#and i think all of the other seasons of dimension 20 are like this

[twinstxrs]

so much happened in this whole episode but i’m still on fig infiltrating ruben’s dream, making it look like the place where his friend was murdered, and then disguising herself as kipperlilly & repeatedly saying different variants of “somebody needs to take the fall for this, and it’s not going to be me. it’s going to be you.” while adaine as the elven oracle shows up next to her. can you imagine waking up from that, the idea of a horrible truth being pinned on you by your friend to save her own skin while the personification of fate and destiny stands there, almost as a promise that this is GOING to happen to you. we don’t even know if this kid is guilty. my god.

[dimension-20-every-introduction]

Everyone Introduced in Dimension 20's Fantasy High: Junior Year episode 20 (finale)

[silkywishes]

i think maybe somewhere there is something in between "you're not allowed to voice negative opinions on any part of D20's story bc it's all improv!!" which feels like a blanket excuse to bulldoze over any and all opinions you dislike, and "disparaging the cast and crew bc these fictional characters didn't get treated like actual irl human beings"

[waterberry-strawmelon]

just gonna go ahead and say this in advance—

if Riz does indeed come out in junior year, and he says, “I’m ace” or “I’m asexual” when referring specifically to his lack of romantic attraction, aromantic people are allowed to be upset about it.

[exopelagic]

WHY DID NOBODY TELL ME BURROWS END WASNT FREE

[adaines-furious-feast]

Junior Year isn't a Sophomore Year sequal. It's a Starstruck Odyssey sequal set in the Fantasy High universe.

[workingwhileidream]

Okay Burrow's End had me thinking some thoughts... So here are my favorite Dimension 20 moments that rotate like a rotisserie chicken in my brain (in no particular order other than the order I thought if them).

- Riz goes into the butthole of the Corn Ooze Monster (Fantasy High). The first absolutely insane shenanigans move anyone makes on D20, setting the tone the show will have forever.

- Raphaniel kills Queen Pamelia (Ravening War). I think I saw Brennan's soul leave his body briefly when he got that How Do You Want To Do This from Matt. Time was an absolute flat circle that day.

- Hank convinces Brennan to let him role savvy instead of sneak (Mentopolis). Hank is one of the most famous content creators, having him on the show was phenomenal to begin with. Then right out of the gate, he pulls this move in his first episode. And it just works. Hilarious, instantly iconic.

- Jet Dies (A Crown of Candy). When Lapin dies, it is shocking but I wasn't attached to him as a character. Lapin was a bit antagonistic and his death happens early in the season. On the other hand, Jet is instantly likeable. Emily and Siobhan are amazing as siblings, their performances this campaign are some of my favorites. I have siblings and I am very close to them, so this hit me like a ton of bricks.

- The entire epilogue of Burrow's End. "Are you pitching and Air Bud ending?" is one of the instant hall of fame quotes from this show. I started crying I was laughing so hard.

- Ylfa's bottleneck and the TPK (Neverafter). There are so many close calls for total party kills in Dimension 20 history, but this is where it finally happens and it's only 3 episodes in. I was on edge, expecting another TPK at any turn, for the rest of the campaign.

- 3 nat one initiative rolls for the battle that literally opens the season (A Starstruck Odyssey). The beginning of a new season is always full of excitement. This season was extra special, having everyone back in the dome after the pandemic and the season being based off Brennan's Mom's comics. The zoom energy is still in the air and I still think about this season opener a lot.

- Mother Timothy Goose breaks Snow White's concentration with a cantrip (Neverafter). Only Ally Beardsley could and we all damn well know it. Still didn't stop me from being so far in disbelief that all I could do is laugh.

- Hob's "You will never know another lonely day" speech to Rue (A Court of Fey and Flowers). I will still cry about this if I think about it for too long. Rue and Hob's romance is the heart of this season to me. I won't be over it ever.

- Gertrude convinces Nyruth to give the Questing Queens very powerful boons after the Queens tried to rob them only a few hours earlier (Dungeons and Drag Queens). The fact that this season exists drives a level of serotonin into my brain that is unimaginable. This is the definition of a big swing and when Bob rolls well, Brennan has no other choice than to honor it. This is one of the moments I have made a meme of. I cannot wait for season 2.

- Wuuvy shows up to the duel and she did not come to play (A Court of Fey and Flowers). Aabria has talked about how Wuuvy is one of her favorite NPCs and I feel the same. Wuuvy and Rue's relationship has such a great arc and this moment is so pivotal.

- Fabian's no good very bad day (Fantasy High Sophomore Year). An iconic moment in D20 history that was truly wild to watch live. For everything to go so fantastically bad for Fabian and Lou was unprecedented. There is a reason why people still talk about this moment to this day.

- Amathar survives being pushed off the castle (A Crown of Candy). Brennan tried to kill Lou so many times in this campaign. I really thought Brennan had gotten him with this one, my stomach sunk. But Lou pulls it out and Amathar lives once again.

- Pib plays "Smoke on the Water" (Neverafter). "I stepped out to play 'Smoke on the Water' " is also a hall of fame quote to me. This list could be all Pib moments if I'm being honest, he's my favorite Zac character. And the fact that Zac doesn't roll well makes this moment funnier to me.

