The Unveiling of Brennan Lee Mulligan's Mind-Bending Worlds in Critical Role's Candela Obscura & Dimension 20: Mentopolis

Summary

Dimension 20's Mentopolis brings together both returning and new players for a gritty, hard-boiled mystery in the city within Elias Hodge's mind.

In this noir setting, the characters embody well-known tropes of the genre and fulfill distinct roles within Elias Hodge's mind, offering fans a glimpse into their functions.

The season delves into the overlap between psychology and philosophy, exploring the idea of the conscious mind as a smaller component of the overall operations of the mind.

Dimension 20's latest side quest, Mentopolis, transports players and viewers into a cityscape that resides within scientist Elias Hodge's mind. This season reunites Dimension 20 alumni and introduces new faces to delve into a gritty and captivating hard-boiled mystery in the infamous city of Mentopolis. Joining the adventure are Siobhan Thompson, Mike Trapp, Danielle Redford, Alex Song-Xia, Freddie Wong, and Hank Green, with Brennan Lee Mulligan leading the way as the Game Master. Each character embraces an iconic trope of the noir genre while serving a specific purpose within Elias Hodge's mind, providing fans with intriguing hints about their roles.

Brennan Lee Mulligan will also join as a player in the second chapter of Critical Role's spine-chilling series, Candela Obscura. In this chapter, teaming up with Travis Willingham, Zehra Fazal, Luis Carazo, and Marisha Ray, Mulligan will embark on a terrifying adventure in The Fairelands, guided by Spenser Starke, the lead designer of Candela Obscura, who will serve as the Game Master for this chapter.

Brennan Lee Mulligan Talks Critical Role's Candela Obscura & Dimension 20: Mentopolis

Screen Rant: Okay, I have to start with oh my god that ending! When the dome went dark and we got to see it on the walls. Oh, that was so cool!

Brennan Lee Mulligan: Oh I'm so glad! We were so excited for that moment. We were so, so excited. How cool is that?

It was amazing and the clues leading up to it. It was so good.

Shout out to our incredible projection designers, Derek and Ruby, and our creative producer and production designer, Rick Perry. And let's not forget our amazing DP, Kevin Stiller, who absolutely amazed us with his lighting effects and practicals for Mentopolis this season. Wow, what a moment at the end! That's why we do what we do, right?

I really enjoyed how this season had a strong blend of Inside Out and Noir.

Brennan Lee Mulligan: Some of my favorite seasons have not simply combined two different genres. Instead, they have blended together intense political elements found in Game of Thrones-style high fantasy. There are a few movies and stories that explore the concept of a city within the mind or body, such as Osmosis Jones, which serves as another point of reference.

I believe that the more specific we can be with the pop culture references we parody or pay homage to, the more exciting it becomes. Thus, it was a delightful experience to create a gritty film noir version of something typically portrayed as cute and animated, like Osmosis Jones or Inside Out. It transforms the idea of "little guys in a brain" into a remake set in the mean streets of Mentopolis, adding an extra layer of fun.

I love it! It's like there's a mental health aspect to this too. The parts that really caught my attention were the fact that oxytocin is an illegal drug. And the idea that "the big guy" should only be allowed happiness and pleasure once he receives validation from others and completes his tasks. Can you discuss this topic a bit further?

Brennan Lee Mulligan: We had some incredible consultations with psychologists and mental health professionals. Our intention was to make it clear that the characters represent different functions of the mind. For example, Conrad Schintz represents conscience, Imelda Pulse represents impulse, and Anastasia Tension represents attention. Similar to Inside Out, where primary emotions are portrayed, we have our main characters representing primary cognitive functions. So, we collaborated with various psychologists during the development process.

There is an intriguing perspective to consider regarding the situation of "the big guy," as it reveals insights into both the workings of his brain and his overall life. It is worth pondering the significance of his sidelined interests and the absence of hormones and chemicals that facilitate pleasurable feelings, which are currently prohibited in the city. These conditions shed light on what might be happening to "the big guy" and can be understood in relation to the political context of Mentopolis.

Another fascinating aspect is the lack of awareness among these individuals regarding the truth of the situation. The government's concealment of information adds another layer to this narrative, as does the portrayal of conscience as a vulnerable child rather than a formidable entity. The backstory that explores the reasons behind the child's fear is remarkably well-crafted. Could you please elaborate on the role of secrecy and its connection to the notion that they are all interconnected within the same brain?

