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https://blackgirlnerds.com/the-alarming-reality-of-racial-bias-in-ai/
The rise of personal computing in the ’80s and ’90s gave birth to the idea that the technology could be finally used to empower the individual, democratize knowledge, and create new opportunities. The optimism that surrounded those ideas exploded with the dot-com boom during the late ’90s and early 2000s, and it was further exacerbated with the subsequent rise of social media and the smartphone revolution in the 2010s. Now, we’re witnessing the rise of artificial intelligence (AI), which is rapidly transforming many industries and spheres of our lives.
But has the tech really made our society better, or did it make us even more confused and way too reliant on the conveniences it promises? There’s an enduring and harmful notion that technology is objective and neutral when it comes to race and gender. For the most part, that actually is the case. However, does the same apply to machines that are trained to think and draw conclusions in a way that mimics that of humans? Apparently, that does not seem to be the case because there’s ample evidence of AI subtly perpetuating and even enhancing the biases of their creators — including racial biases.
In 2018, Joy Buolamwini — we mentioned her in our discussion about 5 Black Female CEOs Leading the Charge in Tech — discovered that the facial recognition algorithms in her lab can’t adequately detect the faces of people of African descent. She even tried scanning her own face, and the AI algorithms couldn’t recognize her unless she put on a white mask. This indicated the existence of bias in AI systems that are often trained on images of predominantly light-skinned men, which just so happen to comprise the vast majority of the tech industry.
Boulamwini’s research uncovered large gender and racial biases in AI systems that major tech giants, such as Microsoft, IBM, and Amazon, develop. For context, the systems developed by these companies were substantially better at distinguishing male faces compared to female faces, with less than one percent error for light-skinned males. For darker-skinned women, on the other hand, the error percentage soared to an alarming 35%. The issue isn’t persistent in facial recognition alone; other AI robots also exhibit racism and gender discrimination.
For example, image-generating AI systems are trained on billions of images, and many of them initially identified women as “homemakers” and people of color as criminals or janitors. In fact, many generative engines weren’t even able to generate images that would even resemble a Black woman; artist Stephanie Dinkins reported that some algorithms she worked with would produce pink-shaded humanoids shrouded in black cloaks.
Generative AI has come a long way since then, but the issue of racial bias remains deeply rooted in AI systems due to the way they’re created. Predictive policing is a painfully obvious example of AI systems reproducing racial biases found in their training data. These AI systems make assessments about future crimes, who might commit them, and where, based on data such as location and personal information. But therein lies the issue, which could potentially exacerbate policing or even over-policing in communities along racial and ethnic lines.
This is where data really comes into play; historically speaking, law enforcement focuses more on marginalized communities and neighborhoods, and as a result, members of those communities are overrepresented in police records that comprise the bulk of AI training data. Predictive policing AI systems will then use said data to predict where future crimes will occur, leading to increased police deployments in such communities. To make things even worse, recording new crimes in overpoliced areas will create a “positive” feedback loop, which will reinforce the algorithms’ biased predictions.
So, the real issue is the bias that’s in the data used to train AI systems, and that data is often unrepresentative or straight-out discriminatory for people of color, women, and other marginalized groups. And law enforcement isn’t the only thing affected by these faulty systems. AI housing discrimination is also a real thing, as algorithms often affect mortgage qualifications, tenant selection, employment (we previously talked about this), and financial lending discrimination.
Most of these systems evaluate tenants, job applicants, and potential borrowers based on data that includes court records, eviction and criminal histories, and many other datasets that contain their own biases that reflect the systemic racism and sexism baked into them. As a result, people are being denied housing despite their ability to pay the rent, and qualified professionals are being denied job opportunities simply because an algorithm deemed them ineligible, unqualified, or unworthy.
The case of Shudu Gram, a Black digital supermodel, adds another layer to the controversy about racial bias in AI. Shudu was designed by a white British photographer to look like a dark-skinned Black woman, and she quickly gained popularity on social media, despite not being a real person. Though praised for he beauty, Shudu’s creation sparked backlash over what many called a new form of digital blackface.