- Buddy Bear gets planted with the All Blossom (Dungeons and Drag Queens). Jujubee and Brennan owe me a therapy session for this one. I sobbed. My cat is my baby and I will be ruined the day she leaves me, so I get it. I really do.

- "Eat your dice, Brennan" (Fantasy High Sophomore Year). A great bit made physically possible by Siobhan. I hope Siobhan gives him gummy dice or something like that so that Brennan can continue to eat his dice for Junior Year.

- Orange Top Hat Fairy (Neverafter). It's a horror season and the cast is doing bits about how hot a mini is the entire finale and the Adventuring Party that followed. I felt the stress and off the walls energy through the screen. The Smooth Criminal pin was the first piece of Dimension 20 merch I bought.

- Viola's epic takedown of Phoebe (Burrow's End). Watching Rashawn absolutely crush it her first time in the dome was amazing. I loved Viola from the jump, her arc was so satisfying and fun to watch. Also the idea of a tiny stoat kicking a gun just the right way to get it to fire is hilarious. No notes other than please have Rashawn come back on every season she possibly can.

- Evan Kelmp warns the Rosemont student not to duel him (Misfits and Magic). Brennan's deadpan warning matched with the reactions of the other players and Aabria really make this scene. An underrated Brennan moment for sure.

- Stacey Fakename turns out to be real (Mentopolis). This was such a good reoccurring bit, so to have Stacey be real at the end of the story was too funny. In a season of bits, tropes, and puns - this one has the most payoff to me and is definitely my favorite.

[heytherecentaurs]

Burrow's End is an absolute masterpiece.

In the span of ten episodes Aabria and Co. weave an exciting and emotional adventure story about a family of sentient stoats. It delivers huge laughs, interesting societal criticism, remarkably emotional and well-acted scenes and concludes with a series of epilogue scenes that feel appropriate for each character, some heartfelt and subdued and others bigger than life and all the funnier for it.

Siobhan and Izzy play the perfect pair of siblings. They fight and argue but they also love each other. Jaysohn (Siobhan) looks up to Lila (Izzy) and believes she's the smartest stoat in the world (and by the end she probably is) and Lila hypes up her little brother's athletic skills. They both fully embodied these kids and I could watch them do fun stuff for more episodes. Give me a version of Saved by the Bell with them. Stoat by the Bell.

Brennan and Rashawn, playing sisters, also knock it outta the park, showing a more mature sibling dynamic. Brennan portrays Tula as the quintessential overtired single mother of excitable kids, and Rashawn as younger sister Viola straddles a very interesting line of being intimidating to outsiders but very much more naive and looking to her older sister when she starts a family.

Jasper as Thorn, a guy everyone just lets be a cult leader because he really wanted to, is fantastic. His is a difficult role as the only non-blood relative. Jasper plays Thorn with such real humanity of a guy in over his head and letting his ambition wife call the shots, but also one who agrees with her goal, really loves her and has moments of real menace. He has some very funny scenes, his big speech is perfect, and I just enjoy him.

Erika is wonderful. They play the epitome of generational trauma as many have said but as much trauma as Ava has, she is also loving and willing to learn. The fact Erika took this adversarial role is incredible. The tense dramatic scene primarily between Ava, Tula and Viola is amazing. They act their asses off and make hard choices that I imagine are difficult even for such an experienced player.

Aabria's DMing always feels fun. She doesn't get bogged down in the rules. She knows them. She plays by them. But as a master, she knows how and when to break them too. Her seasons on Dimension 20 have all had a tenseness, a particular edge to them that can give me anxiety during dramatic scenes between two characters. It always feel like one of her NPCs may say something devastating and the tension between characters reaches really thrilling heights. This is present in other seasons, but I don't think anyone does it as well as she does. The first season of hers to have battle maps, Aabria really swung for the fences and gave us some of the wildest maps to date.

Shout out to Carlos Luna's voice acting. He did an incredible job. And shout out to the whole crew who have put together one of the best seasons of D20. They keep finding ways to build on what's come before and they should be commended for it.

Dimension 20 is most successful when the concept is very streamlined. They don't do huge 100 episode campaigns capable of handling huge winding complex narrative, but short focused D&D stories, which is why many of the Side Quests have been so fantastic. They embody this philosophy most clearly, but it's apparent in the most beloved Intrepid Heroes seasons as well—John Hughes/High Fantasy, Game of Thrones/Candyland, Retrofuturism, Film Noir but in a Brain... Burrow's End fits this perfectly. It's streamlined concept paired with great storytellers and great chemistry sets it up to be a smash hit before it begins. And goddamn does it deliver.

Thanks Stupendous Stoats!

[deconstructthesoup]

I think the reason that Dimension 20 really scratches all those itches in my brain is that it really shows what you can do with D&D---and TTRPGs as a whole.

Fantasy High, by itself, is an incredibly compelling concept. What would D&D look like in a semi-modern setting? What would a high school that's all about teaching teens how to be adventurers look like? And the way it's done is beyond inventive, especially if you look at all the encounters in the first season---we've got a literal food fight, a high-speed road chase with tiefling greasers, a nightclub brawl with zombies, vampires, and werewolves, a skating match with a bunch of dwarven middle schoolers and a concrete golem, a high-stakes game of football (ish) with undead jocks that give off major teen slasher vibes, a fight done in an arcade where characters can get trapped in the consoles, and the final battle is done at prom. PROM! How cool is that?

