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chaoticgood-libra · 4 months

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It’s been some time, but I return with my last piece of 2023! I couldn’t NOT draw these witches 💖

Check out more of my art @ chaoticgoodlibra!

#critical role fanart #critical role #bells hells #cr bells hells #critical role c3 #cr fanart #fanart #critical role bells hells #laudna cr #cr laudna #laudna #cr imogen #imogen cr #cr fearne #Fearne cr #fearne calloway #imogen temult

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shititsarobyn · 3 months

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POV: they’re healing their inner children by having a tea party ft Ashton coming in with the fire element shard thingy

From this screenshot

(Unblurred Ashton version)

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atlas-basil · 1 month

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Guy guys open your mind, this is very imodna "in another life, I would have really liked doing laundry and taxes with you." Coded

Credit to @criticalbeauregard for the photo

#critical role #bells hells #cr campaign three #imodna #imogen temult #imogen x laudna #laudna #critical role bells hells

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critterpages · 9 months

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This is so funny to me

Bells Hells: don’t tell Keyleth that Liliana is Imogen’s mom!!!

Meanwhile, Imogen and Liliana look like this

Images from CritRole Wiki

#critical role #critrole #cr campaign 3 #critical role spoilers #bells hells #imogen temult #imodna #imogen x laudna #critical role campaign 3 #liliana temult #Liliana and Imogen #critrole c3 #critrole spoilers #crit role campaign 3 #critical role Liliana #critical role imogen #laura bailey #critical role bells hells #imodna canon

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that-ari-blogger · 6 months

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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

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a-little-pigeon · 7 months

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Fearne doodle

#I’ve watched a normal amount of critical role this past 2 weeks and I’m definitely not already finished with campaign 3 #canon designs are but a suggestion #fearne fanart #fearne critical role #fearne calloway #critical role fanart #critical role #cr fanart #critical role campaign 3 #bells hells #critical role bells hells #artists on tumblr #art #artist #drawing #digital art #fanart #doodle #pigeons doodles

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panisil · 3 months

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Enjoying Emily’s play soo much

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middimidoris · 1 month

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Liam from tonight's game, episode 87. 🌿

#critical role #liam o'brien #critical role spoilers #critical role ep 87 #critical role bells hells #bells hells #orym #orym of the air ashari #cr ep 87 #did you like those cheeky gifs?#I can't help myself

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viiriidiian · 1 year

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little moon is here to fuck shit up <3

i drew this in hopes of summoning a party pov switch this week bc i cannot wait two weeks to see if theyre ok

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candelasobscura · 1 year

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#leon.speaks #critical role #critical role bells hells #bells hells #ashton greymoore #chetney pock o'pea #incorrect quotes #critical role incorrect quotes

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thechekhov · 2 months

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CR3 Quick Reacts: EP 79

#cr3 #cr3 liveblog #chekhov watches cr3 #critical role #critical role liveblog #critical role bells hells #bells hells liveblog

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haileyjensenart · 9 months

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Laudna New Look ❤️

Tried my best to interpret “regency romance meets Victorian” & as someone who loves historical fashion, but disregards it’s “rules” by mixing eras, this was so fun! I kept the pants, gloves and boots from my previous Laudna mid level design & I’d love to be sewing this right now!!

#critical role fanart #critical role art #critical role #critical role c3 #imodna #bells hells #laudna #imogen temult #cr laudna #critical role bells hells #imogen critical role #critical role campaign 3

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noelanik-art · 10 months

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THE SOFT LOOK ON LIAM’S FACE WHEN DARIAX AND DORIAN ARE DESCRIBED I AM DYING.

Also I will never get over:

“For fuck’s sake, who the fuck are you?”

“That’s the bag of dicks!”

“That’s OUR bag of dicks!!”

“The dwarf one?”

“No the other one!”

“Oh, well I don’t know that one.”