Furthermore, critics argue that when a white creator profits from a virtual Black identity, without hiring, crediting, or collaborating with real Black women, it creates the illusion of diversity without delivering it. This serves as a troubling reminder that AI is not only replicating biased data, but also being used to control and commodify identities that have long been marginalized and excluded from industries like fashion.
The truth is that AI systems aren’t inherently racist; they just picked it up from humans who train them. The datasets these systems are being trained with are obviously incomplete and imperfect and often rely on different variables, such as education level, socioeconomic background, and location, to perpetuate biases. So, we can only conclude that the biases these systems exhibit reflect the biases of their creators, regardless of whether those biases are intentional on a personal level or not.
AI is rapidly transforming various industries, but its broad, unregulated, and often unethical applications in various fields are concerning. Facial recognition systems misidentify people of color, hiring algorithms unintentionally discriminate, and AI amplifies systemic inequities across critical sectors like law enforcement, healthcare, and education. The underlying causes and potential solutions reveal the urgency of addressing these flaws to ensure the technologies shaping our future don’t perpetuate the injustices of our past.
The post The Alarming Reality of Racial Bias in AI appeared first on Black Girl Nerds.
The rise of personal computing in the ’80s and ’90s gave birth to the idea that the technology could be finally used to empower the individual, democratize knowledge, and create new opportunities. The optimism that surrounded those ideas exploded with the dot-com boom during the late ’90s and early 2000s, and it was further exacerbated with the subsequent rise of social media and the smartphone revolution in the 2010s. Now, we’re witnessing the rise of artificial intelligence (AI), which is rapidly transforming many industries and spheres of our lives.
But has the tech really made our society better, or did it make us even more confused and way too reliant on the conveniences it promises? There’s an enduring and harmful notion that technology is objective and neutral when it comes to race and gender. For the most part, that actually is the case. However, does the same apply to machines that are trained to think and draw conclusions in a way that mimics that of humans? Apparently, that does not seem to be the case because there’s ample evidence of AI subtly perpetuating and even enhancing the biases of their creators — including racial biases.
In 2018, Joy Buolamwini — we mentioned her in our discussion about 5 Black Female CEOs Leading the Charge in Tech — discovered that the facial recognition algorithms in her lab can’t adequately detect the faces of people of African descent. She even tried scanning her own face, and the AI algorithms couldn’t recognize her unless she put on a white mask. This indicated the existence of bias in AI systems that are often trained on images of predominantly light-skinned men, which just so happen to comprise the vast majority of the tech industry.
Boulamwini’s research uncovered large gender and racial biases in AI systems that major tech giants, such as Microsoft, IBM, and Amazon, develop. For context, the systems developed by these companies were substantially better at distinguishing male faces compared to female faces, with less than one percent error for light-skinned males. For darker-skinned women, on the other hand, the error percentage soared to an alarming 35%. The issue isn’t persistent in facial recognition alone; other AI robots also exhibit racism and gender discrimination.
For example, image-generating AI systems are trained on billions of images, and many of them initially identified women as “homemakers” and people of color as criminals or janitors. In fact, many generative engines weren’t even able to generate images that would even resemble a Black woman; artist Stephanie Dinkins reported that some algorithms she worked with would produce pink-shaded humanoids shrouded in black cloaks.
Generative AI has come a long way since then, but the issue of racial bias remains deeply rooted in AI systems due to the way they’re created. Predictive policing is a painfully obvious example of AI systems reproducing racial biases found in their training data. These AI systems make assessments about future crimes, who might commit them, and where, based on data such as location and personal information. But therein lies the issue, which could potentially exacerbate policing or even over-policing in communities along racial and ethnic lines.
