The Re-Slayer’s Take is Critical Role for kids
The actual play giant’s most recent show hopes to make a new generation of Critters.
Since it’s inception in 2015, Critical Role’s programming has largely been geared towards older audiences. Complex rule systems, weekly multi-hour long episodes, adult humor, and heavy moral themes are hallmarks of actual play’s most popular show, but the Critical Role team is looking to bring younger fans into the fold with their newest show.
The Re-Slayer’s Take is a Dungeons & Dragons actual play following a group of mercenaries rejected from the infamous Slayer’s Take monster hunting guild as they attempt to hold back a growing undead army on the continent of Issylra. Populating the same world as Critical Role’s main campaign, The Re-Slayer’s Take is largely independent from the escapades of Vox Machina, the Mighty Nein, or Bells Hells. The cast includes familiar actual players such as Jasmine Bhullar (Desiquest, Acquisitions Incorporated) and Jasper William Carwright (Dimension 20, Rotating Heroes); and performers new to the medium, like writer Jasmine Chiong (The Tick, The Goldbergs) and Caroline Lux (Story Pirates).
As part of Critical Role’s new content rollout alongside the launch of Beacon, their proprietary streaming and community hub, The Re-Slayer’s Take appears to address a few major criticisms the CR team has faced in recent years. Among those criticisms include a lack of diversity among the show’s all-white main cast and largely inaccessible main campaigns—each containing over a hundred episodes, the most recent of which was six and a half hours long.
From left to right: George Primavera and Nick Williams
With the goal of creating a more accessible show, The Re-Slayer’s Take is a short(er) podcast series, with each episode coming in under an hour. Co-DM’s George Primavera and Nick Williams bring family-friendly actual play experience from their podcast Hero Club, which has three seasons specifically geared towards younger audiences. Rascal sat down with Primavera and Williams to chat about making actual play for children, why new child-friendly shows could be good for audiences and the medium, and the responsibilities of making art for a new generation.
