Critical Role & Sagas of Sundry - How Comics Changed Erika Ishii & Brennan Lee Mulligan’s Lives | Worlds Beyond Number

Episode Date: July 14, 2026

Worlds Beyond Number is transcending the world of audio to come to a friendly neighborhood comic book store near you. Worlds Beyond Number's Erika Ishii and Brennan Lee Mulligan joined Dan Casey to talk about how the team went about transforming the fan-favorite actual play podcast into a gorgeous graphic novel with Skybound and Kickstarter. Plus, they reveal what comics had the most profound impact on them when they were young. Learn more about Worlds Beyond Number's Kickstarter campaign: https://www.kickstarter.com/projects/skyboundent/worlds-beyond-number-the-official-graphic-novel Check out even more Worlds Beyond Number: https://www.worldsbeyondnumber.com/ Image: Skybound Learn more about your ad choices. Visit megaphone.fm/adchoices

My name is Peter Parker, but I'm also Spider-Man. This July, we're faced with a threat. That can be anyone. The world may have forgotten Peter Parker. I'm just a neighbor, friendly neighbor. But he hasn't forgotten them. Sometimes Spider-Man has to do the hard thing. That's my responsibility.

Talk to Banner? I didn't know you could get that big. Spider-Man, brand-new day in theaters, July 31st. Greetings, Adventures, and welcome back to quests and answers, the show where we talk to all manner of awesome people from around the gaming world. I'm Dan Casey, and today we have some very special guests joining us. They're actors, podcasters, storytellers, and maybe cattle wrestlers, if my notes are correct. You've probably heard their melifluous tones on podcasts like Worlds Beyond Number. Their forthcoming graphic novel, Worlds Beyond Number, the official graphic novel, is available to back right now on Kickstarter.

Folks, please welcome Erica Ishii and Brennan Molligan. I knew it. I knew it. You simply don't say. Oh, my goodness. Dan, it's so lovely to see you again. How you doing?

It's lovely to see you as well. I'm having a great time. I get to talk to two awesome people about one of my favorite things in the world, and that's comic books. This is a great day for me. Dan, the man. That is my legal name.

I'm trying to have it changed, but we'll see what we can do. So we'll start things off. I want to talk about comics. First of all, congratulations. on the incredible success of the Kickstarter so far. Yeah, it's a genuinely bonkers number. I do word stuff and make them up,

so seeing numbers that high evokes like a fight or flight response, but I'm very happy for all of you and very excited to see what's going to come forth. But I'm curious for you, what did it feel like in the moments before you threw the big red lever that said launch and then the insane momentum it's taken on? I mean, in the lead-up,

I have been nothing but, you know, floored, frankly, by the level of skiseless. thoughtfulness and professionalism and execution brought by the amazing team at skybound shout out to Alex Anton who's been leading the project a I think Jadzia Axelrod and Sarah Webb are just staggering I mean we've been seeing pages coming for so long that truly there was no trepidation or nervousness it was like eagerness and excitement to like share these pages with the world to share the project with the world and we have to give a huge shout out to our own amazing director of

operations, Melanie Bowman, who's just been, I mean, talk about tees crossed, eyes dotted, just a whirlwind of managing everything to make sure that, you know, every part of this had the best possible, at least from our side, from the world's bad number side, managing the best possible launch that we could have and were just staggered and blown away. The great part about being an artist with a very competent team is that all you have to do for the businessy parts of it is go, yes, no. Come back to me with something a little different. Yes.

So that was a lot of the lead-up to the campaign, to be honest with you. It was, to Erica's point, you know, with projects of this size, and especially with how much Worlds Beyond Number has taken on as its own entity, and then as the partners are themselves engaged in a tremendous amount of, a tremendous amount of other exciting projects, you know, collaborations really can only happen when you find people whom you trust with your life, who understand the project, you know, front and back. And it's really funny. I'll hear through the great vine about some creators who are micromanaging, like, collaborations and partnerships. And to me, that is never, like,

a thing that is worthy of bragging because to me it's like well the whole ballgame is finding the people whose creative vision in your partnership you fundamentally trust and that's like the team that we found for this so we've been nothing but grateful and staggered by the final collaborator who is of course the incredible fans especially those who are supporting by the fireside but also those that have discovered this for the very first time this new project the last part of the collaboration is everyone coming and getting excited about it and throwing their hard-earned dollars at this thing that we're really proud of. So we really appreciate everyone who discovered the project thus far. That's fantastic. I definitely appreciate what your folks are saying about finding

that like all-star team of people that you can place your trust and especially when you were taking something that you've spent so much time with and poured so much of yourselves into you don't want to just, you know, hand it off to anybody. But let's take a step back for a moment. How did this project first come about? Who had the, who woke up like don't wake daddy style in the dead of night and said, A prequel comic. That was actually Skybound. Once again, we're so lucky that they approached us. You know, because they are so creator-driven.