And then we get to the Unsleeping City, which takes the urban fantasy elements that Fantasy High already had and elevates it. The way the D&D lore and magic is interpreted in a modern New York setting is excellent, as is the whole take on the "American Dream," magic literally coming from dreams, ideas, and the imagination. I know that I need to actually finish the UC saga, but from what I've seen and experienced, it is truly fantastic.

And the same energy carries through to the other seasons---my personal favorite outside of Fantasy High being A Court of Fey and Flowers, just because I'm a sucker for any Fey Realm content and I've been raised on Jane Austen---where the genre mashups shine through in the best way possible. I'll admit, I haven't seen A Crown of Candy, purely because I know how heartbreaking and devastating it is and I don't think I can physically handle it, but the concept of Candyland Game of Thrones is so beautifully bizarre that I totally get why people love it so much. Escape from the Bloodkeep hitting that workplace comedy vibe that we love to see in villains. Misfits & Magic being a love letter to the "magical boarding school" genre while also calling out all the weird contradictions inherent in it. A Starstruck Odyssey literally being an homage to Brennan's mom and exactly the kind of madcap and unhinged energy I need from my sci-fi. Neverafter perfectly encapsulating the true horror of fairy tales. Mentopolis hitting my noir-loving heart and personifying hyperfixation in the best way possible.

I'm not even kidding when I say that, if it weren't for Dimension 20... I probably wouldn't have even started my own campaign. I'd had snippets and ideas ever since officially getting into D&D and joining a game with some old friends (and getting back in touch with them in the process), but after I saw the Mentopolis trailer, I realized just how much variety TTRGPs had to offer. I could do a time-blending, history-meets-future campaign. I could go out-of-the-box. I could have endless amounts of options available to my friends and still tell the story that I wanted to tell. And when I sat down and watched Fantasy High---and when I got that Dropout subscription so I could consume whatever I wanted---it felt like the show was actually giving me advice. It's fantastic.

Also it helps that the episodes are usually only roughly a couple hours instead of being, like, an entire afternoon long. And that each season is 20 episodes, tops. No offense to Critical Role, but the sheer amount of content literally makes it impossible for me to get into it.

[thisisnotthenerd]

with misfits & magic season ii coming out on 9/25, it's time for a spreadsheet update!

links to the relevant sheets:

thisisnotthenerd's d20 stats: the og spreadsheet. where this all started.

d20 episode randomizer: watch orders! go here to see all of the episodes listed in various ways, and to pick a random episode!

d20 seating chart stats: the table and how it plays out every season. check the compiled chart for basics on each character

anyways, on to the stats!

general stats:

total episode count: 251, spread over 22 seasons.

there have been 8 main cast / intrepid heroes seasons, that make up 147 of the 251 episodes, or 58.5% of the total count. if we include oneshots in this count, the count goes up to 151 of 251, for 60.1%.

total runtime: 541:54:53. that's 3 weeks, 1 day, 13 hours, 54 minutes and 53 seconds of dimension 20.

average runtime: 2:09:32. the median is 2:08:32, which i thought was funny. the episode that's closest to the average, with 2:09:33, is 'the house always wins' from a starstruck odyssey.

some more recent updates: never stop blowing up has the third-shortest average (1:49:18), following fantasy high (1:39:43) and coffin run (1:43:16).

nsbu is the shortest of the 10-episode seasons, with a total runtime of 18:12:59. compare that to the longest 10-episode season, the seven, with a runtime of 23:55:12.

for mismag, this is our first sidequest sequel season. aabria is the first guest dm to get a sequel season of her own (matt is a little diff by virtue of brennan running acoc). it's the first KOB sequel season as well--that speaks well for d20 expanding their game systems.

mechanically, they're now using a version of nsbu called never stop making magic, so i'll be tracking stat explosions this season as well. i do think d20 is leaning towards expanding the systems they use, so we'll see how they continue to expand going forward.

it's also the first odd-numbered sidequest season, with 11 episodes. by december 5, we'll have had 16 episodes in the world of mismag, which is just under a main cast season.

player stats:

aabria's back in the dome for her 7th season, and 4th as the game master! with an 11 ep season she's up to 59 episodes, and remains the most common guest on d20. at this point she's the second in-house dm. she has the Q4 10-ep season on lock. the first sidequest sequel season is hers.

brennan is up to 21 seasons and 257 episodes (including time quangle and mismag ii). he now has 2 seasons on the right, evening his split out a little bit (3:2)

lou has dethroned ally and taken the top player spot, with 12 season and 187 episodes. he has a new fave seat, with 4 seasons in L1 as well as R3.

erika isn't far behind aabria, with 47 episodes and 6 seasons. they're split between L3 and R2 (2 each)

danielle's joining the ranks of what i consider the recurring guest cast, with 3 seasons and 22 episodes under her belt. she's behind rekha and izzy (tied with 36), erika, and aabria.

production notes:

in terms of production, the release of the time quangle episodes puts us at 45-46 episodes for 2024, depending on when the december releases start. this also sets us at a total of 268 episodes by the end of 2024.

if we include all of the adventuring parties, adventuring academies and various other d20 auxiliary content, 2024 might take the cake for the most total episodes, dethroning 2021.

i'm guessing that this was the first season filmed after brennan's parental leave, so they're probably still 6 months to a year ahead of the releases

production calendar is looking like main cast season in Q1-Q2, varying number of sidequests/oneshots through Q2 and Q3, with aabria/another guest dm in Q3-Q4. depending on when aabria's season starts, they may start the intrepid heroes' season in Q4 going into the following year. general disclaimer that this is just a guess.