This is where data really comes into play; historically speaking, law enforcement focuses more on marginalized communities and neighborhoods, and as a result, members of those communities are overrepresented in police records that comprise the bulk of AI training data. Predictive policing AI systems will then use said data to predict where future crimes will occur, leading to increased police deployments in such communities. To make things even worse, recording new crimes in overpoliced areas will create a “positive” feedback loop, which will reinforce the algorithms’ biased predictions.
So, the real issue is the bias that’s in the data used to train AI systems, and that data is often unrepresentative or straight-out discriminatory for people of color, women, and other marginalized groups. And law enforcement isn’t the only thing affected by these faulty systems. AI housing discrimination is also a real thing, as algorithms often affect mortgage qualifications, tenant selection, employment (we previously talked about this), and financial lending discrimination.
Most of these systems evaluate tenants, job applicants, and potential borrowers based on data that includes court records, eviction and criminal histories, and many other datasets that contain their own biases that reflect the systemic racism and sexism baked into them. As a result, people are being denied housing despite their ability to pay the rent, and qualified professionals are being denied job opportunities simply because an algorithm deemed them ineligible, unqualified, or unworthy.
The case of Shudu Gram, a Black digital supermodel, adds another layer to the controversy about racial bias in AI. Shudu was designed by a white British photographer to look like a dark-skinned Black woman, and she quickly gained popularity on social media, despite not being a real person. Though praised for he beauty, Shudu’s creation sparked backlash over what many called a new form of digital blackface.
Furthermore, critics argue that when a white creator profits from a virtual Black identity, without hiring, crediting, or collaborating with real Black women, it creates the illusion of diversity without delivering it. This serves as a troubling reminder that AI is not only replicating biased data, but also being used to control and commodify identities that have long been marginalized and excluded from industries like fashion.
The truth is that AI systems aren’t inherently racist; they just picked it up from humans who train them. The datasets these systems are being trained with are obviously incomplete and imperfect and often rely on different variables, such as education level, socioeconomic background, and location, to perpetuate biases. So, we can only conclude that the biases these systems exhibit reflect the biases of their creators, regardless of whether those biases are intentional on a personal level or not.
AI is rapidly transforming various industries, but its broad, unregulated, and often unethical applications in various fields are concerning. Facial recognition systems misidentify people of color, hiring algorithms unintentionally discriminate, and AI amplifies systemic inequities across critical sectors like law enforcement, healthcare, and education. The underlying causes and potential solutions reveal the urgency of addressing these flaws to ensure the technologies shaping our future don’t perpetuate the injustices of our past.
The post The Alarming Reality of Racial Bias in AI appeared first on Black Girl Nerds.
We at Black Nerd Problems are happy to present an exclusive look at ANCESTRAL RECALL, a few days ahead of its release on August 6. If you haven’t heard of the latest from AHOY Comics, ANCESTRAL RECALL is a historical science fiction comedy from writer Jordan Clark (Aquaman, Star Wars Adventures) and artist Atagun İlhan (Poison Ivy, Milestone Universe: The Shadow Cabinet) about an eccentric abstract painter who taps into the literal power of Black History to solve a series of supernatural disappearances with the help of his wife and preteen neighbor.
The Milestone Initiative members masterfully blend science fiction and comedy to explore the importance of Black history, the connections between the past and present, and learning to push through difficult life changes.
In the original press release, “As Black history is literally being erased all around us, ANCESTRAL RECALL feels like an urgent call to not just preserve it but celebrate the links between our past, present, and future,” said writer Jordan Clark. “Melvin’s journey takes readers through time and space and introduces them to figures who are rarely seen in history books such as Jean-Louis Michel, the greatest swordsman of the 17th century and Cheryl Linn Glass, the first Black woman race car driver. The series is my love letter to those who paved the way and hopefully an affirmation for us here in the now.”