And they were fans. And so while, of course, it's been our dream to be able to adapt our podcast into some visual format to have a big company like Skybound come to us ready to go. had a list of potential collaborators, artists, writers. They said, we're going to, we're going to, you know, fund some of it. And, you know, it really, it came, it came to us, which is unbelievable. As somebody who has sort of doodled scenes from D&D campaigns since I was in high school to have it done for real, by real professionals.

is mind-billing. That's been something to echo Erica there, that the, that's been something about the process that's been truly kind of amazing to me has been of many projects that we've all gotten to work on together. I'm constantly delighted at the amount of artists and creators who have discovered worlds beyond number. It's, you know, I think all of us been lucky to work on different projects, many of them together, but even outside of that, that, you know, you always are interested to find what

corner of the world a given work of yours, if you're lucky enough to have your work connect with an audience, like what is the audience it connects with? And it's always been so delightful to me to see that worlds beyond number has connected with a very high batting average, in my estimation, of people who are themselves creators. Like, you know, it's very often that I'll be in a in a situation where I'm talking with some animators or talking with some voice actors or in a place with people who work on video games or in publishing or literature, and someone will turn and say, by the way, I've just cut up on, you know, Worlds Beyond Number. Oh, my. And then it is truly humbling and something I'm very, very grateful for that this project seems to connect with people

who themselves are storytellers and themselves like our friends at Skybound that came to us saying, we're passionate about what you guys are doing, really deeply meaningful. Cool. I mean, it doesn't surprise me to hear that as well. I feel like, you know, steel, sharpened steel good art begets good art. Seeing good art makes you want to go forth and make more good art if you were someone who's inclined towards the creative. So it doesn't surprise me to hear that at all, especially about the community. But for people that maybe are outside of that community, people, let's say you're someone who just woke up, bleary-eyed on the couch with this video playing and you have no idea what's going on. What would you say is the quick elevator pitch for this project and how does it, connect to maybe the saga of the wizard, the witch, and the wild one that fans may already know about. That's a great question. Well, I would say that the comic book is itself an adaptation of the children's adventure. For those that don't know, you know, worlds beyond number, we have multiple different worlds that we've traveled to. All four of us are so delighted and happy to GM for each other. Our first long-form campaign was the wizard, the witch, and the wild one, which is a

fantasy adventure in a world very much inspired by Shinto and Celtic mythology, really inspired by the works of Miyazaki, you know, in those sort of classic movies. There's a lot of also like Americana and folk tradition. So it's sort of like not set necessarily in a world of like orcs, dwarves and elves, but set in a world of like humans and the spirit world. And that's sort of an all-encompassing this interchange of magic between witches and wizards and then wild ones, which are sort of the spirit. When that story began, when we launched, we had a eight-episode children's adventure of the magical summer where our main characters, Ame, Suvi, and Ursula, all meet for the first time.

And this is an adaptation of that children's adventure. So what I'm so excited about is this is a beautiful kind of standalone story of these magical children in the summer that they all met and became true friends with one another that I think serves as a beautiful companion piece because the medium is so different. It's a visual medium for what began as a pure audio experience and the ability for people to come in and see the graphic novel and either like, you know, it makes me happy that this might be someone's full experience of the story. They could just stumble across this beautiful graphic novel and find that. it might lead them back to the children's adventure,

or someone could discover the graphic novel, see the prelude of the story in this graphic novel format, and then find the adult adventure beginning with episode one of the Wizard, the Witch, and the Wild One, and begin their story, which is like a totally different genre, because they're adult heroes at that point. So there's a lot of different,

interesting ways to engage with this world and this story that this graphic novel opens up to new fans and old. I love the idea of this being like, a really nice onboarding point because I think for some folks out there, it can be a bit daunting sometimes if you are trying to approach a story, a large body of work, and you see, wait, there's how many episodes? Am I behind the curve? How can I get part of this? But I don't know, sometimes it just feels easier to have like a nice little compendium like this to be your little breadcrumbs into the magical forest of possibility that awaits. Yeah, I think this is a great actual onboarding

