really specific trope i like that i feel like can only be explained in a diagram

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@autistic-caleb-widogast
really specific trope i like that i feel like can only be explained in a diagram

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I remember that earlier in Daggerheart's development I think Spenser Starke said something about rewarding RP integration with mechanics (ie, providing a benefit if you help patch up your teammate during a short rest) and while I think that precise idea was streamlined a bit, I do think the need to pick downtime moves during a long rest puts players into a mindset where they slow down and have to think which in turn fosters more downtime conversation. The campfire during slow travel is where a great deal of character conversations and bonding take place, and options like preparing with a colleague very naturally lead to having those conversations and encouraging interaction with characters you might not automatically gravitate to. Or in other words I think Daggerheart was made with a really keen eye towards using mechanics to gently guide people towards open RP, whereas I still love D&D but often the RP element of it requires much more conscious choice.
I feel like the first class you played in DND tells a lot about you
Reblog and put in the tags what your first class was
I was joking about Thaisha's metal spine being a sort of fantasy scoliosis representation (for those unaware the corrective surgery for scoliosis involves the insertion of rods and screws into your back to hold the manually straightened spine in place) but...
I am now remembering that her PC Decima from when she guest starred on Bards of New York also had various magical metal prosthetics (that heated up!), and that Aabria mentioned in the Study Hall interview that she irl had multiple sports related injuries including a disc to the back that was the final end of her sports career.
So, I do wonder if the plates do speak to some chronic disability management or the magical intervention into some sort of serious injury that we might learn more about now that Thaisha is traveling alone.
*cue Seinfeld theme*

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I miss my Critical Role Campaign 4 :(
“Why did the bright queen believe essek so easily how did he get away with so much shit before he was caught?” Buddy you would not believe what you can get away with if you’re Quiet and Get Good Grades
All I could think about during this scene lol
Critical Role (2015-) campaign 1, episode 35//campaign 2, episode 72 bonus:
more
(cr4 memes part 9)