[cartograffiti]

If you want to run a Court of Fey & Flowers Game, dnd isn't what you need

...because it's not what the Dimension 20 cast played, either.

I talked about this a little bit once before, very early in the season, but now that it's done, it's really clear to me that they played Good Society by Storybrewers with a few Dungeons & Dragons elements hacked in, not the other way around. Aabria Iyengar loves Good Society, and it really shows. She merged the systems really beautifully to suit the expectations of D20, and that's why I think players at home will get a better experience by starting with GS materials than by trying to reverse engineer the mechanics Iyengar showed in action.

Things they got from DnD:

-Skill levels/stats.

-Rolling dice to determine success.

-The game master/facilitator (Aabria) playing most characters.

-Some creatures and spells (the dog that has an old man's face, the telepathy spell I can never remember the name of).

-Aabria giving out Inspiration.

Things they got from Good Society:

-The principle of having a character goal that may be kept secret. (In fact, some of D20's specific goals were probably even chosen from Good Society materials. The player character with a secret spouse? There's a card for that.)

-Social reputation tracked by degrees, conferring descriptions and perks. (They did not use GS's exact system. Whether it was a hack or a mix with a game system I haven't played, I don't know.)

-Trading tokens that can be burned to make strong moves. (Again, not GS's exact mechanic--GS uses tokens throughout instead of dice. That game lets you decide what your character is capable of. Tokens make sure everyone has fair chances to act, especially when players have conflicting goals.)

-Additional guidelines and mechanics for agreeing on how the table wants social events to work, as well as how to navigate the varying dynamics of relatives, friends, and rivals.

-Rumors and epistolary phases. (There's a fun post going around about Brennan asking about these because "he wanted to get a good grade in dnd," but I think he was sincerely curious how they worked, because they aren't dnd!)

-The overall cycle of play, dictating the order of phases and pace.

-Some mechanics for the reputations and interactions of fae courts as entities were taken from Good Society's Fae Courts mini-expansion.

-Monologue tokens. (D20 has Aabria as the only one who can use these, GS allows anyone in the game to ask someone to monologue.)

-Additional guidelines for determining world state, character creation, and keeping the story within a consistent style and tone that feels like a recognizably Regency story...even when giant owlbears can get gay married.

-Other flavoring and approach details.

Things Good Society has that Dimension 20 didn't get to show off:

-The ability for players to also choose a secondary character to control, allowing them to participate in more roleplay and experience multiple personalities or social roles in the same game.

-A really rich and thoughtful collaboration phase, before the story begins.

-The ability to share facilitator duties among the table, and to allow the facilitator to play a main character as well as supporting cast.

-Advice and expansions for adjusting the game to various tones, genres, and other historical periods.

So you're looking at buying Good Society:

What you need is pdfs. Definitely grab the base game for $21.00, that has most of what I just described. If you're excited to see their Fae Court specific materials, it's included in the Expanded Acquaintance bundle with many other pieces of content, or there's a bundle of the base game and every expansion they've produced. You do not need to buy the more expensive bundles that include physical books and cards unless professional physical versions delight you, the pdfs are designed to be printable. Storybrewers also made and provide spreadsheet templates for sessions meeting online, so you can all see your worksheet choices.

Good Society is a really fun and flexible system, and it's most of what we loved about how A Court of Fey and Flowers was structured. It's your best route to a recreation, and well worth playing in its original form. I love that it doesn't have stats and dice--if you've never played a ttrpg that doesn't make you do math, this is a great introduction. I'm so glad Aabria featured it on the show!

[caitmayart]

Big thank you for the art in this season of Dimension 20, it's fucking fire from front to back, not a single miss!

Do you have any non-spoilery insights into your artistic choices with this season?

I ask because the art is less bouncy and cartoony than not only the previous FH seasons, but than the other seasons of Dimension 20 generally: The colors are cooler and less saturated, the expressions and poses are big, but grounded, the shading is subtler and more detailed, and the way all of that plays with the magical people's designs really feels like you took actual photos of fantasy people. It really captures what makes Fantasy High Fantasy High, I love it so much, and I was wondering if it was a conscious choice, just how you draw, or a secret third option.

Holy wow, this is one hell of a compliment! Thank you so much - I'm not really sure how to answer? I think the truth is that it's just my style, I was given free stylistic rein on the characters, obviously with reference to the past seasons' art.

I was told that one of the reasons they hired me was because of my ability to capture "candid" character moments, and I was encouraged to do that instead of static poses.

In my personal style, I'm a heavy sketcher and I use a lot of toothy pencil brushes. My main brush for the whole project is a lovely brush that can do teensy details but also does textured marker-like shading when sized up. I used it for both the characters and projections :)

Thank you for the love - I'm so glad you like my style!!