for fantasy as well. If, you know, do you like fantasy? You know all of the things about magic and wonder and, you know, a mysterious door into another world. If you don't like fantasy, this is especially for you because it is built from the things that we love most about fantasy and folklore and children's stories. So I think this is definitely meant for people who also aren't already onboarded with the kind of. concept of fantasy and magic. For the children's story in particular, was this something that when you were approached about this project, was that the instance sort of like, oh, this is what we should adapt, we should start with this before trying to approach the more adult story or something of that

nature? I think that this was, you know, just, I don't know if there's a question at all of where to start. I think that the children's adventure is an exploration of the world. both in terms of an introduction for listeners or readers, but also for us. It was how we found our characters. Traditionally, when you play a game,

there's a session zero where you build your characters and sort of discover the world together, and we did a more narrative-driven version of that, and that is what this children's adventure is. It was us building our characters and sort of how they learned the skills, diageetically. And so I think, you know, it's the perfect way to introduce people to Umura through the eyes of a child where they have somewhat of a narrower view of the world.

You know, your world is only as big as your home and where your parents can take you. And it's getting all of that. Imagine getting everything about the world that we know as an adult all at once. That's so overwhelming. But to be able, right? It's overwhelming for us. It's a horrifying prospect. It's really, you know, the sort of eldritch horror is, is the knowledge of all, right? And the idea that we can be introduced in this gentle way, in the way that a child can comprehend is, I think, beneficial for adults as well as children. Absolutely. I think that's a really interesting way to sort of frame it and think about it because it just immediately, I have a three-year-old son and thinking about like, oh yeah, his

context for the world is constantly expanding. But if I were to expect him to know the vastness of everything, all of our heads would explode simultaneously, and that wouldn't be good for anybody. It's really funny to think about how we are introduced to a new fantasy world and we're making characters, which is almost always, at the beginning, the gods did this. Here's the timeline, and here are the different countries you can be from. And this is their recent history. And here's the wars and here's this other stuff. And of course, how you actually actually. become an adult is you start with mommy and daddy in my house. And then everything gets layered on top of that. And you go, oh, the people down the street and the other kids at my school. And

this is what's, you know, it's funny to go back and think about, I think when I was in elementary school, I thought that England and Europe were interchangeable terms. It's like, that's the same place. Like, it's across the sea where America's from. And history started when America started. That's kind of what you're learning in elementary school. And then you go like, how far back does it go? Way earlier. What do you mean? This can't be true.

It's can't be true. What do you mean there's thousands of years before we got here? You know, like... Again, I say this as a huge fantasy fan, but for the love of God, I don't know enough about the physics of our universe. I don't need to understand the physics of magic in another world. and I don't think that everybody in that world realistically would, right? So, I mean, you know, learning magic as these kids learn magic is exactly my pace. Yes, I will say, though, it did make me have this realization that, you know,

I've forgotten the names and faces of people that I genuinely cared about on a deep personal level, but I remembered minor details about magical systems from books and stories I've read and things of that nature, stuff that'll definitely come in handy, and then like random popsicle commercials, but that's neither here nor there. We interrupt this life-changing interview to bring you a message from today's sponsor, Fabletics. Hi, everyone, it's me.

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other Dan. I do want to take things back. The war is over and both sides lost. Kingdoms were reduced to cinders and armies scattered like bones in the dust. Now the survivors claw to what's left of a broken world praying the darkness chooses someone else tonight. But in the shadow dark, the darkness always wins. This is old school adventuring at its most cruel. Your torch ticks down in real time and when that flame dies,

something else rises to finish the job. This is a brutal rules-light nightmare with a story that emerges organically based on the decisions that the characters make. This is what it felt like to play RPGs in the 80s, and man, it is so good to be back. Join the Glass Cannon podcast

as we plunge into the shadow dark every Thursday night at 8 p.m. Eastern, on YouTube.com slash the Glass Cannon with the podcast version dropping the next day. See what everybody's talking about and join us in the dark. Look, there are a lot of celebrity interview podcasts out there, but there's only one Happy, Sad, Confused. I'm Josh Horowitz, and yeah, I'm the host of the show, so I'm a little biased, but truly Happy, Sad, Confused is the place

for nerdy and intimate conversations with all your favorite actors and filmmakers. From Andrew Garfield and Scarlet-Johansson to Christopher. for Nolan, casting what ifs, backstage stories, and much more. Listen to HappySag Confused on Apple Podcasts, Spotify, or wherever you get your podcasts. I'm connected childhood a little bit. Erica, you were talking about how, you know, this is a great onboarding point to fantasy for people. And something that you've said in other interviews really resonated with me, and that's comics or something that really helped you learn to read and learn to love to read. And I want to go back and talk to each of you about what is your earliest memory,

