Behind the Scenes: Building the World and Collaborating with Critical Role - An Interview with Candela Obscura

Article Overview

Critical Role's full core rulebook for Candela Obscura explores and expands upon the lore, gameplay, and horror of the game featured in their series of the same name.

The game is a tabletop role-playing game (TTRPG) that utilizes six-sided dice. It is set in The Fairelands, a world that has been devastated by war and dangerous magic. In this game, players take on the role of investigators known as the Candela Obscura Circle. Their objective is to work together in tracking down and unraveling frightening mysteries.

Spenser Starke and Rowan Hall, the lead game developers, engage in a discussion about the collaborative development process they had with Critical Role. They emphasize the significance of incorporating mythology and lore into the game. Additionally, they highlight the unique mechanics of scars, which explore the significant consequences that arise from the actions of the players.

Critical Role's complete core rulebook for Candela Obscura provides a comprehensive understanding of the lore, gameplay, and horror elements featured in their corresponding series. In 2020, the team established their own game publishing company called Darrington Press, which has since released various competitive and cooperative games. In May, they unveiled their new horror series, also named Candela Obscura, along with the accompanying game. Utilizing Darrington Press' Illuminated Worlds system, this tabletop role-playing game (TTRPG) relies on six-sided dice and is set in The Fairelands, a war-torn world plagued by dangerous magic while new technology emerges. The series revolves around a group of players known as a Circle, who collaboratively investigate strange phenomena as members of the Candela Obscura organization.

Although the Candela Obscura quickstart guide is currently available, the full rulebook has not yet been released. Nevertheless, fans can look forward to delving deeper into the intricacies of the Fairelands and engaging in their own investigative adventures later this month. Spenser Starke and Rowan Hall serve as the lead game designers and writers for Candela Obscura, with the original concept developed by Taliesin Jaffe and Chris Lockey. The Illuminated Worlds System, which powers Candela Obscura, was created by Stras Acimovic and Layla Adelman.

Spenser Starke & Rowan Hall Talk Candela Obscura

Our website had an exclusive interview with lead game developers and writers regarding the Candela Obscura Core Rulebook. They shared details about their involvement in the project and their collaboration with the Critical Role team. The significance of including the "Legacy of Harm in Horror" section and the real-life civilizations that served as inspiration were also explained. Additionally, Starke, the Game Master in Candela Obscura's second season, discussed his experience while simultaneously completing the book.

Our website: I'm going to start by saying this is gorgeous.

Spenser Starke expressed gratitude for the impressive artwork that was not only visually appealing but also easily comprehensible. However, they had one critique regarding the choice of using nightmares as an example. Spenser questioned the rationale behind depicting a figure engulfed in mouths and wondered about the intentions behind it.

Spenser Starke: You're welcome.

I was reading this last night. Come on, don't do that.

Spenser Starke: We find immense intrigue in the fusion of cosmic elements, gothic influences, and unsettling body horror. In regards to the particular concept you mentioned, it was an enjoyable experience exploring the idea of a body adorned with mouths. Although, I am struggling to recall its exact origin.

Rowan Hall: Perhaps it was during our initial week? It seems like...

Spenser Starke: It might've been week one.'

Rowan Hall: ... just week one of me being on the project was just brainstorming the most icky, terrifying creatures we could.

Could you discuss the game's development process and the world of Candela Obscura?

Spenser Starke: Sure, when I joined the project, the Illuminated Worlds concept by Stras and Layla was already underway. My task was to combine their ideas with Taliesin's concept and make them fit seamlessly. During the initial weeks, I realized the need for a collaborator to help create our own mythos. I approached Rowan, whom I consider a mythologist and with whom I had a prior acquaintance. She runs a podcast covering various myths.

I needed someone who could not only synthesize myths but also reinterpret them in order to create something new. That's where Rowan comes in. Initially, she was brought on for a week to assist with the development of ideas. However, our collaboration proved to be incredibly successful, and her involvement was extended to another week, then another month. Eventually, it became clear that she was an essential part of this project, and she is now a full-time member of the Critical Roles team. Rowan, would you like to share your experience after joining?

Rowan Hall: Yes, everything happened just as you described, although I must admit I was excited to have another week. What I found really impressive was how you recognized the significance of mythology and lore in constructing a parallel world like the Fairelands, which exists alongside our own reality. There are numerous reference points that we are familiar with, yet it exists in a slightly different realm.

