If I could change one thing about season 11, I wish that Cas had a moment with God…

All the way through season 4 he was so loyal to God, and actually did what God asked which was to love humanity unconditionally. Even in season 6 all of his actions were done because he was trying to do what was best and what God would have wanted. I think there could have been a really beautiful scene between them and would have really developed Cas’ character. 

Anyway just a little thought I wanted to share. I hope other people agree :) 

I was rewatching episode 69 the other day because I was reminded of someone on reddit who said it was their first episode and sold them on the series, and you know what? For all that it’s super spoilery and there’s a lot going on, it’s a pretty good combat-free entry point in terms of showcasing everyone’s chemistry and the extremes in emotion you can get in one episode. Here are a couple of things about storytelling and other good stuff:

  • When the twins went to the cavern with the altar on a bed of shattered bones (which seems to have been a throwback to episode 8′s cavern of glass and bone), they picked one of two tunnels to follow. They never did step into the second tunnel.
    • I just boggle at the depth of the story here. It’s amazing that there can be an entire island fused into glass by some huge cataclysm, this horrible altar with a ninth-level spell scroll hidden within it, bone fragments scattered everywhere… but the main characters are so devastated and overwhelmed by a personal loss that they have to just turn away from it and stumble back home. It’s exactly the same sort of terrible awe-inspiring feeling there was in episode 34 when they chased Lady Briarwood into the ziggurat and found corpses writhing on the walls, magic completely deadened, and a long-prepared ritual failing, but in the midst of that whole horror-story feeling Vex was nearly killed and the party’s only focus was trying to get her out of the room so they could heal her. There’s this feeling every now and then of this group’s campaign intersecting with a much bigger and even darker story that is completely out of their league, but it’s never been enough (yet) to completely take over the narrative, so there’s constantly this uneasy feeling of something apocalyptic happening just off-screen. Such good storytelling and such good worldbuilding, holy shit. It takes a lot of work to make a world feel like it’s organic and evolving so dramatically even when the main characters aren’t around.
  • “Sometimes breaking is making, even iron can start again, and there are many things that move through fire and find themselves much better for it afterward.”
    • Followed by Laura Bailey’s exclamation of, “Motherfucker, that was cool!”
    • I love that this letter was waiting for them to get back to Whitestone and it just happened by chance to time up as well as it did with the arc of the story. Unreal.
  • Critical Role is pretty unique even as online D&D shows go because it ran for so long pre-stream, so the characters are already getting into the really, really high levels you almost never see. Most campaigns aren’t gonna make it all the way from level 1 to level 16 or 17, you know? So Matt’s gotta keep track of things like time changes when they teleport instantly across half the planet, and create challenging encounters for a party that can reverse gravity, control the weather, jump to other planes of existence (including a pocket dimension with their very own mansion), and undo death.
    • Which is why his resurrection ritual is so dang interesting. Late-game D&D can make death feel pretty cheap, because if you have the components on hand a resurrection spell will always succeed. Matt’s home-ruling that every resurrection spell has a chance of permanent failure, and that part of the ritual involves actively convincing the character to return, adds so much more risk to the endgame. Increasing the DC with each successive resurrection also means that the risk of permanent character death is actually way higher for levels in the mid-teens and above, which prevents that “overleveled breeze of an endgame” feeling.
    • And that’s also why the storytelling is so impressive. That there’s a story arc out there for which these folks aren’t quite prepared is terrifying.