Rick Perry is the Production Designer of Dimension 20, the D&D video anthology series on CollegeHumor’s Dropout platform. We talk about rendering the imagination of D&D into real life, where to find the best plastic food, and how to plan for character death when making intricate minis.
The Punchbowl is our interview segment about playing D&D in 2020 and beyond. We talk to people who are pushing the game forward—creatively, communally, socially, just doing good work. Catch up on past interviews on our website!
Guest
- Rick Perry is @RichardHPerry on Twitter. Check out Dimension 20 on DROPOUT.tv or on the College Humor YouTube channel!
- DIMENSION 20: A CROWN OF CANDY airs Wednesdays at 7pm ET. Watch it live on the College Humor YouTube channel or stream it on demand on DROPOUT.tv. If you want to catch up after it airs, go to DROPOUT.tv!
Find Us Online
- website: jointhepartypod.com
- patreon: patreon.com/jointhepartypod
- twitter: twitter.com/jointhepartypod
- facebook: facebook.com/jointhepartypod
- instagram: instagram.com/jointhepartypod
- tumblr: jointhepartypod.tumblr.com
- merch & music: jointhepartypod.com/merch
Cast & Crew
- Host, Editor: Eric Silver
- Mixing and Additional Editing: Brandon Grugle
- Producer: Amanda McLoughlin
- Multitude: multitude.productions
About Us
Join the Party is a collaborative storytelling and roleplaying podcast, powered by the rules of Dungeons and Dragons. That means a group of friends create a story together, chapter by chapter, that takes us beyond the tabletop to parts unknown. In the first campaign, we explored fantasy adventure, intrigue, magic, and drama. In the newest story, we tackle science, superpowers, a better future, and the responsibility to help others.
Every month, we sit down for the Afterparty, where we break down our game and answer your questions about how to play D&D and other roleplaying games at home. We also have segments at the beginning of each campaign to teach people how to play the game themselves. It’s a party, and you’re invited! Find out more at jointhepartypod.com.
Transcript
Eric: Hello! This is Eric, your DM, and welcome to the Punchbowl; our interview segment on Join the Party, which is back, back, back, back again, again, again. Even on our off weeks, I'm thinking about Dungeon and Dragons. Like, how long would it take to make a six-foot tall Master Chief mini? Is it even a mini at that point? Probably not. But I'm also thinking about what it's like to be a player in 2020 and beyond. So, I figured I'd put that to good use and talk to those who are pushing the game forward. I don't remember the first time I watched the Dimension 20 episode, but I remember the setting. It was six high school adventurers fighting a possessed lunch lady and a creamed corn homunculus. And I could see all of that on video, because of this amazing detailed play set that they had in front of the players. There was a powered ladle. There were kernels of corn in the gross homunculus. There were sticky lunch tables to jump on. There was everything in front of them. And that environment was rendered by the hard work and guidance of Rick Perry. He leads the team that is responsible for how Dimension 20 looks on screen. And I need to know everything that went into that. Now, if you haven't watched any episodes of the Dimension 20 stories, go do that, please. But here's a quick summary of the stories that Rick and his team have rendered into plastic and paints. There’s Fantasy High, which is a mashup of Fantasy World and a John Hughes teen movie. There's Escape from the Bloodkeep, which follows the evil lieutenants of a Lord of the Rings style bad god villain. Unsleeping City is a magical realism story set in New York City. Tiny Heist is a heist like Ocean's 11, but like Borrower's style tiny world. And the current campaign is A Crown of Candy. Think Game of Thrones, but it's set in a world where everyone and everything is food. We talk about Brennan quite a few times, and that is Brendan Lee Mulligan, the dungeon master of the Dimension 20 game series and past Punchbowl guests. You should go listen to that. So, whilst I show Rick all of my minis and then carefully put them back in their cases, Rick told me all the secrets of how to make a D&D World real.