of comics. And is there a particular comic or story that really got its hooks into you and made you maybe think about things in a different way or just be like, wow, this is such a cool way to tell stories? For me, Usagi Ojimbo, like, hands down. I learned to read with that. Some of my earliest memories of, like, actually reading and, like, understanding words was for Usagi, which is, for folks who don't know, sort of the tales of errone. who is also a rabbit. He ends up doing crossovers with the Ninja Turtles. But it's a lot of that Japanese storytelling of the quiet

and the beautiful landscapes and the idyllic pastures and the discovering and exploration. And there's definitely a lot of that in the feeling of this book. I learned, so my mom was a comic book author. My mom, Elaine Lee, is the creator of Starstruck. along with Michael Coluda, who was, she was the writer, and Michael was the illustrator,

and it's an incredible graphic novel series. She's worked in comic books for a long, a long time. And she and Michael are, I don't know if I can say that. Is that a scoop? She and Michael are working together again, and it's very exciting and cool.

So she's been a comic book author for the longest time. And I think one of the first things I remember, in terms of comic books, was her work, her stuff, and then also grew the wanderer by Sergio Aragonus, which Stan Sikai did

lettering for Gru. There you go. And they did crossovers, yeah. Both some wandering warriors. Oh my God, really? Great minds. I didn't know that. This is why. This is why.

But I remember because someone was like, I told someone once that I learned to read reading Gru and they're like, there's hardly any words in Gru. And I was like, exactly. There's one panel where he speaks one time. You know, I'm like, watch, looking at it. And then I'm like, what are these squiggles?

And I'm like, oh, that's talking. So wait a minute. These squiggles are like talking? That's wild. Okay? If you say so, if you say so. To hype up Elaine Lee a little bit, Starstruck is your favorite sci-fi comic people's favorite sci-fi comic.

Like it was so influential in a whole different, in a whole other generation of sci-fi fantasy, speculative fiction, comics. Hell yeah, exactly. I deeply pre- and also we took Starstruck and adapted it for a season of Dimension 20. And it was really cool to run a game of D&D set in my mom's

sci-fi universe. It is routinely, heralded is one of the best you know, like core seasons of the show that we've done. And I agree with that because the world building was done by a much better writer than myself. So it was very cool. that's i i love that

but also i love this sort of um almost synergy or like echo almost of you know you adapting your mother's comic into an actual play t t t r ptrpg and now you folks could to adapt your actual play ttrpg into a comic

working with other people to create this beautiful circle of reciprocal art making dan making the connections out of here that's a professional folks look at that i had not even I don't understand how Dan can do connections and segways. His segways, they're so smooth, buttery.

I actually had not even thought about it in that context that now we're doing a reverse Starstruck, that we, now the boundaries are porous. That's awesome. It's deeply gratifying. I mean, there is so much to every single medium of storytelling has something unique to teach you about storytelling. And there are so many lessons from comics that other storytelling traditions have benefited from. So much experimentation, so many new and novel points of view and deep wisdom about storytelling

that obviously works its way into filmmaking and oral story selling and TTRPG and television and literature. And it's very, I just, I'm very into it. So it's very cool to have this story that we love. be entered into the lexicon of this incredibly rich storytelling tradition. Yeah, actually, even for acting and tabletop and different kinds of storytelling, I used to recommend, I still do, but I haven't said in a while, Scott McLeod's Understanding Comics.

Fantastic. Cloud! Yeah, is who actually another weird connection, we, you know, where we have family friends that are friends with them and his comic, The Sculptor. Yeah, so good. Fantastic comic and also the models for the characters, like, who would do, he'd do, like, shots of them and then draw it, are Jennifer Newman and Matt Mercer. Whoa. Wow.

That's wild. That is a very fun fact. Is they're from, like, Agora Hills, the valley, you know, the sort of North Valley. Holy smokes. Yeah. Crazy. So, anyway, yeah. Scott McLeod, Understanding Comics.