Brennan Lee Mulligan: Absolutely. Many aspects of psychology intersect with philosophy, which happens to be my background. Consider the numerous functions carried out by your nervous system that do not require conscious attention. Breathing and heart rate, for instance, are autonomic functions, but there are countless others as well. Furthermore, thoughts and memories can be triggered without our conscious control. If the brain were merely a machine driven solely by the conscious self, we would be unrecognizable as a species. Hence, the brain operates with various processes running in the background. In Mentopolis, the notion emerged that the conscious mind is actually just a smaller part of the greater workings of the mind. This concept strongly resonates with the alignment between philosophy and psychology, where much more is happening beyond our focal point of attention.

And then a significant portion of this can be attributed to ethical theories surrounding the notion that self-awareness is not inherently innate. It requires diligent self-reflection and introspection to delve into the motivations behind our actions and words. Consider the idea of an individual whose conscience resembles a hesitant child within a mind governed by ambition or other influences. This raises the question as to whether there are many people in our world who operate on different programming than what is commonly perceived.

I was particularly struck by Conrad's motivation, not just the reason behind it, but also his desire for small victories such as holding the door open for someone. When others were amazed by this, I couldn't help but feel that it set a very low standard. Could you please discuss Conrad's journey in more detail? Additionally, I found it fascinating how Conrad and The Fix were drawn to each other.

Brennan Lee Mulligan: There is definitely a classic noir trope at play here, where a tough, intimidating character like The Fix takes a liking to a young, innocent individual, much like The Mandalorian. We often see these tropes in stories where a gritty figure forms a bond with a child, which becomes the breaking point. In The Fix, we witness a critical moment in Conrad's relationship with The Fix, where the corrupt DA, who has been utilizing The Fix's criminal abilities, identifies Conrad as their next target. This is the moment where The Fix realizes that this goes too far.

This is a classic noir trope where a character is faced with a mission they feel conflicted about, despite their history of wrongdoing. In terms of the storytelling, Hank and Alex portray this dynamic exceptionally well. Throughout the story, Alex takes Conrad on a journey, and it was fascinating to hear about Alex's goals for Conrad. Rather than depicting the conscience as a commanding figure, they chose to present it as a young child gently reminding, "You know better." I appreciate Alex's decision to portray Conrad as non-aggressive, with the conscience simply being a voice in their head suggesting kind actions like holding a door open for someone. Overall, I think all the choices made by Alex and Hank were outstanding.

"Having your master plan as changing the order of the newspaper, made me think, 'You win.' I instantly fell in love with you because that is the most foolish thing I have ever heard."

Brennan Lee Mulligan: "That was incredibly humorous. Alex did a phenomenal job with Conrad this season."

I love the mix of experienced players and newcomers this season. Can you touch on how this dynamic influenced the game and the interactions between the players? It's been a blast seeing everyone come together in such a playful and enjoyable way. Brennan Lee Mulligan: Absolutely. While I had played with everyone at the table except for Hank, I had previous gaming experiences with Alex in a Wanderhome streaming game with Fortunate Horse, with Freddie in a Roll20 Chaos side project, and of course with Danielle in Misfits & Magic, Siobhan in Intrepid Heroes, and Trapp in Escape From The Bloodkeep. It's been incredibly thrilling and enjoyable to have this mix of familiar faces and fresh energy.

Hank's presence in the dome was absolutely astounding! I have been a dedicated follower of Hank's content for a very long time. Specifically, I have been an avid viewer of the Vlogbrothers. I proudly consider myself an original Nerdfighter from the early days. My initial encounter with Hank took place during the Project for Awesome, where he graciously invited me to participate. I distinctly remember our first meeting, as Hank was injecting Dr. Pepper flavored baked beans into a chili corndog. If you haven't already, I highly recommend checking out the Project for Awesome. It's a fantastic platform for raising money in support of worthwhile causes.

Therefore, it was truly remarkable to have Hank present in the dome. Playing alongside him was an absolute blast. The dynamic energy at the table was delightfully goofy, adding an element of lightheartedness to the noir genre. Despite the serious undertones, there were plenty of comedic moments, creating a wonderful screwball atmosphere.

I have a great appreciation for comedy noir. It impresses me every time when the element of chance is skillfully incorporated with recurring themes. I'm curious, what is your favorite pun? This season seems to be filled with clever wordplay, and I really enjoy that.