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Eric: Rick, this is so amazing to talk to you. How are you doing, man?
Rick: Good. Howdy? Thanks for having me on. This is awesome.
Eric: Absolutely. I think people don't know how important your work and your team's work is to Dimension 20. And the first thing I want to ask you is, “Hey, What's your job?”
Rick: Sure. So, I'm the production designer, which means I'm the head of the art department. So, I have a team of people that work with me to make all of the stuff that you see on the set; the table, the miniatures. And I work with Brennan, and the producers, and the director to figure out what all we need to make. And then I also am a creative producer on the show. So, I'm working with Brennan early on, you know, kind of helping shape the arc a little bit when it comes to the battles and how it all fits together.
Eric: Let's say it's like a few months before the campaign is about to start. Brennan comes to you and then says, “Hey, I have this idea. And it's gonna be magical New York.” How does your production and your team kind of, like, spin up? How does the process start?
Rick: Well, first, you know, we start a season, Brennan and I spent a lot of time in a room with a big whiteboard or, at least, that's one of the ways that we work. That's the way that we worked for Unsleeping City with David Kearns in there usually and Mike Schaubach, who's the director. We're just kind of gritting out the battles. So, you know, Episode 2, Episode 4, et cetera. And things are moving around a lot of kind of spitballing and ideas. And, that way, we can kind of see it all. We can move monsters or concepts back and forth. That's super early on. And that – that's only half of the episodes though, because, you know, usually the playing episodes are the other half. So, that's stuff that I don't really have a lot of input on. But, you know, Brennan’s cooking that stuff up in the background. And then we're working together on all the battle episodes.
Eric: As you and Brennan are working together collaborating with that, can you tell me just a little bit more about that? How are you able to visualize what is going to come into this? Because, for those of you who haven't watched Dimension 20, which you absolutely need to, please go watch Dimension 20 now. You have everything from car chases to flying to fighting a Rat King.
Rick: Everything kind of stems from Brennan’s beautiful brain, you know. He – the guy is a genius. And the stuff that he comes in with blows me away every time. I'm always tickled to hear what stuff he's come up with. You know, he's like, “Oh, I want to – I want to have this battle. Or, you know, we're definitely gonna have these guys somewhere.” And this is – you know, there's – they're coming in as elements. Probably the way a lot of people come up with their campaigns. You know, actually, it's just sort of like, themes, broad stroke stuff. You know, if we know it's set in New York City, then like, “Okay. Well, where do we want to be? We want to be in Times Square. We want to be in the subway.” And then, you know, we just sort of start punch listing things that we feel are strong elements. They're also kind of modular, and they can kind of shift around a little bit. We can say, “Well, what if we have these guys here or the subway fight happens with ghost cops or whatever it is.” We put all of these things onto a big board. And that allows us to kind of see everything at once, because, you know, as any DM knows, any given campaign has countless elements to it, countless characters, and NPCs, and different elements that it's really hard to keep track of. And that's a way that we can kind of see them all at once and shuffle them around if we need to.
Eric: So, it sounds like you play D&D yourself.
Rick: I do play D&D. Yeah. I played D&D for a long time. I actually had just gotten back into D&D, like, about a year or so before I first met with Brennan about the show. So, that was fortuitous timing. But, yeah, I run a couple campaigns. I played in a D&D campaign. I played in a Dark Sun 5E campaign. I've been running Zweihander for a group of friends here. That's a lot of fun.
Eric: Do you visualize your own D&D campaigns? Because I think that what's so interesting about Dimension 20 is that, since there is an audience watching, you're really going above and beyond to visualize what's happening, because of how fantastical in so many different ways the show is.
Rick: Yeah, I mean I'm, definitely, a super visually-oriented person. And it goes to everything that I work on or, you know, collaborate on. You know, I like to think I'm a good describer of things from a visual or experiential kind of way. And I certainly think about things that way in my own games. Even when I'm playing or DM-ing, I'm trying to, like, add something or build on the kind of shared experience in some kind of textual way, whether it's visual, or smell, or whatever types of things for sure.