[utilitycaster]

In thinking about the new information we've recently learned about the gods of Exandria, I started thinking about epic fantasy novels. The thing is, Exandria's deity lore is not actually terribly unique. This isn't a bad thing! But the idea of an idyllic age when gods were not just powerful but present and united; the fall of one (or many) gods and an ensuing devastation this causes; and the gods subsequently withdrawing or diminishing is a very, very common one in fantasy (and, to be totally honest, world religion). Similarly, the idea of a much more advanced age that has since passed into distant memory is also an extremely common trope. I think it's less common to have both of these tropes working in tandem though certainly not unheard of (hello, Wheel of Time), and the nature of the storytelling method in effect here means that the fallen advanced civilization is more thoroughly developed in the worldbuilding than it is in many other stories, but none of this is a wildly new concept.

I want to talk about genre, medium, and actual play, which is sort of both and sort of neither. I think people talking about actual play tend to mash all three of these things together when they really shouldn't.

(this is a long one so it's under a cut to not wreck your dash)

The genre of Critical Role's main campaigns is heroic fantasy, which I know I've covered in the past, and of epic scale. This is honestly pretty typical of D&D. NADDPod (especially Bahumia) and TAZ Balance and Graduation are also arguably within this same broad genre, just more comedic and looser with aspects of the worldbuilding.

Despite the fact that Brennan is very well-versed in fantasy novels, D20's main deal is that it's not classic heroic fantasy. I think this is actually a bigger factor in why people prefer CR to D20 than many people think. The shorter length is definitely another factor (though that too feels almost related - the critically acclaimed indie comic run to Critical Role's series of doorstopper novels) but Dimension 20, while it comments on classic heroic fantasy with Fantasy High and Escape from the Bloodkeep, only ever dips into anything actually approaching that genre with the Game of Thrones-inspired low fantasy seasons and, funnily enough, with the Dungeons and Drag Queens miniseries. Otherwise, it's telling school stories, urban fantasy, space operas, heists, murder mysteries, comedies of manners, and action-adventure. Similarly, TAZ Steeplechase and Amnesty very much aren't of this genre. Critical Role meanwhile touches on supernatural horror with Candela Obscura.

Actual Play is a means of telling a story, and typically the system at least puts in place the general expectations of what can be done within the improv. Some systems (such as Candela Obscura or Blades in the Dark) set a particular genre; others, like D&D, favor one but permit a good degree of flexibility. Actual Play is not really the same as genre, as discussed above; D20 genre hops quite readily, as does The Adventure Zone, even while using the same TTRPG systems.

Finally, there's medium. This one is easy. Critical Role and D20 are filmed shows (though are available as podcasts); so is, to give a non-Actual Play example, The Bear. NADDPod and TAZ are podcasts. So are (for example) The Silt Verses and Midst.

The reason I've outlined all of the above is to say that I think people tend to assume simply being actual play is somehow closer than sharing genre. This is also to an extent true for longform fiction podcasts (though it is less true for TV and books). I think this has led to an influx of fans of actual play (and, tbh, podcasts) who aren't familiar with the genres within which actual play shows are working.

I do not say this to gatekeep (though honestly, gatekeeping is both not inherently bad and also, not possible in this context). It's more of an exploration of what I think may be a reason why, particularly in the Critical Role fandom, it feels some of the Campaign 3 opinions feel somewhat half-baked.

You can be a fan of heroic fantasy and enjoy actual play but not actually be terribly into actual play that isn't heroic fantasy. I think some people who loved Critical Role Campaign 1 but nothing after that and no other actual play fit into that category. I think Campaign 1's fandom was, indeed, heavily skewed towards fans of fantasy and fans of D&D (as a venue to roleplay one's own fantasy story and as a game itself heavily shaped by heroic fantasy fiction) more so than anything else. If you like, say, The Kingkiller Chronicles or the Stormlight Archives or the Wheel of Time or Lord of the Rings? You might like Critical Role.

By 2018, and definitely by 2019-2020, the landscape had changed, and the attitude was much more one of "if you like this actual play, you'll like this one" which is actually...nowhere near as true, in my mind, as recommendations based on genre. I think this is also when people started folding in "longform speculative fiction podcasts in general" which to be honest was already an issue with the medium of longform fiction podcasts. Wolf 359, The Silt Verses, Midst, The Penumbra Podcast, and any season of NADDPod are all longform, plot-based speculative fiction podcasts with queer representation, but that doesn't actually mean someone who likes one will like another. (Also? Queer rep? Gets treated like podcasts or actual play, to be honest. It's extremely possible to love only one of The Mysteries of Pittsburgh, Stars in My Pocket Like Grains of Sand, The Woods All Black, and The Priory of the Orange Tree despite all of these being novels with queer relationships, yet a lot of the time Queer Rep is treated as a genre, an "if you like this, you'll like that!")

I think it is true that there are people who enjoy actual play on a fairly general level (myself included), and with podcasts especially I think there are people who enjoy fiction delivered in this manner and people who have some difficulty with it. But I think there's a tendency to push people who like one actual play towards other actual play when they may be more interested in longform audio fiction, scripted or not; or might be inclined towards a particular genre. To go back to the examples I've given, someone who likes Candela Obscura might find The Silt Verses and The Woods All Black more appealing than, for example, Fantasy High, despite that also being filmed actual play, because the latter two are also supernatural horror with exploration of class.