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whats yalls ultimate fave character. like years have passed, interests have come and gone, yet theyre still here. mines ellie williams
If Thjazi was their shadow tierlist
Every time I think Caleb’s gonna make it through a combat scene the poor dude gets one shot 😭
I do want to address something that has come up a number of times of late, which is that folks have pointed out that at many junctions, it is clearly a deliberate choice that Essek is not particularly present in Nein live shows content, whether that's being excluded (along with Kingsley, which will be relevant momentarily) from combat at the wedding, or considered largely absent from shows with concepts that otherwise would suggest a larger involvement, like Echoes of the Solstice (though I would argue, and I have, that this is a poor understanding of his narrative role) or, most recently, Projekt Funball (though allegations of his absence were, quite frankly, vastly overrated). And when it comes up there is often a sense, both explicitly and as an underlying implication when not stated outright, that this is because the cast don't care about him or that Matt doesn't like playing him, with a resentment that suggests his fans feel personally snubbed by his absence.
To begin with, this is blatantly false and easily disproved. For one thing, if he was not enjoyed as a character among the cast and Matt didn't care to play him, the animated show would not be structured as it is, to give him such a prominent and interesting role. On top of this, he would not have made as much of an appearance in campaign 3 as he did, wherein he acted as a familiar guide and trusted ally for both the Hells and Vox Machina, something that is only possible because the cast themselves know to trust him, as their other parties would have no context for who he is or why they should take his word. (He's come quite a long way from his original role for the Nein as Official Unreliable NPC!) Even in the finale, when the cast had no idea what else to do in the moment after expending all of the resources their various characters had, they end up turning to Essek, despite the fact that up until that point he hadn't even been present in the scene. Clearly he is a character in Exandria that they enjoy having around and consider an important resource, mechanically and narratively, and during both campaigns 2 and 3, he shows up when it makes sense that he would and even sometimes when it almost doesn't.
In contrast, his presence is minimal in live shows featuring the Nein in particular. I thought about this in the wake of Projekt Funball, in which it almost strains narrative belief that he doesn't venture with the party—obviously there is a reason given, but it would be just as easy to simply not introduce this requirement in the first place, which suggests that there is a different, non-narrative reason for this element to keep him outside. So let's think about why, shall we?
Evidence points to a very simple logistical reason, one that I present in a manner that is only somewhat tongue in cheek: time. (Realistically better described as mechanically efficient, but that's not as funny in context.) Consider that he's present in the first half of the wedding one-shot, and is, quite frankly, freely (and hilariously) chatty, but is not included in the effect that Isharnai uses to drag them into her domain, along with Kingsley. The reason Kingsley is not included is easy to surmise, which is because the complexity of Taliesin having to manage two characters would be fairly time-consuming and mechanically complex, particularly when you add in the fact that the Nein's high-level combats have to be extremely intricate and arcane to pose a challenge—and crucially, during live shows, there is a very hard time limit.
Having attended two live shows with level 20 Nein combat, they are exceedingly long. In general, live shows do tend to run up against their out time, to the point that a common refrain I have heard is that it's a bummer the wrap-up at the end often feels rushed. I suspect that this is also why they've pivoted more toward puzzles and games than extended combat, as well, which are much easier to estimate time for when building the show and simpler to wrap if they do go on too long—and you can see in this cooldown that that's true, because the initial challenge with the intelligence checks was altered on the fly to get them through to the next encounter. And it's worth noting that there simply is not a good way to integrate an allied NPC into those kinds of things, puzzles in particular, because unlike with the unpredictability of combat, puzzles are predicated around the idea that the GM knows the answer, and the players have to be clever enough to find it. (Here it would've been exceedingly silly, quite frankly, to have him more directly involved in the first half.) Even in combat, the intricacies of creating a challenging encounter for the Nein at level 20 that absolutely must be completed in what is usually about two hours is already difficult enough without introducing another turn into the initiative order, and even in this show that was clear, given the hit point threshold was pretty low, but the combat was made more complex by trying to eliminate various members of the Nein from the board rather than landing hits on them. I do not think it's a stretch to say that this is a major factor in what is and isn't included in live shows while trying not to run afoul of venue fines for overtime use.
Essek is both an important person to the party and the players, and also he is still an NPC, and must be considered mechanically as such, and as I've argued many, many times over the years, that is literally fine. Honestly, I'm primarily writing this because I had to push back on similar ideas during the latter half of campaign 2, and they had largely fallen off, but the uptick of this again has been disheartening. At the same time, much like during the same period of campaign 2, it has also felt like there's been an uptick among other fans using these occurrences to either diminish his relevance to the party and cast allusions in the same vein—that he's not really important to the characters or the players, that his presence isn't wanted or valued, usually in an effort to either ignore or erase key themes of the Nein as a party and their campaign, or the themes of individual character arcs that some have soured on or feel, perhaps unconsciously, aren't compatible with the narrative that those fans want to posit about the Nein or another party—and the evidence in the text(s) and around it all point to these perspectives being wrong. Nevertheless, I also understand the frustration some feel when it seems that other fans are consistently hyping up their own faves using this status as fodder, but I do not think it worth my or anyone else's time to cast aspersions on the cast over something that is blatantly untrue.
My point is ultimately that it seems as though discourse has regressed to some of the more unfounded elements of its campaign 2 iterations with, quite frankly, an abundance of evidence to contradict the complaints, both explicit and implicit, in that discourse, in ways that turn fandom discussion from a generative conversation into not a conversation at all but a zero-sum game. Squabbling for perceived scraps of attention makes us all poorer in the end.
… Okay. Leaving aside the ritual for a second. Just looking at the play. At the intention of the play, before all the magic and Thjazi’s manipulations were added on top. Looking at Hal’s intentions for the play.
Brennan: You see that Lash, as Vokjan, calls out: “You will see! All of you will see! One day you will look to the top of the hill, and no longer will Azgra be there. No more will his visage tower over us! You cannot see it, but I can!” He calls, with his eyes cut out of his head. “Look, and tell me. Do your eyes not see a free world, breaking, just beyond the horizon? Look! Look!”
And he points out, and everyone seems to turn to look to see where he’s pointing, knowing that, at the top of the city of Dol Makjar, is where Azgra used to sit, and there’s a moment where this is going to be kind of like an enjoyable moment of being, like, ‘oh yeah, Azgra doesn’t sit there anymore’. And they turn and look up into the city, and see the lights of the Villa Aurora, so bright, and the Grey Tower, its lights dimmed, and bright lights celebrating the Photarch’s resurrection, meaning that, at the very top of Dol Makjar, the brightest thing they see are the flags of the Sundered Houses.
The feeling that settles over the crowd in this moment is a deep, stomach-turning confusion, that settles into something more like rage. What is sitting at the top of this city?
As they turn, Lash’s last line. “You’ll see. One day.”
So, uh? So that was a bit …
I’m now shocked that Yanessa didn’t try to get this play shut down a lot sooner. Even before Hal decides fuck subtlety at the end and openly puts not only the Falcon’s Cry over the end, but also a direct verbal attack on the Creed. But. Even before that. Like, they’ve been monitoring the progress of this play. The only reason it’s not openly seditious is because the Sundered Houses do not technically rule the city, and thus it’s not technically sedition.
But. But I guess …
See, the thing is? Without the specific context of the Hallowed Round, it’s physical position and symbolism within the city …
The play on its own, while dangerous, can still be glossed as a historical work. The choice of what history to present is still dangerous, and still rather specifically pro-rungjani and anti-religious, but that also … This is the birthing place of the Shapers War, barely 70 years out. The Candescent Creed can’t really say not to do it. It’s Rungjani history, and religion has been dramatically out of vogue for seven decades now. Owing to, you know. The global decision to kill the gods.
It's the Hallowed Round itself that makes the difference. That visual symbolism, set up by Azgra, that finally frames the Sundered Houses within Azgra’s seat for its audience. It’s a very specific location and cultural context that allows that visual correlation. It’s a very Rungjani context.
And I’m wondering if Yanessa, Halovar, the Sundered Houses, just didn’t have that context in time to realise the true danger?
Because they are, after all, a foreign power. A colonial invader. They went to the top of the city, because of course they went to the top. They’re nobles. Power rises. To an extent, that’s the image they genuinely wanted to portray.
It’s just. Viewed from the Hallowed Round. The Dithyramb of Azgra itself. That image takes on a different meaning in context. One that I’m not sure the Sundered Houses actually understood.
Also, just. Sidenote. Look at Liam’s face during Lash’s speech as Vokjan:
There’s a man full of wild, giddy emotion at his work coming to life, and at the same time an underlying dead seriousness. This is a work that was done on purpose.
Look at his face.

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