Melvin Warring is a famed abstract painter, known for some groundbreaking work in the late 80s, who now lives a reclusive life in East Oakland with his wife and business manager June. One day as he’s picking up June’s prescription after her hip surgery, a force suddenly overcomes Melvin, displacing him from time itself. Meanwhile Myran Kang, Melvin and June’s preteen next door neighbor, has noticed a string of disappearances: a few unhoused people who normally set up in the park, some people at her grandmother’s nursing home, a few of the bus drivers on her normal route… She has a feeling it’s more than a coincidence but can’t get anyone to listen to her — until June disappears too. As Melvin and Myran dig deeper into the mystery, Melvin finds he’s literally able to tap into the power of Black history when under duress and access the knowledge and abilities of Black people throughout time — everyone from writers and musicians to sword fighters and acrobats, transforming Black history into an actual super power. Will it be enough for Melvin and Myran to discover and disrupt the plans of the mysterious organization disappearing people and find a way to bring them back?
You can expect our review of the first issue next week.
About the Creators
Jordan Clark has been writing comics for over a decade, with work most recently being published by DC Comics and past stories at IDW, Image Comics, and Dynamite Comics. He was also selected as an inaugural member of the Milestone Initiative at DC Comics, which is geared towards uplifting a new generation of comic creators of color. He believes fiction has the power to imagine a better world and aims to tell stories that allow readers to imagine themselves in that better future.
Atagun İlhan is a seasoned illustrator who works primarily in sequential art, fantasy art, and book illustration. He was born in Turkey and graduated with a BFA in Animation. He pursued an MFA in Illustration at Syracuse University and is a graduate of DC Comics’ Milestone Initiative program.
About AHOY Comics
AHOY Comics debuted in the fall of 2018 with the bold promise for readers to expect more from its line of comic book magazines, featuring comic book stories, poetry, prose fiction, and cartoons. Brainchild of publisher Hart Seely, editor-in-chief Tom Peyer, CCO Frank Cammuso, and Ops guy Stuart Moore, the Syracuse-based indie publisher has made its reputation on witty satires, acclaimed creators, and commitment to bold and risk-taking storytelling — with critically acclaimed titles such as THE TOXIC AVENGER by Matt Bors and Fred Harper, SECOND COMING by Mark Russell and Richard Pace, BABS by Garth Ennis and Jacen Burrows, HOWL by Alisa Kwitney and Mauricet, THE WRONG EARTH by Tom Peyer and Jamal Igle, JUSTICE WARRIORS by Matt Bors and Ben Clarkson, the quirky monster anthology PROJECT: CRYPTID, and many more.
For more updates on AHOY Comics, visit them on X, Bluesky, Facebook and Instagram.
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The post EXCLUSIVE: An Eccentric Painter Taps into the Literal Power of Black History in ‘ANCESTRAL RECALL’ appeared first on Black Nerd Problems.
Together is the body horror rom-com we did not expect. This film is a slow burn, and you will be thankful it takes its time because there’s no right way to rush into a couple’s therapy horror like this. It’s the codependency cautionary tale of the year. Not only is the film’s tense nature something to review, but the lawsuit attached to it is bringing the film some not-so-savory publicity and controversy. This review will be light on the spoilers; you’ll want to see this with your own eyes.
“Say You’ll Be There”
The horomedy (horror comedy 
) follows Tim and Millie as they uproot their lives to move from Brooklyn, NYC, to what seems to be rural upstate New York. While there, they encounter a supernatural force that begins testing the very boundaries of their emotional and physical state as a couple. The premise says – what happens when you’re so codependent in your relationship that you and your partner literally begin to fuse bodies. The film stars comedy actors Alison Brie as Millie (Annie from the TV show Community) and Dave Franco as Tim (Pete from the movie Neighbors).
The film sets a classic horror foundation right from the beginning: missing persons, creepy caves, and animals acting funky. But we’re introduced to Tim and Millie at what is supposed to be a joyous send-off for the “happy” couple as they move upstate for Millie’s new teaching job. We can right away see the cracks in their relationship loud and clear. Tim has been dealing with some unresolved childhood trauma that presents itself in classic horror form (I won’t say how you should watch)! Millie’s people-pleasing and avoidance issues make her sacrifice a bit too much to keep from falling apart. Now our couple has a myriad of issues to work through, and moving to a secluded location is not going to fix this. With great cinematography, our couple is then thrown right into east bum-fk.
