Beholder's Eye is a Dungeons & Dragons actual play hosted by Alex, who also runs the game as dungeon master. The campaign is set on the Great Isle, and a spoken preamble lays out the island's troubles plainly. Murad Hall raids the countryside. The Grand Abbot has called a conclave to regulate the use of magic, and the zealous Red Hand terrorize anyone who opposes their doctrine. Emperor Simon of Crux and Queen Alanya of Thalmor, once enemies, are now betrothed. Into that mix goes a party billed as the magical miscreants. The roster includes Rosie, a gnome artificer and bard with a much longer full name; Gerim Kelsor, a high elf bladesinger; Mole Urzog, an orc forge cleric of Saint Allegist; and Cal, a satyr bard of eloquence. Sessions open with a ritual: Alex asks who wants to recap the last episode, and a player brings the table back into the story. The endings have a pattern too, as Alex lands on a final image or a loaded line of dialogue and then calls the episode. The story here keeps circling religion and what hides behind it. The Church of St. Miriam offers the party a place beside it at the conclave, on one condition: they must kill Morla, a Tortle who ranks high in the Red Hand. The players hedge rather than commit. An archbishop turns out to have been communing with something called the Great Mother, and similar statues surface in more than one room, until the players start asking aloud whether the church serves Theos at all. Then there is Samael, a skinless figure surrounded by something likened to a halo crossed with a dreamcatcher, who speaks to Rosie directly in her head. The scheming is just as lively. Lynn goes on posing as the Grand Abbot while the rest head to the library of Saint Archon for a breastplate kept in a glass case on a raised dais, and once it is in hand the talk turns to recreating it, with a joke that nobody who visits libraries these days would recognize it anyway. Much of the appeal is how loose the table is: players check room dimensions, read out the text of items such as boots of the winding path, and total damage and bonus actions in the middle of a fight. They lose track of who knows what, sort it out on the spot, and swear when the plot turns on them. Some episode titles lean on flesh, from 'The Flesh Path' to 'A.P.U's Fleshy Saviour'. Editing is credited to Alexander Floyd, and the music is drawn from Creative Commons tracks, several of them by Kevin MacLeod.