Eric: Textual is a really interesting way to think of it, because the most recent two campaigns that y'all have been running; Tiny Heist, which is literally like Borrowers shrunken down miniatures and, now, A Crown of Candy, where it is organic, like, food people. Like, it all feels very crunchy in your hands. I am so interested in how Dimension 20 has, like, moved towards the most bananas, like, actual sort of themes and tone.
Rick: Yeah. We have done some really wild stuff. Tiny Heist, for those of you that haven't seen it, it's set in a world that normally a manager is about an inch tall or so. And, in Tiny Heist, the characters and all the people were actually living in a world where they're an inch tall just like the Borrower's. So, that was kind of a hard thing to wrap our heads around just how to make miniatures, but actually make them in real scale and make them with things of the real world such as grass or sticks or dirt or bobbins or whatever. But – but it has to actually be fake, because it's on a set. So, it’s a really weird way to think about things.
Eric: What do you mean? I guess I've never like wrap my head around that, because we're a podcast. So, like, I don't think about that stuff.
Rick: Sure. Yes. Like, for instance, in Crown of Candy, like, you know, you have this set that is made out of food. The whole world is food, whether it's the regions in the Green Kingdom, or candy people or little cupcakes, or whatever. Everything's made out of food, but you can't actually use food because, of course, they will rot, you know, over the months that this thing takes place to film and stuff. So, you have to find or make the things that will stand in for that, you know. And they have to just be, you know, plastic or whatever material.
Eric: Yeah, I would love to know what goes into making some of this stuff in A Crown of Candy, because I think it's the most visually ambitious thing that you've all tried to tackle. Because it's one thing – the mini’s like, “Oh, yeah, I'm gonna make a rat man. Like, yeah, I think Hero Forge can send me a rat man. Or, I'm gonna make a giant demon with a guitar. Like, okay, I guess I can do that.” Where do you start by trying to create food people? Like, I truly would not even know where to start?
Rick: Yeah, good question.
Eric: Listen, Rick, there is no one else who can answer this question other than you.
Rick: That's the question that I'm asked, you know, occasionally. It's like, “How do we do – is there, like, one place or one way that we make minis or whatever?” In general, we're always using all means available to us, which means, sometimes, we buy things off the shelf, find the perfect mini from Reaper or somewhere. A lot of times, we make stuff on Hero Forge. Sometimes, we are kit bashing things from different minis together. Sometimes, we're doing a custom mini that's, you know, a 3D sculpture that we print out. Sometimes, we actually sculpt from scratch. You know, like, two-part epoxy and things like that. So, whatever gets the job done. You know, easier is better from a cost and time perspective. It gets on the set, it’s cool, you know. Yes, for A Crown of Candy, it's a completely theme he can – fresh creative problem to figure out. So, early on, I started just kind of brute force searching the internet for miniature food stuff from, like, doll houses. You know, they, they have their, their scale. And, so, we were looking at all that stuff, but a lot of the dollhouse stuff is a little bit pricey because it's handmade. But what I ended up doing was finding a lot of these – they're called Cabochons or slime beads. So, they are these little plastic foods. Like, a little – a little French fries, or a burger, or a little piece of candy that sometimes they're just one-sided little plastic. Things that you could glue on something to decorate it. Like, to decorate the back of your phone or – or whatever. And we just kind of found bunches and bunches of those and then cut them up and glue them together and painted them essentially. It's how we got most of the food people.