“Spice Up Your Life”
One morning, they explore the great trails in the area they’ve been hearing all about. On the adventurous hike, they find themselves lost because when city folk journey into the woods, it never ends well. They become trapped in a mysterious, cult-like cavern, and they are forced to spend the night exposed to supernatural forces.
After making their way out and back home, weird things start to happen. Tim cannot physically be without Millie; the pain is palpable and physically undeniable. We watch as the couple skin-to-skin slowly becomes more and more Cronenberg by the day.
The film does a fantastic job blending its weighted tone with comical circumstance. Clearly, the stakes are high when some invisible force is making you meld into your partner’s body, but also – WTH!? Can we never kiss? Will every hug turn into needing surgery to separate? It is a clever way to address the ways in which we sacrifice for our partners just to continue to be connected, even when it feels like separating is the healthy route. If you have deep-seated issues that have gone unspoken for much too long, you should absolutely see this with your partner. Be ready to feel like laughing, but be horrifically creeped out at the same time.
The twisted body horror of this film literally pulls your eyes open, and you want to look away, but you can’t. The movie has perfect timing. A solid, intriguing story of folklore and a clear metaphor that all work very well with each other, giving a balanced dose of skin-crawling cinema. The stunts and body work alone are masterful and hilarious. These two are perfect together and getting into the bonding antics they get into is something to experience.
Now I am so late on this, but before seeing this film, I did not know Alison Brie and Dave Franco were married (not sure where I have been since 2017…). So now you know if you didn’t already, and your viewing experience will be that more enhanced.
“Wannabe”
Which brings me to the four-eyed dog in the room. The film is receiving some backlash due to the allegations of copyright infringement for welp…the whole entire movie. The production, financing, and distribution company “Studiofest,” along with the creators of the indie film Better Half, are suing William Morris Endeavor Entertainment (WME), Neon, Dave, and Alison. The legal papers published in an article by Deadline stated, “Defendants lifted wholesale creative elements, including but not limited to, plot, themes, characters, dialogue, mood, setting, pace, and sequence of events.” Both films, Better Half and Together, center around a couple who have codependency issues physically fusing together.
Now, that premise in itself is not a sueable offense. The idea that someone wrote a film or any piece of entertainment about a couple fusing as a metaphor for codependency has probably been thought of a million times before. The issue lies within a couple of factors. One being the writer and director of Better Half, Patrick Henry Phelan, literally pitched the film to Dave Franco and Alison Brie via their agency William Morris Endeavor to star in the film prior to the film Together being made. Better Half was written in 2019 and pitched to Alison Brie and Dave Franco in 2020. WME and Dave passed on the film. This is where it gets tricky. Better Half continues on their journey, making their film with two different actors and releasing it at film festivals with StudioFest in 2023. This means the film Better Half came out almost two years before Together.
Dave and Alison get pitched Together with WME using one of its own Writer/Directors, Michael Shanks, at the helm. The optics just keep getting worse. I myself felt that maybe it’s not explicitly the actors’ at fault. As a filmmaker myself, we all know that pitching a script to a talent agency does not mean the actors themselves read the script. BUT Dave and Alison are listed as producers on Together, and it states that reps at WME were sent the script of Better Half back in 2020 for them and Dave to review, and they responded, saying that Dave was going to pass.
“Who Do You Think You Are”
Michael Shanks responded, claiming there is no way this was copied from the film Better Half, because he used personal life experience over years of writing to come up with the concept and content of the script and film. Variety quoted the Together writer and director as saying, “To have this called into question is not only deeply upsetting but entirely untrue,” … “To now be accused of stealing this story — one so deeply based on my own lived experience, one I’ve developed over the course of several years — is devastating and has taken a heavy toll.”