Brennan Lee Mulligan: Wow, it's difficult to choose just one favorite pun. There are so many great ones, especially when it comes to people's names. One that stands out to me is the combination of noir and the nickname "The Fix." It's a brilliant play on the expression "the fix is in," which was commonly used during that time period to describe illegal or sinister activities that altered something. The way it's used in the context of hyper fixation is just perfect. It brings me so much joy. I absolutely love it. Another moment that I can't forget is Trapp's brainstorming at the table. It's mind-blowing! How did I not think of it? "Brainstorm" is such a fitting pun. Trapp never fails to impress, he simply can't miss.

I love it. And then what do you think the genre is in your mental world?

Brennan Lee Mulligan: In my imaginary realm, I envision my mental city as a grand castle akin to the likes of Gormenghast. It feels right to me, an immense structure that can accommodate different genres and serve as a meta genre for all the others. A big, partially lucid dream-like palace seems fitting, at least that's what I hope it is. But who knows, on some days it could also be a burning gas station, making things even worse!

I found it really cool that you're using a new game system, Kids on Bikes, and I appreciated the mention of Aabria at the beginning, it was quite amusing. Could you explain why this system is more suitable for the story you plan to tell this season?

Brennan Lee Mulligan: In Kids on Bikes, we have the amazing opportunity to collaborate with Rick Perry and create battle sets for our traditional tactical combat seasons. These seasons, unlike high fantasy stories, do not involve epic combats. Therefore, it doesn't make sense to have big miniature sets for such seasons. Once we decide to exclude tactical combat, it's logical to take a completely different approach and opt for a system that remains frenetic and fast-paced in resolving challenges.

The Kids on Bikes system is perfect for this purpose. We use a modified version of it for Mentopolis, and it works brilliantly. Additionally, Kids on Brooms, which we used for Misfits & Magic, showcased the system's effectiveness. In genres that don't require intricate details and complexities, like crunch, Kids on Bikes provides a more enjoyable experience. For example, in A Starstruck Odyssey, our SW 5E hack, which is even more intricate than regular D&D, it's crucial to have detailed abilities and weapon names to create a technical feel. This immerse players in the sci-fi setting. However, noir is much more raw and visceral, requiring a different approach.

The ability to simply say "Roll a fight check, you succeed, we're moving on," greatly enhances the pacing of that type of story. What I appreciate most about Kids on Bikes is that, firstly, its rule sets are very immersive. This means that all of the character abilities, the workings of adversity tokens, and the mechanics of your stat skills are easy to comprehend as natural extensions of your character, rather than requiring players to also fulfill the role of GMs. This allows players to solely focus on being in character as much as possible, which better suits the style of Dimension 20.

Secondly, the halving mechanic in Kids on Bikes is truly exceptional. To answer the question in depth, I have a deep affection for Kids on Bikes. The halving mechanic is a feature I wish I could incorporate into other games. Essentially, when a character possesses a highly powerful ability, there are instances where the difficulty is low enough that the player can choose to halve the value of the dice they roll and automatically succeed. The brilliance of this mechanic lies in the fact that when a GM declares a challenge as trivial, it doesn't generate the same satisfaction for the player as when the player themselves can deem it trivial by utilizing their character's exceptional capabilities. For example, imagine being a mighty warrior effortlessly moving through the obstacles.

A Dungeon Master says, "There are some guards ahead, defeating them should be easy. Once you defeat them, you can continue." As the warrior character, you think to yourself, "I suppose this challenge wasn't very meaningful after all. It seems like being skilled at fighting is enough. Alright then, I guess I win that fight, which I intentionally built my character for. I was hoping for moments where I could feel empowered while overcoming obstacles. However, it seems like the DM is suggesting that it's not a big deal and we should just move on." In my experience, it's much cooler for a DM to present a challenge like, "There's a fight blocking your way," and for the player controlling the warrior to respond with, "Actually, considering the difficulty you've set, this fight is trivial for me." This accomplishes the same goal of skipping the dice rolling and advancing the story quickly. However, the fact that the player has the power to declare the challenge as trivial makes a significant difference. I hope that makes sense.

It's about you having agency in shaping the story you're a part of.

Brennan Lee Mulligan: Yes, that's exactly it. I welcome anyone who disagrees with me, but I believe that allowing players to dismiss challenges and giving them the power to make that decision is far superior. It becomes awkward for me when a GM selectively dismisses certain challenges while leaving others unresolved. It takes away some of the impartiality of the GM's role, which should be solely focused on presenting the world to the players, rather than dictating what is and isn't important. Therefore, it's fantastic for players to have the ability to determine whether something is trivial or challenging. Right? I absolutely love that.

