D&D General Critical Role Ending

Whizbang Dustyboots

Gnometown Hero
So, a lot of early modules where tournament modules, intended to be played in a short session, in competition with other parties.

That is why they where aggressively deadly and locked down options.
Fair. We don't have a lot of examples of published high level adventures, otherwise, unfortunately.

Did Bastion of Broken Dreams in 3E lock down the PCs in any way or did it leave things wide open for them and their crazy high level abilities?
 

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Mort

Legend
Supporter
Fair. We don't have a lot of examples of published high level adventures, otherwise, unfortunately.

Did Bastion of Broken Dreams in 3E lock down the PCs in any way or did it leave things wide open for them and their crazy high level abilities?
Bastion of Broken Souls?

Yeah, it locked things down.

For example:

Certain information is met with silence because there is a cosmic ban on the information getting out (lame right?). Other information is intercepted by Demogorgon and answered as he sees fit. A few information spells work, but the module actually encourages the DM to be vague and non-specific. Irritating really.
 

BRayne

Adventurer
I do not recall Illithid or Beholders appearing in campaign 1 after the Briarwood arc began, and that is where that story picks up in the animation. However, I believe Matt has the permission to use any WotC IP in his game, and likely has a license to use it in the CR animated series as necessary given that CR is the biggest ad for D&D out there.

There was a beholder in episode 44. Right after the end of the Briarwood arc
 


jgsugden

Legend
I'm trying to work that into the world arc I'm building.

T1 is introduction...

T2 is intended to be the repercussions of that thing of great import...

By T3, the once they find a dungeon, grabbing the shiny should be almost free. So two big changes happen.


First, the cold war that has been brewing goes hot and rapidly becomes a world war. The PCs will hopefully made friends with or give a naughty word about at least some NPCs or organizations, and those organizations will be involved or threatened by said war.

Second, the trail of great import + shinys point directly at an outside context problem...

T4 is about the outside context problem coming to a head. Success is not an option, mitigation is....
That is very much like how I approach campaign construction. I think of it as the Babylon 5 method, as I borrow heavily from the way that JMS structured that 5 year story (with twists):

There is a ALPHA STORY, 2 or 3 BETA STORIES, and 5 to 10 MINOR STORIES.

The ALPHA STORY will only be hinted at in the first tier of play, but will be explored in tiers 2 and 3 amongst the MINOR STORIES, but will climax at the end of the campaign. This is THE Story of the campaign, although PCs will spend a long time coming to understand that element. Referencing back to Babylon 5, this would be the War of the Shadows (which didn't end the show, but it was the major story of the show).

The BETA STORIES will either be substories in the ALPHA story, or they'll be independent. Either way, they span long periods of time and impact a lot of aspects of the game. They often provide framework for Minor Stories. Using Babylon 5, the Centauri/Narn war and the Earth Civil War are examples of Beta Stories. These BETA STORIES will resolve in a minimum of 8 PC levels of story development.

The MINOR STORIES are generally adventures. If you want to think of it in terms of Babylon 5, they'd represent anything from one episode to a series of connected episodes, but no more than 4 or so. The Babylon 4 Story Arcs, the Exploration of the planet, the Psi Corp episodes - each would be minor stories. The game starts with MINOR STORIES, and there are always a few options for MINOR STORIES that will give the PCs information they need for the BETA and ALPHA STORIES.

These unfold through the tiers of play in ways similar to what you discuss.
 

Looking at the DnD Fan Site Kit:
It was added on 01/01/2014, before streamed games were a thing

And the OGL is designed for physicals products. The license says "You must update the COPYRIGHT NOTICE portion of this License to include the exact text of the COPYRIGHT NOTICE of any Open Game Content You are copying, modifying or distributing, and You must add the title, the copyright date, and the copyright holder’s name to the COPYRIGHT NOTICE of any original Open Game Content you Distribute."
But I've never seen ANY DnD stream flash a legal disclaimer on the stream or provide credits of any kind

Streaming your game really is legally gray when you think about it. It's arguably fan fiction, which legally belongs to the copyright holder as a derivative work

TSR would have probably sued CR

This feels like something WizCo should really update and clarify. Do's and don'ts of streaming
 

Can't even find a legal page on critrole.com Or mention of who owns "Dungeons & Dragons"
There's also no reference on either their YouTube or Twitch page

If Critical Role passes DnD in popularity and someone at Hasbro or WizCo thinks it's cutting into their sales and profits, there's nothing protecting CR from a lawsuit
 




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