Eric: Interesting. I would love to talk about the DM screens that you put together, because I think that that really sets the tone for every single one of the campaigns because, in Episode 1, that's the first thing you see. Hey, go fucking watch Dimensioned 20 at this point if you're not. But, if you haven't seen it, the odd numbered episodes are the roleplaying episodes. And the even number episodes are the battle episodes that have the majority of the minis that Rick works on. Brennan has this incredibly elaborate DM screen for every single one of the campaigns that, like, the general setting, or the theme, or the tone that we are going to put out there. For A Crown of Candy, it's just this, like, modular rock candy, beautiful visualization of all of these foods in plastine. When you approach these DM screens, like, how much do you think about the tone and establishing the tone of the campaign? Like, what are you trying to convey with these DM screens?
Rick: Yeah, well, a lot of – a lot of discussion goes into the DM screen, because it's a static thing, you know, that's going to be – you see a piece of it in almost every shot. It's a – it's a major element of the set. It's, certainly, kind of features heavily in, in the shot of Brennan. And centerpiece is always something that is sort of, you know, super important to kind of dial in. And it's – it somehow has to represent the whole show. Even though it's – you know, the show is, is an improvisation, you know, it's interesting to try and figure out what's going to be on it before the game is really started. For A Crown of Candy, you know, we are – early on, we knew that we needed some additional visual elements that we didn't have necessarily at the start – in the other campaigns, including this map that this guy, John Pintar, did for us. And, so, that was, like, a thing we did really early on. It was kind of a touchstone. And it just seemed like such a Game of Thrones kind of thing. And, so, then we were like, “Okay. We should represent the different kingdoms in this DM screen. So, the centerpiece is a castle candy. In the wings, you have each, you know, of the, the Dairy Isles, and Ceresia, and Vegetania, and Fructera are there as well.
Eric: I will say I really like hearing you say the name of the lands, because like Brennan – I have – from what I've seen so far, it just hasn't been said yet. And I'm like, “Oh, hell yeah, those are the names of the lands. I love that.”
Rick: Yeah, it's really fun. The lore of all this stuff is so much fun. It's such a treat to get to world build with Brennan, you know. And it's great when he just dropped stuff like, “What's this – what's this place called?” You know, it's – that's actually a lot of how this stuff happens. It’s either he hasn't noticed that a certain thing needs to be figured out yet. Or he just hasn't given me that information yet. I'm like, “Hey, what's – what's this river called? Or I need a name for a lake. Or can this be the Butter Lake or –
Eric: That's amazing.
Rick: It's a lot of fun. Yes. So, we just decided to represent that way. I don't want to spoil anything. But we are – we’ve done some interesting things with scale this season in the miniatures that we haven't done before. During that research, I saw these teeny tiny scale miniatures for these little buildings and things that are represented on the wings. So, we use these super tiny scale. Like, one to thousand scale buildings and stuff for the different kingdoms. And all the food is, is from molds. Like, we got the soap molds and different kind of food molds and then cast donuts and cookies and bananas and hotdogs and everything. And then assembled them all together and painted them like that. So, that's how we got that effect.
Eric: I can listen to you talk about how you visualize this stuff all day. But I know it's not just you.
Rick: Yeah.
Eric: So, what does every single person on your team do? And how do all of you work in concert to put this stuff together?
Rick: There's no way that I could ever make all this stuff myself. And I am lucky enough to work with people who are way more skilled and talented than me at all these interesting things. We work with a lot of professional model makers that are based in Los Angeles, you know, who work on stop motion, shows, or, you know, make props perfect or whatever. But most – everyone on our crew also has, like, a serious interest in Dungeons and Dragons. And they all play games themselves and stuff. So, we have a kind of a dream team. Sabrina Wishner has been our lead model maker for all the seasons so far. So, she helps me run the shop. And she also does most of the fabrication. She does a lot of custom things, because we, we use a lot of kits where we can.
Eric: Yes.
Rick: Terrain kits. You know, like – like a little staircase or whatever, a bookshelf. But, a lot of times, we have to just make things from scratch. And she's a wizard at that stuff. Nathan Villareal is our senior miniatures painter. So, he's like a super experienced minis painter. And he does kind of all of our higher end paint jobs on the figures. All the player characters, and kind of major NPCs, and villains usually go through Nathan. Shane Brockway is our lead painter. And he kind of makes sure that everything gets done. I think he painted something like 200 miniatures for A Crown of Candy.