It feels like Shanks wrote a film very similar to Phelan’s film Better Half, and maybe this is all just a coincidence. The only problem is – WME knew a similar film was pitched to the same exact couple and passed on just a couple of years before. Additionally, the legal documents list a series of similarities down to Plato’s text referenced in both films and frame-for-frame shots. EEEK!
What does this truly mean? In my opinion, it would be wild to steal a film, plot for plot, word for word, and shot for shot. Especially one pitched to the same leads! Either way, it does not look good for the film Together. That list of similarities is long and specific. I was unable to find a copy of the film Better Half to make my own comparisons. All I have to go off of is this…Both films have one character who is a teacher and the other a struggling musician. Both films use Plato’s Symposium as one of the explanations for fusing. Both films have an intimate bathroom scene, which I will not spoil. Both films reference the Spice Girls. That last one seems to be one of the biggest elements focused on by fans and Reddit. That one is the least of their worries, really. Both films use the same angled shot (referenced above) for promo. The list goes on.
“SPICE” Not Spice World
I obviously do not agree with plagiarism in film. I truly was hoping for the mere coincidence of two similar ideas being made at similar times. Sadly, it seems to be more than that. Also… I still think Together is an excellently done film. It also doesn’t deter me from wanting to watch the film Better Half. I honestly wish that the suit and popularity around Together sparks a strong desire to see the “original” Better Half. The industry is a wild place that we seem to all believe sometimes has strong morals and ethics, and every day we get reminded it’s really a bunch of people who want to make money mixed with artists who really want to tell a good story without getting traumatized along the way.
You’ll have to check back with me after I’m able to get my hands on a copy of Better Half to give my honest thoughts there. In the meantime, let us know what you think. What are your thoughts on the overall film Together? Does the lawsuit have eight legs to stand on? Let us know in the comments. You can catch Together out now in theaters.
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The post When Two Become One: ‘Together’ Review appeared first on Black Nerd Problems.
Okay, Critters, we’re gonna need you to take some deep breaths with us. Yes, inhale, hold, exhale. Breathe. We know there is a lot of Critical Role excitement in the air, and also many ch-ch-ch-anges, and that can make it hard to remember to do anything but flail in delight. Because, YES, Critical Role has officially announced Campaign 4 is rolling toward you soon. And YES, Critical Role Campaign 4 will feature a NEW Game Master for the first time in the beloved franchise’s main campaign continuity. Hold onto your dice, friends, Exandrians, and countrymen, Matt Mercer will NOT be the GM of Critical Role campaign 4. Instead, creative powerhouse and masterful world builder Brennan Lee Mulligan will be taking on the role of Game Master in Critical Role‘s fourth campaign. Yes, BREATHE. Breathe. Let’s break all this exciting Critical Role news down.
Brennan Lee Mulligan Will Be Game Master of Critical Role Campaign 4
Critical Role Campaign 4 will be releasing on Thursday, October 2. And when it does, a brand new Game Master will enter the world of Critical Role‘s core campaign for the very first time. Yes, celebrated actual play creator and storyteller Brennan Lee Mulligan will be taking over for long-time Critical Role Game Master, the beloved Matt Mercer. Those are big shoes to fill. But if anyone is qualified to helm Critical Role in the wake of Matt Mercer, it’s Brennan Lee Mulligan. Brennan Lee Mulligan has made a massive name for himself in the world of Dungeons & Dragons actual play, heading up Dropout’s intensely popular series Dimension 20 as well as his own popular podcast Worlds Beyond Number.
Critical Role reveals that Brennan Lee Mulligan will “step into the Game Master seat for the full duration of Campaign 4, bringing his signature depth, humor, wit, and high-stakes drama to Critical Role’s next grand adventure.”
Travis Willingham on Critical Role‘s New Game Master
Speaking about the new Game Master coming to Critical Role‘s world, Travis Willingham, CEO, co-founder, and cast member of Critical Role shares, “We’ve been enormous fans of Brennan’s for many years now, and when it came to giving both Matthew Mercer and the world of Exandria a bit of a breather, Brennan felt like the perfect storyteller to take our community somewhere entirely new.”