If you delve into those ancient stories that have been passed down through generations, from campfires and caves to the present day, and truly understand their underlying theme, it becomes easier for people to find a sense of stability in a seemingly overwhelming world. Therefore, incorporating these timeless tales into the Fairelands was a priority from the early stages of game development. Some may assume that this was an afterthought, but it was actually developed alongside the game mechanics in many ways.

Spenser Starke: Yes.

That's incredibly exciting! Additionally, I'd love to hear more about the partnership between Darrington Press and Critical Role. It's evident that this project holds great significance for both Taliesin Jaffe and Marisha Ray, as you mentioned earlier.

Spenser Starke was fortunate enough to be brought in at the beginning of the project. The initial concept for an investigative horror game with a spooky turn-of-the-century atmosphere was already in place, but the team was exploring different approaches to achieve it. Spenser pitched his own idea, which involved creating a fictional world and mechanics that emphasized investigation as the core element. Instead of typical D&D stats, the characters in the game would have three distinct stats: focus, survey, and read, all of which contribute to their investigative abilities. This means that players can excel in reading people, surveying locations, or focusing on specific objects. Each character can specialize in a different aspect of investigation, adding depth and variety to the gameplay. Spenser's pitch was well-received, and he was given the green light to continue developing the game.

After that, we had a team that would occasionally provide feedback, but overall they were supportive and allowed us the freedom to develop on our own. Towards the end of the year, we presented our complete concept for the Fairelands. Following that, we began writing and it became a race to reach the end.

Rowan Hall: Taliesin is an incredible collaborator. Whenever he would visit the office, he would recommend five amazing, obscure books. When we first met, his enthusiasm was contagious. We discussed Candela and he made sure not to overexplain historical details, allowing for an engaging conversation.

As soon as he realized that I had a similar knowledge foundation, we immediately connected and engaged in a spirited conversation. We spent what felt like just five minutes but was actually an hour discussing various topics. The presence of both Taliesin and Marisha, who were equally enthusiastic, greatly contributed to the success of the project.

That's fantastic! One aspect of the gameplay that I particularly enjoy is the inclusion of scars. I love the idea that in this world, you will face the repercussions of your actions and must carefully consider them. Could you please share some insights on the inspiration behind the scars and what you are most excited to see players do with them?

Rowan Hall: The horror genre has a powerful way of allowing people to confront the challenging aspects of the real world. Mike Flanagan and Guillermo de Toro often discuss how we are our own monsters. With the scars mechanic in our game, we aimed to create a safe space for players to explore these vulnerable topics. We dedicated a lot of effort to building a sandbox where people could delve into the subjects that interested them.

Spenser and I particularly enjoy games that delve into grief, which is evident in our work. However, the most intriguing aspect of scars is reckoning with how a character changes both mechanically and in roleplay. When a scar is taken, the character's stats are altered. This aspect has unexpectedly become one of the most enjoyable aspects of Candela.

Spenser Starke explained that during their exploration of different mechanics, they discovered that when scars affected a player's actions, it had a noticeable impact. The idea of scars changing rather than punishing a character seemed intriguing from the start. However, it wasn't until they witnessed a player reacting to a scar, such as getting bit on the leg and shifting their focus to avoid future harm, that they realized the true storytelling potential. As a game designer, Spenser believes that this mechanic accomplishes something all designers strive for – using a small element to convey a complete narrative.

Rowan Hall: We recently had an intriguing conversation with individuals about games, particularly D&D. It serves as a good example where, as you progress and reach higher levels, players often refer to it as God mode. They become increasingly more powerful, capable of facing bigger and more formidable enemies. However, in Candela Obscura, a story centered around ordinary people doing their best against overwhelming odds, the opposite happens. As you continue on in the campaign, the likelihood of dying actually increases. This is because you acquire more marks and scars.

During this conversation, a significant realization occurred, shedding light on the situation. If the adversaries also advance in power as the characters progress, they essentially experience burnout. These individuals are pushing themselves to go as far as they can, striving to endure, and it is highly probable that not everyone will survive until the end of the campaign under normal circumstances. This aspect of the game mechanics further showcases the harshness and brutality of this world.