Scott McLeod friend of Matthew Mercer. You know, it's all storytelling. All storytelling is, as you said, permeable, porous. Yeah, storytelling all the way down. I love that. That's amazing. That's fantastic. I want to talk a little bit about, you know,

since we mentioned sort of the work of adapting something you've made into another medium. And obviously, this started first as a purely audio medium, which just opens up, you know, what you're picturing in your head might be different than what someone else at the table is picturing in their head than the different than what the audience is picturing. Is there anything that you would maybe imagine and then seeing how the creative team brought it to life in illustrated form that may be shocked or surprised or delighted you? Wow, that's a great question. This is a funny, a funny way of putting it. I actually love the, this is such a, this is such a funny answer, but it's actually the,

collage of how the images are stacked. This is like a very inside baseball answer, but like Sarah Webb's visual style is so gorgeous and stunning and very much like brought her to our attention as a, as skybound brought her work to us. And we said, oh, she's, she's so mirroring our vision. Like based on her art, she captured the spirit of it so well. But then watching her and Jadzie is scripting as well, as a storyteller, what I was really focused on that took my breath away was the emphasis. Because there's a great line from Matt Colville where he talks about the major instrument of a dungeon master is time and editing. That's the dungeon master's real power is your ability to call a scene. Just say we're moving from here.

We're emphasizing this. We're deemphasizing that. Every dungeon master knows, you know, if you want the PCs to notice something, you say, you notice that there's a wooden table and does metal chair. What's in the table? Show me the table. But you have to really put the mustard on and a diadem. glowing diet. You know, you have to really underline,

but they will go for the table. Yeah. But roll a check to see if it's a person. It's a person. But the thing with Sarah and Jadzia was where their storytelling emphasis went. So what I was captivated by was, oh, in the actual play, I say, okay, Amay, you do the rest of your chores that day, and then you go into the woods, right? and with them there's like three or four panels that are kind of falling on top of each other

of a broom sweeping and the goats and the feed and you go oh that's actually that gives a feeling of ame's life on the farm so more than any it's like each image is a perfect snapshot of the feeling of our actual play but the way the images are interlaced the bordering art the vines around the spirit world and how those borders are done that's the part that really kind of shocked me and delighted me was Jadzia and Sarah taking up the reins, the editorial reins that

normally a dungeon master has and retelling the story to sing in this new medium. It was amazing the way that they could take something that was a couple of lines or just sort of a throwaway comment from one of us and spin it out into a whole page that gives it a different feeling.

Or conversely, take some rambling monologue that one of us is done and condense it into just a beautiful panel, you know? It's, uh, I will also say to seeing their versions of the characters because, again, like each of us, everybody who listens to it and everybody who's playing it has a different image of what's happening in their head since it's just an auditory medium. But, uh, I, I have this feeling that every version is valid in the way that every

miku is canon, every wizard witch and wild one is so very, and now seeing it in this gorgeous form, like this gorgeous, very official form is a new and exciting way to see them. One thing I love about TTRPGs in particular is it's this beautiful form of communal, collaborative storytelling. Really unlike so many other mediums where, yes, you have someone in the proverbial driver's seat,

the DM who's really sort of laying down the planks in real time to build the bridge for everyone to cross over, but you're all doing this together. doing this together. And since this is a story you all built together and something you've spent so much time in so many hours with these characters, do you find it's harder to hand over those creative reins? Do you feel a bit more preciousness about it? Or is it kind of like a rush of excitement about, wow, this is going to be out of our hands to a certain extent? I mean, obviously, folks are very involved in this process. But is there any sort of trepidation there with

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With our toys. I don't know about Erica. For me, big old no. I think there's no trepidation. It's way easier because it's already not going to be precious because like, you know, literally Brennan sometimes has to narrate something that our character would do or would think. Or anytime we do an insight check, it's like, you notice this. And it's like, oh, okay, yeah, I guess I would.

That's somebody else playing your character already. Do you? So like, yeah. Sometimes these guys make choices. it mean I have to throw my work away. You know what I'm saying? They'll be like, we're not going there. I'll be like, they're not.

I fully decided that ventriloquism was a huge deal in the New York City of Brennan's world. Erica made me make a ventriloquism district of my, of my New York City in Moora. So like, that's the thing is, is I actually think that if you come from actual play and you feel a preciousness, like, think about the, I mean, the main thing about actual play is it's a medium where you are pouring your heart and soul into a world and a story in which all of your collaborators are deputized with a division of labor to say and do things that are just true there's no editing like someone makes an attack role i don't get to go i don't

think that happens here i i think that that's it's not the right act it's not shouldn't happen in this None of that. Everything is improvised, done in the moment, and we're moving forward. So now obviously, you're playing with, you know, I have the privilege of playing with people that I trust most in the world who are, I think, some of the greatest storytellers, that I think go pound for pound with storytellers who get to think about it all day and they do it on their feet. but I will say that it is a medium that rewards a true surrender of, you know, tight-fisted, controlling authority over a story. Especially what, like, listen, you think I'm not going to trust Jadzie and Sarah? All four of us trust dice, literal, unthinking dice to tell a story. Of course I'm going to trust human beings that have devoted their craft, especially. storytelling. So yeah, no, there's no, there's no, uh, uh, sort of like fuzziness over our toys.