Because actual play, in its weird not a medium, not a genre, but kind of both space is, well, in between spaces, it gets treated as the most specific element of works of fiction when that's not always true. The consequences, therefore, end up being twofold. You get people who come to AP series because they liked another one that doesn't actually have a ton in common, and it ends up hit or miss (this is one of my theories why the D20 fandom can be extremely weird about Critical Role; because it was pushed on them when it's really not what they're into, which is neither their nor CR's fault); and you get people coming to specific actual plays and enjoying them without much familiarity with their genres, which I think is behind some of the weirder C3 takes since C3 is arguably the first campaign that truly began after Actual Play began to be treated as a genre.

[laurasimonsdaughter]

If you were to make up fae courts besides the standard ones(Seelie/Unseelie and seasons for example), what would you choose? I was thinking of this cause A Court Of Fey and Flowers(the dimension 20 series) had a bunch of them(court of Craft, Wonder, Seafoam, Goblins, etc) and I thought it'd be a cool prompt.

What a fun question! I have so many complicated feelings about fairy courts and I honestly loved Dimension 20's approach! Because what by now is seen as "the standard courts" (Seelie/Unseelie, Summer/Winter, Light/Dark) are all quite modern inventions. So it really doesn't take anything away from the faerie of it all to change them.

I'd actually like to go one step further: if I was making fairy courts, I'd make them small, and local. Because I personally think that vibes better with the folktales that I know.

The concept of fairy courts is primarily based on Scottish folklore. But it was common practice there to call fairies "seelie" far before they were ever described as "unseelie". Which makes sense, because you wouldn't want to offend the fae. (Apparently in the Scots language "court" could also just mean "group" or "company", which would make "seelie court" not unlike "fair folk".)

On top of that - although there are definitely mentions of fairy queens and kings, especially in ballads - many Celtic folktales refer to a specific group of fairies living together in one mound as a "court" without implying that this is The Court that controls all other fairies. Their leader is sometimes called king or queen, but sometimes just lady or lord. And this concept shows up in Germanic folklore too, with elves and dwarves and witte wieven.

So if I was to make up fairy courts for a story they'd be very specific:

The Alder Court

The Wetland Court

The Court of Crown Hill

And those would probably just be the human names for them. The members of the court would be more likely to introduce themselves as "follower of my lady queen, ruler of all under the hill."

Alternatively, if I was going full secret urban fantasy world, I'd probably align the courts with the specific type of fae. (Which is an impossible task, but in urban fantasy you can pick and choose as you like.) So there'd be a Brownie Court, a Pixie Court, a Court of Wisps, etc. And all fae belong to that court, though spread far and wide, would answer to that ruler. I think that would be very fun, especially for the types of fae who deal a lot with humans.

[ratgrinders]

So I read this interview of Brennan Lee Mulligan post-Junior Year (really interesting btw, I recommend everyone check it out!!!!) but I wanted to talk about a couple questions that interested me in it regarding the Rat Grinders:

I love the Rat Grinders and how they're just this dichotomy...Talk to me about leaning into not just that they are the opposite of The Bad Kids, but their corruption, because they were really sweet as the High-Five Heroes before they followed Kipperlilly down this path. Brennan Lee Mulligan: There's an interesting question there. I think that for a lot of it, there were hints, and most of the things we've seen of their sweetness are contextual from bits of writing, little things, investigations. But I think that you can see… It's both. There are elements that they were not always like they are now, but the seeds of what they are now are there in the past. I think that when you look at the High-Five and then eventually becoming the Rat Grinders. There's an indication there of Kipperlilly's focus because yeah, the High-Five Heroes is sweet, but it's also sort of a indication that Kipperlilly is pushing them towards, for lack of a better word, do we have something that we're about? The Bad Kids get their name because they've all been given detention on the first day and it's connected to their story. Whereas you get the sense from the High-Five Heroes that it's not actually describing anything. It's like the person being like, "Our inside joke is going to be high-fives." And you're like, "Well, everyone high-fives." So there's an indication there, for me at least, that Kipperlily is trying to make a comradery right away that is not actually there. It's not based in something that happened to them.

So a confirmation that Kipperlilly naming them all the "High-Five Heroes" on the first day is her trying to "force" a sense of comradery, and also possibly an adventuring identity? Like how the Bad Kids already have this strong group cohesion and "story" because they were all given detention on the first day of classes, and Kipperlilly's trying to create something like that without it having a strong basis.

This seems indicative of a couple things to me, like Kipperlilly having a naturally strong, pushy personality that maybe overrides her other group members, or that she has a certain idea in her head about what makes an adventurer. She wants all the gimmicky stuff like a cool party name and inside jokes, but even then on the first day is trying to force it without having earned it. She's enamored with the idea of an adventurer in terms of them being the hero of their own story, and in her head how good of a "story" you have is directly linked to how good of an adventurer you are.

It also makes her opposing the name "Rat Grinders" later interesting, lol. Rat Grinders is obviously WAY more based in something unique to their party and an inside joke on what they actually do. Maybe it was just because she didn't appreciate her sense of control and her name being undermined.

How do you think they're going to diverge now that they don't have Kipperlilly leading them? Brennan Lee Mulligan: I think that the future of that group is very… I think I leave it to the players, but as you're saying with Kipperlilly, her leadership of that group to me, the moment that is the fundamental, very critical to the season and understanding it I think, is that killing of Lucy Frostblade. Where that is the moment where power and the opportunity for power is chosen over all else. The participation of everybody in that, that the other Rat Grinders came in and that they killed Lucy Frostblade, is the ultimate like, "Oh, we can understand wanting to have the status that The Bad Kids have. This was not worth that. It is not acceptable. Even if you really want to have something, you can't kill an innocent person who is also your best friend to get it. That is evil." And so I think that that's really the turning point for them.