Spenser Starke: Yeah.

Definitely. Unexpectedly, one of my favorite parts of the book was the "Legacy of Harm in Horror" section. I really appreciate how you guys provide a brief history and emphasize the importance of approaching it respectfully, responsibly, and from a storytelling perspective. Can you discuss why including this section was crucial?

Rowan Hall: No other part of the book has received as much editing and attention as this section. From the very beginning, we worked tirelessly to ensure its accuracy. It's a complex conversation, particularly when mental health and history are involved. We often strive for clear-cut right or wrong answers, or at least I do sometimes. However, crafting a game that addresses mental health requires careful handling. It might seem contradictory to care for the players at your table while introducing terrifying monsters, but it's not if you engage in open discussions.

Spenser, your example really showcases something important. In a game you played, there was a creature resembling a sleep paralysis demon that had been previously dismissed. However, a player requested to confront this creature, wanting to face their fears head-on and triumph over them. We have discussed how conquering such challenges can be incredibly empowering, but it requires a strong foundation to do so.

You're right about the representation of horror in media, particularly in relation to physical and mental well-being. When we introduce elements like brain scars or marks, it signifies that the character is undergoing significant stress or fear, leading to changes in their essence. When done effectively, as you mentioned, this allows for a deep exploration of inner turmoil.

And I also consider the heroism in the aspect that despite all obstacles, we venture back into the field, determined to fulfill our duty to save the world. Even though fear grips me, even though I now have a phobia of confined spaces or a fear of water, I willingly plunge back into the river to rescue my friend who has been pulled under. That's what bravery truly is, right? It's acknowledging our fears and still taking action.

However, in order to do so, we must engage in necessary discussions. When we pondered the idea of writing the book, it wasn't just about playing the game. One aspect that game designers often overlook is the distinction between creating a playable game and crafting a game within a book. The challenge lies in bridging the gap between printing character sheets and teaching one how to play, and creating a comprehensive 200-page book with all the necessary rules, guidance, and GM content. As we sat down to truly develop the book, we recognized the importance of delving deeply into this particular section, which is frequently discussed at our gaming table.

Rowan Hall: We've specifically discussed this in relation to that chapter, focusing on building the sandbox for Candela Obscura. Our goal is not to create a single universal experience for horror, as it is not practical. Instead, we aim to create a space where individuals can construct highly personalized experiences. Each person's interpretation of a brain scar, body scar, or any kind of scar resulting from the same attack would be inherently unique. This diversity is where the essence lies, and it offers a captivating story within those differences.

I find this concept intriguing. Could you please elaborate on how the world-building and development of history for the Fairelands and Candela Obscura factor into this? As a passionate enthusiast of world-building, I'm eager to explore this whole section.

Spenser Starke: It was incredibly thrilling as we delved into the creation of this fictional region. We began by brainstorming a pitch deck from the ground up, deciding on a name and determining the key aspects. I suggested having 13 districts.

Rowan Hall: Within the first two hours of world building, we successfully generated names for the different locations, the country, the city, the underground city, and even the power systems.

Spenser Starke: We quickly brainstormed ideas and immediately got into action. I must acknowledge that this project holds great significance to you, so I'll let you take the lead and share more about it. Rowan, your dedication and hard work in creating this world are truly awe-inspiring. I am still amazed by the immense effort and determination you put into its development. Our aim is to create a place that welcomes all individuals to engage and immerse themselves in. Would you like to elaborate on our process?

Rowan Hall: One of the main principles guiding our design of this world was the concept of uncovering what lies beneath. We delved into the hidden magic that exists beyond our everyday lives through the exploration of Candela Obscura. Beneath Newfaire, we introduced Oldfaire, a realm resembling Ancient Greece and Ancient Rome, as well as the mythical Atlantis that once thrived on magic until its collapse. Above this, we have Newfaire, a society on the cusp of technological advancements, grappling with the potential repercussions of repeating history. Furthermore, we introduced a recent major war and a parallel conflict against magical forces within Candela.

When exploring this place, it is my hope that people will discover various aspects that reflect the same themes. The essence of world building lies in providing people with hooks and intriguing details, allowing them to insert their own stories into the narrative. For instance, we may mention a spooky incident at a particular site without divulging every intricate detail. By leaving room for imagination, players will feel a sense of ownership and it will be easier for them to engage with the story.

