the dynamic between her and orym as one between foils, as orym tends to be stalwart in his beliefs and doesn’t care too much for other’s opinions if he’s already sure of his own, but his actions tend to favour collaboration and protecting others.

as i mentioned earlier, imogen is a harder case to look at because she is still in the process of her story. however, the circlet is clearly influencing how she interacts with the world and in the wake of the solstice, the hostile reaction towards ruidusborn people has started to become more and more apparent and i’m interested to see what route that ends up leading imogen down and how it will influence her relationship with the rest of bell’s hells. (for better, i think, based on recent conversations, but if it's for worse i will be just as seated and excited).

all of this is just to say, please stop assuming that claiming a character has a trait you think is a bad one is criticism or a hate post. in light of the fact that i know that people who don’t believe this will continue to not believe this, i’ll encourage anyone confused about the ability of a character to be good and kind and selfish all at once to look to what the text itself says, specifically scanlan’s words to pelor when asked what vex means to him:

“Her name is Vex, and she is greedy and mean sometimes, and she can steal a lot. She’s a little bit not the greatest person, but her flaws highlight everything that is right about her, which is she does all these things to protect her friends and her family. She would give her life for any of us and for anyone who was truly in need. And she’s not perfect but she’s the most perfect of all of us.”

would you look at that... an ability to be a multitude of things, some in conflict with one another. i know that's hard for fandoms to believe, especially about female characters with agency, but i promise its true!

#deeply unfair of laura to make three characters with some type of people skills and morality shaped by their loneliness #and what. i’m just supposed act like i’m normal about that? #this is me blog and i have slightly more time than usual to write nothing essays about fictional characters that haunt me #but dear god . lookin at cr characters and denying their flaws is like looking at a house and only seeing it’s doors . #if ppl demand perfection of fictional characters im genuinely curious in what media they’ve ever found that . #a single imogen post of mine broke containment and it skyrocketed my annoying phil student levels so. alas #but . if you agree that imogen had an incredibly isolating life . i will emphasize that isolation causes traits and behaviours #that aren’t just Quirky or fun or hot anger or whatever #imogen contains so much i love her so much i am bursting at the seams about it #but for some ppl. she is ur ‘girlfailure’ until someone suggests a way she might be girl failing by being selfinterested #what is the truth. do u want her to be an actual girlfailure it do u just want her to suit a . frankly tired. trope about lesbians #anyway . both text and tag rant over . goodnight #cr meta #imogen temult #vex’ahlia #vex’ahlia de rolo #jester lavorre #critical role #my posts