Eric: What the fuck?
Rick: Well, the thing is like, when you're doing, like, a Game of Thrones type of thing, like, all of these different factions have, like, you know, legions of soldiers. They have these large retinues. And, so, you know, we knew right away that, in one way, it's a little simpler because, you know, the soldier might look the same as an ex-soldier, and it's just a matter of like changing an arm pose or a different hat or something. But they still all have to be assembled and painted and that’s stuff. And Helen Bell is the art department coordinator. So, she helps us keep track of all the purchases and shipping and make sure everybody gets their time cards in and all that kind of stuff. And someone is on set when they're actually shooting the miniatures, and also helps. You probably have noticed this, but, you know, one thing we do is – that's a little different is, after they play a session, the director and the camera team come in and recreate the session and close up, and they shoot these beautiful, miniature shots. So –
Eric: Yeah.
Rick: And, so, Maxie is there on set with the camera and director improvising little things or making effects and things that help kind of sweeten up all those shots.
Eric: That is actually something I found so helpful, to me, as someone who’s watching this Dungeon and Dragons game. I spent a lot of time thinking about, like, the relationship of the audience to the game itself and the recreations so that, like – that it's, like, the camera is gonna be our eye. And you really are putting this together. Like, where did that idea come from having these recreations happen?
Rick: It's interesting, because, you know, way back before the first season, when we were kind of all – I was lucky enough to come along early when they're kind of figuring out what the show was going to be. And it was sort of a dream job in a certain way, because College Humor was really great to work with. They were super collaborative and open to ideas and stuff. And, so, you know, we went through a few different versions. I think one idea was that everything would be, like, kind of virtual almost that there would be like a board that had abstract markers on it, and that it would actually be recreated in, like, a free space that like free artists would make. So, there would be very little in the way of physical miniatures, but then it would be more of a digital world. So, then we started talking about miniatures. And we actually did a couple different test sessions where I brought in a bunch of borrowed miniatures from a local game store and training stuff and set it up. And they, you know, tried different cameras. And I think it became pretty clear that, like, it was really dynamic, really interesting, and a really unique way to do it that not a lot of other people are out there doing, you know.
Eric: Mhmm. No, 100 percent. And I think that the visualization there, you managed to solve a lot of interesting problems. The things that I always come back to about how interesting everything works whenever there is flying. There was a lot of flying in parts of Unsleeping City. And the way that you did this is with the incredible extending poles that I had never seen before. When there is a problem or when there is, like, a, “Hey, how do we do this?” Like, how do you approach a problem like that?
Rick: Yeah, I mean we're also always trying to bring in new things too. Like, we did a – we did a car chase last season. We should do something in the air this time, you know. And trying to pursue those things and keep it interesting and mix it up leads us to find, you know, whatever new, new stuff is out there. New products or, or just things that people have already made that maybe no one has really gotten to see yet. Like, for instance, those flight stands come from this guy – I think he's in Georgia. His company is called CorSec Engineering. That he makes those stands. He actually stopped making them unfortunately, but they're great.
Eric: But I think it's about not only trying to recreate the thing in miniature that should happen in real life, but it's like doing the most user friendly like audience appropriate thing. Are you always considering how the audiences look at this when you try to solve these problems?
Rick: Absolutely. I mean there's a lot of thinking that goes into it, because, you know, I'm thinking about it visually. Like, it has to look cool. You know, it has to be visually fun. The players have to be able to understand what's going on in an intuitive way, because the set is feeding back to them. The set is also telling them things, and describing things to them, and providing them with ideas or opportunities. It's a collaborator with them in a certain way. Also, we don't want to put stuff out there that's going to mislead them or derail things. You kind of have to think about – think about it from a player's perspective. But then, yeah, you also have to think about the audience; how they're seeing it, how it has to communicate clearly. Another aspect that you probably don't realize is that most of the sets are all magnetized together so that they can come apart for the camera team to get their camera or light in there and shoot. So, it just is another layer of –
Eric: Oh, my god.