I do as well. I find it to be one of the most enjoyable aspects of watching you guys play in this system. Could we also discuss character creation? It seems to be a delicate balance between the tropes of the noir setting, the occupations that their characters would have in the story, and the actual characterization itself. How were they able to incorporate all three of these elements?

Brennan Lee Mulligan: It was a fantastic process! Character creation was incredibly enjoyable. We did it approximately one or two months prior to starting the campaign. I'm trying to remember who finalized their character first. For most people, it was a fun exercise of implementing the noir tropes and then determining what their character's profession and cognitive function would be. Once you start analyzing it, you realize that noir stories often have detectives and reporters who share the role of investigators. However, it was interesting to differentiate between their motivations: curiosity versus attention. It was an exciting moment, particularly because Trapp and others wanted to excel at different skills.

Trapp's pitch for Hunch Curio was that he is not Sherlock Holmes. He is not particularly clever, but he is indefatigable. His highest stat is his sturdiness, which is important because Elias Hodge, being a scientist, emphasizes constant experimentation. Trapp's mindset is that he won't stop interrogating something he finds fascinating, even if it doesn't work initially. The reporter angle adds an element of publishing and informing, rather than just investigating, which adds a special aspect to the character. The focus of attention is on taking a complex mind and communicating what everyone should be focused on and cooperating with, right?

Siobhan came up with the idea of wanting to play the heiress femme fatale character, which added an intriguing twist because an heiress isn't even a job. It represents impulse and a different kind of power that is not necessarily conscious or analytical. It doesn't fit into the bureaucracy of the mind. It's more like the influence of an old money family with a lot of pull. This impulse of power felt very cool. The gangster represents hyper fixation, while the newsie represents conscience. We realized we needed someone from the seedy underbelly, and Freddie immediately suggested the pleasure center nightclub owner, Dan Fucks. Having that character in the mix felt essential and added a lot of fun to the project.

I adore the fact that everyone else is a pun, but Freddie is the only one who refuses to join in.

I adore it! And for a moment, let's change the subject because I had the incredible opportunity to attend the Candela Obscura panel at Comic-Con. The moment they released the teaser and you appeared, the entire crowd, myself included, went absolutely wild.

Brennan Lee Mulligan: That is really kind of you. I genuinely appreciate it. Working with Spenser Starke was such a delight, and his talent is truly extraordinary. Despite being under intense pressure from his work on the game and Dagger Heart, he managed to excel in the three-episode format. I'm not exaggerating when I say that Spenser is one of the hardest working individuals in the TTRPG community right now. Zehra Fazal, whom I had the pleasure of playing with for the first time, is incredibly gifted. And of course, playing alongside Travis, Marisha, and Luis in my Calamity crew was absolutely incredible. If I could join Luis Carazo in playing D&D multiple times, I would gladly sign up every time. He is exceptional in this series and throughout the seasons. It's truly remarkable.

I absolutely love that. Can you share any details about your character or how they fit into the group?

The character creation process for this was absolutely amazing. It was a delightful experience to craft and develop our unique characters. Despite having different character builds in the game system of Candela Obscura, my character fits into the group in a truly fascinating way. Unlike a typical motley crew, we each have a deeply human and compelling story of how we came together.

Compared to the first season of Candela Obscura, the nature of what they are, without giving away any spoilers, is truly heart-wrenching and extraordinarily beautiful. The story we tell is incredibly intense, as CR has aptly cautioned. Candela Obscura is a horror-themed experience, but this season goes beyond just horror; it delves into heartbreak as well. There is a multitude of profound themes explored in this season, so viewers should approach it with their eyes wide open.

I know you like playing horror because you traumatize me in Fantasy High: Sophomore Year.

Brennan Lee Mulligan: Let's go! Let's go!

How exciting! What aspect did you enjoy the most about participating in this horror genre, which has a touch of Gothic elements?

Brennan Lee Mulligan: Whenever I have the opportunity to be a player, it's about immersing myself in a new character. Whether it's KP Hob, Evan Kelmp, or any other character I've played in the past, what I always seek is to align with the game master's vision and explore the themes they have set. I want to collaborate with my fellow adventurers and approach it like a precious gem or diamond, where each of us represents a unique facet of that central theme.

I often search for the breaking point of the central theme and core ideology of the world. My goal is to find a way to explore that and discover something relatable for humanity. This was my objective for the current season. I truly enjoyed the process and I hope the audience will too. By the way, my enthusiasm isn't just because I'm holding a baseball in the promotional photos.