Spenser Starke: In the case of Oldfaire, we deliberately chose not to include a map of Newfaire followed by a map of Oldfaire underneath it in the book. Instead, we present the Oldfaire sites without disclosing their specific locations.

While Rowan and I were both running, we had players with specific desires related to their characters' backgrounds. I aimed to incorporate these desires into locations that are relevant to other characters' backstories. For example, if I wanted to place an entrance to the ziggurat beneath the varnish speakeasy, I had the freedom to do so without any constraints from the book. In this way, Oldfaire serves as a versatile toolbox, allowing you to utilize campaign elements that are important to you, regardless of their placement within the storyline.

Rowan Hall: Oldfaire is predominantly a world of rich mythology and history.

Spenser Starke: I agree.

Rowan Hall: It occupies the realm of our collective fascination with mythology and ancient civilizations like Greece, Rome, and Egypt. When we all had our phases of being obsessed with these topics, it dwells within the vivid imagination of the people in our world. Therefore, the ability to relocate it and provide Candela with precise knowledge of its whereabouts brings immense satisfaction.

Yeah, absolutely. When we consider the various approaches we employed, there was an extensive amount of world-building accomplished in a condensed timeframe, and it was incredibly enjoyable.

Indeed, we successfully established distinct economic classes within both New and Oldfaire.

Spenser Starke: New and Oldfaire.

Rowan Hall: And I guess that's true.

Spenser Starke: Yeah, Newfaire and Oldfaire for sure.

Rowan Hall: Mainly focused on Newfaire though. It was crucial to depict a significant wealth disparity, with a large number of individuals on either end of the spectrum. We wanted to showcase this visually in the setting. Therefore, Newfaire is constructed on a sloping terrain towards the sea, as well as atop remnants of an ancient civilization. This way, we can visually indicate the lower wealth by building downwards, while the more affluent reside on higher ground, utilizing the ancient structures for added safety. Incorporating these physical representations of important social cues is crucial in creating a captivating horror game.

Spenser Starke discusses the unique structure of the eaves, which is situated on top of South Soffit, an ancient building. The eaves are positioned at the very top, while South Soffit is located below. The residents of South Soffit, predominantly the poorest individuals, make their way up to the eaves for employment. This literal representation showcases the stark contrast between the two levels. Interestingly, this concept was influenced by an ancient civilization, possibly Rome or Greece. In South Soffit, unlike the current notion of penthouses being the most luxurious, the higher one resides, the lower their wealth status, until reaching the top, which offers a sense of stability despite its inherent danger of living at greater heights.

Rowan Hall: We conceived of this idea after discovering that kitchens in Pompeii were compact due to the intense heat and presence of fire. It dawned on us that a confined space with fires positioned near the top and the accompanying smoke would be far from preferable.

Spenser Starke: Exactly. In essence, we drew heavily from historical and real-life instances to craft the Fairelands.

I adore it. The content is exceptionally enriching, and I must commend you on the excellent balance achieved. You provide ample detail about the world while still allowing players and GMs the freedom to customize it as they please. Among the many captivating aspects in the book that caught my attention, I particularly appreciated the inclusion of essential information, key details, and prominent individuals. Additionally, the inclusion of thought-provoking questions was a brilliant touch.

Spenser Starke: Yeah.

Rowan Hall: We love to play with questions.

Spenser Starke: I understand. Yeah, that's how it goes. It seems like a significant part of our process in constructing the world is exchanging questions with each other, and therefore-

Rowan Hall: We provide answers for the table, while the questions are meant for us.

Spenser Starke: Our goal is to engage players and GMs by providing enough support without overwhelming them. We want to give you the right amount of guidance to spark your imagination and then encourage you to bring your own themes and ideas to the world.

Rowan Hall: The inclusion of relationship questions in the book has consistently enhanced gameplay during play testing.

Spenser Starke: Definitely.

Rowan Hall: The essence of horror lies within the intricate web of relationships, their constant examination, and eventual collapse. By openly investing in your fellow players and making conscious choices regarding these relationships, you gain a deeper understanding of how to support each other during gameplay. This enables you to effectively strategize and achieve remarkable success together.