Rick: – complexity. And then another thing too is that, you know, I'm trying to think about player’s line of sight. Like, they have to be able to see without – I'm trying not to make the player stand up all the time, you know, to, to look down in sets. I’m thinking about where Brennan can see how far his art can reach from where he stands. The last thing is also thinking about camera angles, because the way that the set is it's, like, shot 360 degrees, right? So, there's these very narrow alleys where we try to keep open where the – where the camera sees. So, it limits, like, the height of things in certain ways so that it doesn't block somebody's face or whatever. You have to just start being creative. Interesting creative challenges that we try to keep in mind.
Eric: When we're having this interview. I've only seen two episodes of A Crown of Candy. And I will be devouring them as they come out. Get it? Devouring because it's food. Rick, do you get it?
Rick: I get it. It's great.
Eric: Thank you. I appreciate that.
Rick: No spoilers. There's definitely some really interesting stuff coming that – that you guys have not seen before on Dimension 20. So, stay tuned.
Eric: I'm gonna email you and be like, “Oh shit, that's what you were talking about.” Like, two months from now, you're gonna be like, “Oh, who is this? I don't remember.”
Rick: Please do. Please do.
Eric: I just need to ask, well, in terms of numbers, how many minis do you order? Like, can you give me a ballpark about how many minis goes into a season?
Rick: (sigh) It varies a lot season to season, because there's different needs, you know. Like, it depends on the strength of the bad guy, right? Like, if you're, you're gonna burn through like 30 goblins or you have, you know, three really strong casters or something or, you know, if it's – it varies season to season. But I will say this Crown of Candy, by far, by a factor of two or three the number of minis of any previous season.
Eric: You know, this actually leads into my next thing that I really wanted to ask you, because this is very Game of Thrones. This is definitely like a high peril sort of game. Do you have like – if someone dies, do you have like, backup minis? Like, how much do you have on backup just from the way that the story unfolds?
Rick: it's definitely a grim season, you know. Definitely, that's part of it. And, every season, you know, it's always a consideration like, “Well, what happens if someone dies?” Or, you know, we're trying to be prepared for things that could come up even if they don't come up. But I will say, this season, we are way more prepared than we have ever been, because of the kind of how we thought it would go down.
Eric: Interesting. I'm trying to – I want to ask you questions, but I like I'm trying – I don’t – like, I don't even – I'm not even trying to spoil things. Like, I don't even know yet. So, I'm still trying to like wring things out of you, too.
Rick: I could tell you about past seasons a little –
Eric: Yeah. Yeah. Let's talk about past seasons. Just like a player might have a backup character, do you have – then have backup minis for those backup characters?
Rick: Yeah. Well, it's varied season to season you know, because I think the lethality of the – of the seasons has – has been something that has changed. You know, I think like – I – like, for instance, to me, Tiny Heist doesn't feel as lethal of a season just because of the nature of – I don't know – the aesthetic of it somehow. Although that maybe that wasn't the case, but it just didn't seem that way. So –
Eric: Sure.
Rick: That was less of a concern I think for that season. In Fantasy High, I think that we – if I remember correctly, we had a – that's actually a question that we talked about – I want to say lessons if someone dies. No one's gonna die, you know, But then –
Eric: Right.
Rick: – things happen. And we had like a set of angel wings that we could stick on to a mini in a pinch if we wanted someone to come back as an angel. So, that's a trick there. And, you know, in Escape from the Bloodkeep, we have this All-Evil Party. Very lethal. The whole principle that was sort of like survive. You know, we had an idea about how that whole season was going to end. And it seemed like there was going to be some players that died. So, for each one of those PCs, we had another print of their mini that was more like ghastly. It was painted as if it was like a spirit. And that we were – we were prepared for them to come out. Yeah. So, it's a different strategy for every season.