And talking about Lucy being her best friend, and the killing of Lucy Frostblade as the point of no return. I imagine that after killing Lucy the Rat Grinders were deep in the sunk-cost fallacy, that "oh, we've just done this horrible thing, there's no turning back now". Like the text messages the Bad Kids found in Ruben's house.

Canon leaves it slightly unclear the order in which the Rat Grinders were shatter-starred, and just how culpable they are for their actions while under their influence. I'm going to assume that Kipperlilly was the first one, "willingly" taking one (for a given definition of "willingly", as I'd argue she had still be subjected to a year and a half of manipulation and grooming by Porter. She may have been sound of mind, but she never would've done this without Porter encouraging her or validating all her worst aspects). Then, she and Porter worked to kill the other Rat Grinders, an unwilling ritual that put them under the thrall of the rage god. Lucy was the last holdout, and was killed with the assumption that she would come back like they did, but she instead "stuck to her guns" and stayed dead.

I'm also going to interpret the shatter-star as an element of divine manipulation that drives people with rage to do actions they wouldn't do normally, but which are ultimately based on a kernel of truth. Think Adaine in the mall fight, "What would Adaine do if all she ever thought about was rage?" and Siobhan talking about the forest of Sylvaire being destroyed in the search for her mother. We know Adaine would never use such an excessive amount of destruction, but we see the underlying motivation to her actions.

So when the other Rat Grinders killed Lucy, they weren't exactly "sound of mind" as they were under the influence of the rage star, but they were still themselves, they still made the conscious choice to choose power over everything else. The rage star only elevated it to murderous heights; they never would've murdered her without its influence (in fact, I'd argue that the expectation she'd come back is why they did it in the first place), but the motivation still stemmed from a selfish want for power they all shared.

I think, too, that there's a thing with them, there's sort of a you can't have it both ways. The strategy that the Rat Grinders employ to get powerful is to do this grinding. Eventually, they get leveled up also by these powerful monsters that are being killed, they're allowed to join in with, but fundamentally it's like you can't have your cake and eat it too. Kipperlilly as a villain to me is very focused on, "Ooh, I can get by with the letter of the law and not the spirit. There's a better way to get powerful as an adventurer other than going on these important missions where you can probably die." That's the other thing, too, is you look at The Bad Kids, the Bad Kids run into that Corn Gremlin fight, and two of them die. They took a huge risk to save the school and stop something bad from happening, and the Rat Grinders never take that risk. So even as Kipperlilly is like, "Why aren't I getting what they're getting?" It's like, you're not making the choices they're making. Obviously grinding rats in the woods is a safer way to gain levels and the reward for doing it the safe way is you've never saved the world.

And with this last bit, Kipperlilly wanting the accolades of adventuring but without having to risk her life for it. It's interesting that Brennan mentions Kipperlilly avoiding "missions where you can probably die", because I've theorized before that part of the Rat Grinders' motivation for sticking to grinding is them not wanting to risk dying!

This is where genre conflict comes into play for me, because in a normal world I'd argue it's totally acceptable and fine for teenagers to do everything in their power to avoid Literally Dying. However, Spyre is not a normal world and runs on DnD conventions, where Aguefort trains them to be murderous "violent wanderers" who enact their will on the world, sometimes fatally. Death is also comparatively cheaper here when adventurers specifically have an easier time getting revived. The Rat Grinders may protest all they want about the standards of the genre that encourage crazy, violent, fatal behavior, but they're always going to be in the wrong genre and their protests are doomed to failure.

And "having your cake and eating it too". Her adventuring party never took those risks, so they don't get the rewards for saving the world.

[remidyal]

What is Fig Doing? - Mechanical Discussion edition

So! I know a lot of people who watch D20 are relatively new to DnD, or may not have much experience with the game itself at all, and as a lover of exploring weird and mechanically ineffective multiclasses I thought I might dive in in advance of whatever the hell Emily's about to do to Fig's character sheet following episode 7. Spoiler alert: Weird it may end up being, but this is absolutely NOT going to be anything like an ineffective multiclass.

First, here's Fig's character splash screen as of episode 7:

In addition to the information shown here, we know that she's currently subclassed into a Hexblade patron and into being a Lore bard. The Lore bard part is less important, but Hexblade is an incredibly common subclass for multiclassers into warlocks and might actually be the most common multiclass subclass in the entire game for reasons we'll get into.

There is a very small elephant in the room: Multiclassing into or out of Barbarian would, by the rules as written, require 13 strength; multiclassing into or out of Paladin requires 13 strength and 13 charisma. The charisma Fig has in spades, but she's short on strength, and in fact I would actually argue that Fig's overall stats are the worst of the entire party - she has a whole lot of 0s or +1s, where most everyone else either has multiple +3s or higher or has almost all +2s past their primary. However, the multiclass requirements have been consistently ignored in Dimension 20 as a whole and have been ignored in Fantasy High in particular in the case of Gorgug going into Artificer back when he was at 8 int; I think it's safe to say that if Fig/Emily wants to add Paladin and/or Barbarian that either they'll move around stats to allow for it or just ignore the requirement, because that strength stat is, in fact, completely irrelevent to this build.