Yeah, you already have to be pretty hands off as it is because we're going to, you know, mess around with Brennan's toys. Yeah, exactly. Yeah, I guess the other fun part about actual plays, you can bully your friends into making a whole realm of ventriloquism as is your we have fun. We have fun. Of course. That's a yes and, baby. Exactly. Not a no but. We won't hear any dissension on this matter. Is there anything that in their adaptation of these characters that made you think about your characters or world in a slightly different way when you're seeing how they interpret it? You know, it's less about the characters and I think more about my friend's storytelling choices because some, you know, they really were able to highlight and tease out

different themes and sometimes even quotes that I realize, oh, though that comes. back later, oh my God, that's crazy. Wow. The foresight of these people who years ago had their characters as children say a thing that then was the, oh, we call Abrea the master of the narrative Aleoup, you know, and just seeing that in kid form is pretty wild to me. I guess the way you're describing it almost feels like it's the experience of seeing someone and they tell you a story about what you were like as a kid that maybe you didn't quite remember. Yes! Yeah, that's exactly it.

A little childhood Roshoman, but, you know, a little family-friendly. All right. Well, I want to wrap things up a little bit with a question we like to ask everyone that's on the show, and that is a hypothetical situation. It's game night. You can bring any game you want, and people will play it. They won't complain if the rules are complex. They won't complain if the rules are too simple.

They'll just be happy to play it with you. What game are you bringing and why? Erica, do you want to go first or should I go first? You sounds like you have something in mind. Yeah, I play D&D. I'd play the game I've been playing since I was 10 years old. I've played so much of it and I'd like to play more. Now, how many people are, what kind of party is this?

Erica, this is your game night. You dictate the guest list, the rules, etc. Okay. You know, if you wanted to say Twilight Imperium, but you're worried that people wouldn't want to play a 12-hour plus war game, say whatever you want. It can be anything. I think I would want to go with something like charades, only you have to be all in. You know, I can't. I'm not good at rules.

I'm not good at sitting down and learning games or teaching them. I also feel like I am easily, I need to move on. There's no way I'm going to rack up. like have, I cannot, victory points cannot hold my interest for very long. So it's got to be something that you get, this is quick, fast, and everybody has to do a performance and it's got to be all in. I appreciate that. No, no half-assing charades.

This is a whole-ass type of game. Yeah, whole-ass charades, is my answer. Coming to a game night near you. Yeah. Folks, I want to say, first of all, thank you again. Thank you for joining us today. very excited for more people to experience this world. Congratulations again. World's Beyond Number, the official graphic novel, is available to back right now on Kickstarter, and eventually

you can get it at your friendly neighborhood comic book store. And if you want even more amazing conversations like this, you can find more episodes of question answers on Geekin's YouTube channel and wherever fine podcasts are served. Thank you again. Is there anything else you would like to say about Worlds Beyond Number? Anything else you would like to promote? Anything else you want, any breadcrumbs you want to leave out there, or anything at all? If not, That's fine too. Worlds Beyond Number. Go check out.

We have more time left on the Kickstarter. We'd love you guys to come by. And if you like the podcast, you know, it's wherever fine pods are casted. You can find it. And you can come check us out by the fireside at our Patreon, Worlds Beyond Number. Other than that, you can find me at Brennan Lee Mulligan on Blue Sky or Instagram. And you can find my other work at dropout.com. Dimension 20, Critical Role.

Or just out of your local improv venue, some of the time. I also, you know, my personal work, I'm at Eric Ishi on most socials. I'm in a couple of things on dropout, including kicking Brennan's ass at trivia. And also, I would like to say that for Worlds Beyond Number, right now, we are, we have an arc, I think, the first full, well, we're getting towards the end of a real good chunk of a brief. is sci-fi campaign, Solari, and it's very fun and very rewarding, and I would highly recommend it. Amazing. Well, folks, check out all of that and more. Thank you again to everyone out there for listening. In the meantime, though, tell us, what games are you playing this week? What are you most excited to introduce to your table and what comic was your first? Let us know in the comments,

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