Eric: That's very cool. I think this is just like something that I've been fascinated by as you've turned out like devil greasers, and rat kings, and fantabulous turtles, which mini did you have to turn around the fastest?
Rick: Well, you know, probably the quickest – the, like, tightest turnarounds are things that come out of left field when it's like, “Yeah. So, Fabian just acquired a demonic motorcycle. Can we get a mini with Fabian on a motorcycle?” And then I'm like thinking in my head, like, “Okay. But we also have to get one with just the motorcycle. You know, blah, blah, blah. How quick can I get that printed?” And, so, you know, things like that, where we have to turn them around, you know, in a couple of days. I think, during Fantasy High, we were shooting a couple times a week. And we're shooting four episodes a week. So, I had like a day – a couple of days downtime to make the hangman. But then, sometimes, there's things where it's like we're shooting a couple episodes that day, and, in the morning, Brennan says, “Hey, can we get a mini for this?” And I’m like calling around, you know, “Who's got this giant spider or whatever? You know, you got to go pick it up. Take it to the shop. Paint it, Shane, Bring it up here,” you know. And then it comes in just in time sometimes. So –
Eric: That's amazing. I think I only have one last question. I had a feeling that maybe you would have a feeling about this. In the second episode of A Crown of Candy, as soon as Ally gets their mini, they immediately drop it. And the head pops off. What was the phone call to you? Like, when someone told you from the set that the Liam mini was immediately destroyed?
Rick: Yeah. I was on set. I'm always on set when I can be for the taping. So, I was like, you know, 20 feet away watching on a monitor with the headphone.
Eric: You know, I figured like, when you said that there was a shop, I just liked the idea there's a big red phone where they have to call you. It’s like, “Oh, we have to call, Rick.”
Rick: We can, definitely, get one of those this season. But, yeah, there’s definitely a lot of cringing, you know, and extreme silent facial expressions, like, when things like that happen. You know, you hate to have something break on set. And those minis are really fragile. You know, the things – especially the 3D printed ones are pretty fragile. It happens, you know, and we put them back together. And Liam lived another day. So –
Eric: There's this – the use of this new camera that I just don't really remember. That there's a camera, like, above the player’s hands that I saw, like, a bunch in the first two episodes. And I'm like, “Damn, they really want to put people on blast, huh, because it’s just when players are fucking up.
Rick: I think they started with a camera up there, because it – you know, it helps when they recreate battles for the close ups as a reference – a point of reference. But it's a really great angle. And it definitely is kind of exposing. And it shots everything that's going on at the table. So, it's kind of interesting to see. But, yeah, those guys are on camera for sure.
Eric: I like that. That's the most distillation of D&D Media. Those guys are on camera for sure. Rick, thank you so much for giving us your time. Tiny Heist and, now, A Crown of Candy, you're really outdoing yourself with how creative and how artistically, like, forward thinking these things are. So, it's been amazing talking to you.
Rick: Oh, thank you so much. It's been a pleasure talking to you. And I love, you know, getting to talk about this stuff. I love getting to do it and part of this kind of community and be in dialogue with, with guys like, you know, you guys with your show. And it's just – it just feels like a really awesome place to get to be creative.
Eric: Awesome. Thank you so much. Is there anywhere where people can find you on the internet?
Rick: I'm usually hanging out on Twitter @RichardHPerry. And, sometimes, I'll post behind-the-scenes stuff on there. Check it out.
Eric: Awesome. I already am. And I'm super excited about it. Alright, see you later, Rick.
Rick: Adios. Have a good one.
Theme Music
Transcriptionist: Rachelle Rose Bacharo
Editor: Krizia Casil