Willingham adds, “Critical Role has always been about genuine connection through storytelling first and foremost, and as Brennan himself will tell you, he’s still played more TTRPGs away from a camera than in front of it. His passion and drive for worldbuilding is infectious, and it’s been an absolute joy to spark off him as we forge ahead.”
Brennan Lee Mulligan on Taking Over as Critical Role‘s GM
Mulligan, of course, is also no stranger to the Critical Role world. He was the Game Master of three Critical Role productions: Exandria Unlimited: Calamity, Critical Role: Downfall, and Exandria Unlimited: Divergence. And he does not take the gift of the position lightly. Mulligan shares, “What a gift, a privilege and an honor to be invited behind the screen of Critical Role for this next epic adventure. Every collaboration we have had together has brought nothing but sheer joy, and Campaign 4 will be no exception. I’m finally playing *almost* as much tabletop as I’d like to!”
We can’t wait to see where this will go.
Will Matt Mercer Be a Part of Critical Role Campaign 4?
But where does all of this leave Matt Mercer, who has helmed Critical Role‘s core campaigns for ten years now? Well, as Willingham shared earlier in the piece, it sounds like Matt Mercer might need a bit of a Critical Role Game Master breather. Willingham notes, “When it came to giving both Matthew Mercer and the world of Exandria a bit of a breather, Brennan felt like the perfect storyteller to take our community somewhere entirely new.”
But does that mean Matt Mercer won’t be a part of Critical Role campaign four at all? Not necessarily! We don’t know what a breather means exactly. And it could be that Mercer wants to join in on the game instead of running it. Being Game Master is a lot of work. If Mercer did join Critical Role as a player, it would mark the first time he’ll get to do a full campaign as a player/character in the 10 years of Critical Role. We bet fans would love that.
Of course, there is always the possibility that Matt Mercer will not be involved in Campaign 4 of Critical Role. But we suppose, after 10 years, we’d understand that too!
When Will Critical Role Campaign 4 Release?
Campaign 4 of Critical Role will release on October 2. It will premiere with instant access on Beacon.tv as well as streamed to Critical Role’s YouTube and Twitch channels on October 2. The VOD of Campaign 4 will available for everyone the following Monday and podcast episodes available in two parts: the first one week after the premiere of the episode, and the second on the following Tuesday. Beacon members will also get exclusive access to all episodes of Critical Role Cooldown for Campaign 4, where the cameras keep rolling and you get a front row seat to the cast’s post-show reactions.
What Do We Know About Critical Role Campaign 4?
We don’t know too much about what Campaign 4 of Critical Role will entail, no details about its plot, characters, or setting have been revealed. What we do know is that will be an all new chapter in the world of Critical Role. Here’s what the official release had to say about Critical Role Campaign 4, “Following the beloved sagas of Vox Machina (Campaign 1), The Mighty Nein (Campaign 2), and Bells Hells (Campaign 3), Critical Role’s new campaign represents a bold evolution for the franchise, ushering in a new era with new legends to be forged in a brand new world.”
Marisha Ray, Creative Director, co-founder, and cast member of Critical Role expounds on the description, sharing, “We’re not just turning a page – we’re starting a whole new book,” added “Everything about Campaign 4 is fresh; new world, new tone, new possibilities. We can’t wait for the fans to experience what we’ve been building.”
Who Will Be Part of Critical Role Campaign 4’s Cast?
We do not yet know who will be a part of Critical Role Campaign 4’s cast except for Game Master Brennan Lee Mulligan. Further details – including cast, the world, game system, format, and more – will be revealed in the months to come. Go to Critical Role’s website or follow along on Instagram at @Critical_Role to stay up-to-date.
Critical Role Campaign 4, here we come.
The post CRITICAL ROLE Announces Campaign 4 & NEW GM Brennan Lee Mulligan (Matt Mercer ‘Takes Breather’) appeared first on Nerdist.