Spenser Starke: Absolutely. It's fascinating how relationships are often disregarded in game development, particularly in this genre.

Rowan Hall: That's because we're all nerds who enjoy delving into detailed storytelling.

Spenser Starke: Yeah, I believe that horror is primarily about instilling fear. However, for me, horror is more about feeling deeply concerned for the well-being of those around me and having the desire to protect them. Without a strong emotional connection to the individuals involved, their disappearance or danger doesn't affect me. In the case of Candela Obscura, being a shorter game with only three episodes, it becomes crucial for us to immediately establish a sense of care and concern for one another. Unlike longer campaigns, which allow for gradual relationship development over dozens or even hundreds of episodes, shorter campaigns like this one require instant emotional impact from the very first session.

I wanted to know, Spenser, if running a chapter of the Candela Obscura show has changed your perspective on anything related to the game itself?

Spenser Starke: I think that I ran the game so much before-

Rowan Hall: I'm sorry.

Spenser Starke: It's interesting because I had played the game extensively with the crew off-camera before filming, so when it was my turn to play on camera, they just told me to do my thing. We played the game as we normally would, going all out and aiming to create tension and potential death early on. The mindset was to not be afraid of killing off a character in episode two.

We really gave it our all. In fact, Luis even gave his character a scar before we started playing, showing our commitment to this style of play. It made me realize how much we could push the boundaries and take the game to its limits.

Rowan Hall: And no rest for the wicked.

Spenser Starke: I know. My God.

Rowan Hall: When we were-

Spenser Starke: The reason why you're laughing, I think is...

Rowan Hall: I laughed because while they were filming chapter two, I was still completing the book. I sat behind the curtain, watching them play and write, and whenever there was a break, I would pull "Spenser" aside and apologize for interrupting. We discussed our current projects, and I shared some helpful information so he wouldn't have to strain his brain. In return, he would give me suggestions for my own work, and then he would go back out and perform. After each episode, we would head to Denny's, continue writing, and repeat the process the next day.

Spenser Starke: Yeah, it was quite the transition. I would finish the intense roleplay scenes and immediately dive into the task of further developing this world we were creating. We had a deadline to meet by tomorrow, so there was no time to waste.

Spenser Starke: Absolutely agree. It was an incredibly intense but enjoyable moment. I felt fully immersed in the experience like never before. It was truly mind-blowing.

Rowan Hall: So fun.

You're an amazing GM, and I absolutely loved how you shocked Travis within just five minutes.

Spenser Starke: That's great to hear. Thank you so much. It was truly enjoyable witnessing the cast's reaction to some of the terrifying moments that both I and the rest of the cast crafted. We truly worked as a team, drawing inspiration from the players' backstories. None of it was fabricated; it was all a collaborative effort.

Rowan Hall: Travis is the best.

Spenser Starke: Travis is the best.

Rowan Hall: He's trembling in his shoes and simultaneously exclaiming, "I'm absolutely thrilled by this."

Yeah. I feel a connection with him when it comes to being frightened because a couple of weeks ago, I accompanied some friends to a haunted house. One of my friends brought along her two kids. I ended up holding the nine-year-old tightly and telling them, "You go in front of me. I can't handle this." So I truly understand. Thank you very much for taking the time to speak with me. As I mentioned earlier, I adore the book and the show. I'm incredibly eager to start playing it. I already have friends asking, "When can we do this?" So I'm really excited.

Spenser Starke: I really appreciate it. Thank you for giving it a try. It has been a passion project for us for the past year, and I believe you joined us around October. It's been a whole year of working on Candela, and we're thrilled that it's now reaching the hands of players.

Rowan Hall: Keep us updated on how your game is progressing.

Critical Role's Candela Obscura Core Rulebook will be available for purchase on November 14.

Source: Our website Plus

Editor's P/S

As a Gen Z fan, I am excited about the release of the Candela Obscura core rulebook. Critical Role has done an amazing job of building an immersive world and creating compelling characters. I can't wait to see what they have in store for us in this new game.

I'm also really interested in the "Legacy of Harm in Horror" section. I think it's important to be aware of the potential dangers of horror and to make sure that we're not perpetuating harmful stereotypes. I'm glad that Critical Role is taking this seriously and I'm excited to see how they handle it.