I'm not asking for specifics, but I'm curious. In the first chapter, Robbie shocked me with a daring move by removing a piece of his skull. Does anything surpass that moment? Is there perhaps an even more intense moment?

Brennan Lee Mulligan: I have some news to share for the first time. I actually underwent a surgery where three sections of my skull were removed. Now, who has set the standard? Just to clarify, I haven't had the opportunity to play with Robbie yet, but I am extremely eager to. Robbie is an exceptional player, and I want you to know that I heard about his incredible move before it was aired.

It was quite astonishing when it happened at the table, to the point where people started texting about it. Robbie's performance was absolutely mind-blowing. He simply removed his hat, took out his scalpel, and made it happen. It was truly extraordinary. I can't reveal what happens in our season or how it pans out, but I can assure you that all of us admire Robbie Daymond and have done our best to match his exceptional example.

One of the things I'm liking about Candela Obscura is we're seeing different groups of players in different GMs. Is this a world you would like to GM in?

Brennan Lee Mulligan: Absolutely! The work that Darrington has put out, including The Candela, Dagger Heart, and everything else, is incredibly thrilling. Personally, I have a great affinity for the people involved and I'm always eager to join in on any game they're organizing. If anyone wants to play, just give me a call and I'll happily be the game master. Let me know, as I truly enjoy these games!

Now, returning to Mentopolis, what aspect of it surprised you the most by the end? When you originally approached it with the intention of exploring the fun noir element, perhaps it turned out to be even more lighthearted than you anticipated. But in terms of the bigger picture, was there anything that truly amazed you?

Brennan Lee Mulligan: The choices made by the PCs in Mentopolis range from hilariously outrageous to genuinely moving and sincere character moments. They were absolutely incredible. It was an immense privilege and honor. Truly, truly.

I really enjoy it. Have you found a favorite NPC? I'm particularly fond of Justin and Conrad's sad proclamation of "You're my best friend." It's become their signature line and they say it multiple times in every episode.

Brennan Lee Mulligan: It's really hilarious. Alex has such amazing talent and Conrad is such a lovable character. There's a skill in expressing something sad that goes beyond just the words themselves. When you're sad and you say something like "You're my best friend," it adds a heartbreaking context to the moment. The sentiment itself isn't sad, but the timing and delivery make it heart-wrenching. So yes, absolutely. And I absolutely adore Justin, he's such a kind and loyal friend.

It's quite amusing that there exists a dog within the mindscape.

Brennan Lee Mulligan: Definitely, absolutely. Well, you see, we all possess these cognitive functions that aren't actual human beings, but rather different aspects of this environment within the mind, such as a city or other settings. Hence, it's comical that Justin represents the function of justification in the form of a dog. In reality, Justin could have taken on the appearance of a bird, a mailbox, or even a small computer.

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It's interesting how Elias and each of us tend to personify inanimate objects and non-human entities. It feels like everyone has the ability to attribute personalities to such things. Like in the movie Brave Little Toaster, where unexpected objects are given their own unique personas. It may seem strange, but we can understand what that toaster is like. So, this connection also seems fitting for Justin's character.

That's incredible. Can you give any hints about what to expect in episode three? The ending left us on a cliffhanger, with Brennan falling out the window. Let me tell you, I am so frustrated that I have to wait a whole week.

Brennan Lee Mulligan: A small act of defenestration can have significant consequences. Without revealing too much, I'll simply suggest that you remain observant, not only of the players.

I truly appreciate the opportunity to speak with you. Mentopolis is captivating, and I eagerly anticipate what's to come. I can't fathom how you consistently create new worlds in such a short span of time. It's truly mind-boggling.

Brennan Lee Mulligan: We appreciate it. It's a dream come true and it's also a lot of work. So I really appreciate that you're enjoying. It's awesome. Caitlin thank you so much.

About Dimension 20: Mentopolis

Dimension 20's nineteenth season embarks on a gripping noir adventure in the mesmerizing city of Mentopolis. Nestled within the brilliant mind of scientist Elias Hodge, this enigmatic metropolis sets the stage for a thrilling journey undertaken by a unique group of Prefrontal PIs. United by unforeseen circumstances, this eclectic team of individuals allies themselves to unravel a perplexing enigma, aid their enigmatic client known as "The Big Guy," and unearth the enthralling secrets concealed within the city's depths.

New episodes of Dimension 20: Mentopolis debut Wednesdays on Dropout & Chapter 2 of Candela Obscura premieres on Critical Role's YouTube and Twitch on August 31.

Source: Screen Rant Plus