So let's get to the meat of this: There is almost no combination of bard, paladin, and warlock that Fig could end up with that is not going to be an incredibly effective build, as long as she has pact of the Hexblade and is at at least two levels of Paladin for access to Smite (the first level of paladin gets her almost nothing). There are some that are going to be better than others, but mostly it's going to reflect different strengths and focuses, and the reason for this is this little section of the Hexblade level 1 abilities:

The influence of your patron also allows you to mystically channel your will through a particular weapon. Whenever you finish a long rest, you can touch one weapon that you are proficient with and that lacks the two-handed property. When you attack with that weapon, you can use your Charisma modifier, instead of Strength or Dexterity, for the attack and damage rolls. This benefit lasts until you finish a long rest. If you later gain the Pact of the Blade feature, this benefit extends to every pact weapon you conjure with that feature, no matter the weapon’s type.

Fig is a one-trick pony, statwise. Being a hexblade allows everything she would want to do in combat across all of these classes to use that trick. She'll have dials she can tweak across the three classes, and they're going to impact just what she can do, but if she's really decided to leave being a Bard behind it wouldn't surprise me to see her ditch Bard levels for Paladin and Warlock ones over the course of the season.

For those dials, one key thing to consider is the spell slots she'll have, which are WEIRD to calculate for any warlock multiclass with another caster. For every other caster class in the game, there is a pool of spell slots that go up as you level any of them that refresh on long rests. Warlocks, however, have a seperate pool from any of those, so her warlock spell slots are seperate and refresh on short rests. If she stays at level 2 in warlock, this pool will be two slots of first level. If she levels in warlock, the level of these spell slots go up but the number of them doesn't (unless she somehow were to end up at level 11, when warlocks finally get a third slot.)

The paladin and bard combo is a little simpler to look at - she's going to have spell slots from the table that a primary caster would have at the level equal to her bard level plus half her paladin level. Just as an example, let's say she by the next combat were to drop two bard levels for two paladin ones and she were to end up 7 bard/2 paladin/2 warlock. She would end up with the two warlock first level spell slots that refresh on short rests, and 7 + .5*2 = level 8 from the primary caster spell slot table. (4 1sts, 3 2nds and 3rds, 2 4ths). A very deep pool for using Divine Smites - a full paladin wouldn't be able to match this until level 16, and that's not even counting the warlock first level spells!

Key level breakpoints that might be worth looking at: At level 5 of Paladin, she would have multiple attacks; at level 6 Paladin gets one of the best abilities in the entire game, an aura where she and allies within 10 feet get her charisma mod as a bonus to ALL saving throws. In Fig's case this is an absolutely incredible +5 - at their level, this is a bigger boost than being proficient is! If she really wants to guard her president, this would allow even Kristen to have a +2 on dex saves! I'm not certain I could overstate how good this ability is in general; with a +5 it's completely insane.

She can also get multiple attacks through either Bard or Warlock, but neither is automatic. For Warlock, she would have to choose to take Pact of the Blade at level 3 (warlocks have, somewhat confusingly, two more-or-less subclasses, and Hexblade and Pact of the Blade are in fact different things) and Brennan has been HEAVILY hinting at wanting her to take Pact of the Chain so that Baby can be a class feature instead. She'd then have to get to level 5 in warlock and take the Thirsting Blade eldritch invocation, which are sort of little bonus powers warlocks get. I think this is the least likely path to multiple attacks but it is there. (Mechanically, while it's all still fine, I also think leveling warlock would be the worst of the three in a three-class build.)

Bard CAN get multiple attacks at level 6 but Fig would need to change subclasses to either Swords (which is what Fabian is) or Valor (which is, frankly, a worse version of what Fabian is, though it's still fine.)

Getting multiple attacks is a really big deal - Paladins can smite multiple times per round, and given being able to lay on mid to low level spell slots for ages Fig would likely want to.

I have no idea what Oath Fig would pick for a paladin if she gets to level 3, but honestly the level 3 subclass features for Paladin are mostly not that big a deal; she'd need to get to level 7 for the subclass aura for it to really matter all that much.

You'll notice I haven't been talking much about Barbarian above. If Fig dips into Barbarian mechanically at all, it's almost certainly just for one level given how spread thin she might be. This is a level she won't get any spell slots for, but she will get two rages per day, which will add 2 to damage rolls if Brennan allows it (technically it wouldn't apply normally because it does specify only to rolls made for attacks using strength) but much more importantly will halve quite a lot of incoming damage - bludgeoning, slashing, and piercing damage, more or less all of the physical attacks in the game.

Barbarian is a massively bad combination with caster classes in general because you can't concentrate on spells or cast them while raging; there's been a lot of in-character noise made about Gorgug's multiclass being unique and a bad fit together for exactly this reason. The exception to this, as Porter demonstrated to Fig in their last scene together, is that Smiting things is burning through spell slots but is NOT casting and you CAN do it while raging.

So, if by the end of the season, we see some wild 6 Paladin/5 Bard/2 Warlock/1 Barbarian build, know that it's going to be an absolute menace. And if Fig and Gorgug keep trending the directions they are, where she's adding heavy hitter abilities and he's shedding Barbarian levels for Artificer ones, don't be surprised if on the last boss she's the one up on their face and he's casting spells next to Adaine or casting the key Revivify.