Skye Smith does one of the rarest jobs in nerd business: she is Dimension 20's lorekeeper and Brennan Lee Mulligan's right-hand at Dropout. The show has a famous on-camera face in Mulligan, but according to Smith, he would not be able to weave the fantasy worlds, keep plot points consistent, and run hours-long games in stadium-sized settings without her. When Business Insider asked Smith to sum up her work, she compared herself to the “Google, or Wikipedia, for 'Dimension 20.'” That is not a metaphor people use lightly in entertainment. It signals that the job is essentially continuity control for a universe that never stops moving.

Smith’s core responsibility is knowing the show’s encyclopedic, sprawling history, from timelines to factoids, and making sure the game master and players keep it all straight. Dimension 20 is run by Dropout, the media company spun off from the former CollegeHumor, and the show involves Mulligan or other game masters weaving fantastical tales of adventure and magic. The important detail is that the “lore” is not just worldbuilding on a page. It is an operational system that has to survive live play, long sessions, and the recorded format, including filming multiple episodes a day. Smith keeps the continuity coherent while the story unfolds in real time.

If you want to understand why this is a big deal, zoom out from fandom to production mechanics. Shows like Dimension 20 and Critical Role need lore keepers because there is simply too much to remember. Critical Role has streamed multi-year tabletop games for hundreds of episodes, totaling thousands of hours. Dimension 20 may have shorter seasons, but the game master still leans on an assistant to ensure he gets the plot points and facts right. The second-order implication for executives is obvious even if you do not care about tabletop RPGs: when content gets complex, “memory” becomes a production constraint. You either staff for it, or you accept more errors, more rewrites, or more continuity damage across episodes.

Smith described what a filming day looks like, and it is not a neat nine-to-five. She said a filming day for her is different than a regular 10-to-6 workday, and it is always going to be at least a 12-hour workday. She gets to set the same time as her game master, Brennan, and then she stays until pretty much the very last person has left set. She also and Mulligan have a “consistent Slack” as they film, and Smith takes notes on the ongoing game while fielding questions called to her off-camera. In other words, lorekeeping is not passive. It is active coordination, a feedback loop that helps decisions happen in the moment.

To do that work, Smith uses Airtable for most of her notes, plus sticky notes when needed. She also keeps printed materials, either the materials used at the table or a visual of the world they are in, and she always keeps a notebook. This matters because it shows how the “system” is built: a mix of digital structure and physical reminders that reduce the chance of forgetting the wrong detail at the wrong time. From a business lens, it is a reminder that knowledge management in creative environments is often hybrid by necessity. Purely digital can miss cues. Purely analog can be harder to search quickly. Smith’s setup is optimized for speed under pressure, not just storage.

Smith is not only a keeper of facts. She is involved in the creative process for Dimension 20’s new seasons, including pitching and ideation. She told Business Insider that she gets to know what is “cooking” really early, which changes the incentives inside the team. The lorekeeper is not just correcting mistakes after the fact. She helps define what the story will be, then helps protect it once it becomes canonical through gameplay. That dual role can be rare in entertainment operations, and it directly informs her view of AI.

On the AI question, Smith said her work revolves around listening, spotting human error, and understanding the lore of the fantasy world being made in real time. She highlighted “human error” as a big part of why the job is important, and argued that fixing “errors” with a machine would never work because what you need is another human set of eyes who knows the pitfalls of making something creative, knows where the weak spots are, and you just can't train an electronic artificial intelligence in the same way that you can train human intuition. She also said she enjoys the hard parts that other people might find taxing, including taking hours and hours of notes. Her view has two parts. First, she says it could not do it as well as she does. Second, she added that given the environmental effects of AI, it wouldn’t even be worth it to try.

For executives and investors watching media tech, this is the real takeaway: AI debates are not only about capability. They are also about what kind of mistake you are trying to prevent, and how much your workflow depends on judgment calls that are inseparable from human creative intent. In a live RPG production, “the correct answer” is not always a database lookup. It is a dynamic alignment between what was established earlier, what is currently happening at the table, and what should remain consistent for the audience. Smith’s argument is that the job is built around that alignment.

Finally, Smith’s career path shows how specialized roles get created inside fast-moving creative companies. She worked her way up to lore keeper from an entry-level role as a production assistant in 2023, then jumped at the chance to work on Dimension 20 when Dropout offered her the role. Her highlights include working behind the scenes at the crew’s Madison Square Garden show and getting to showcase her own writing. She said this wasn’t where she initially thought she would end up, and advised doing the work you love, doing it well, and then watching the opportunities that come from that.

The strategic stakes for peers in similar roles are simple: as content expands, the “memory” layer becomes a core asset, not an afterthought. Whether your universe is a tabletop campaign or a streaming slate, you need to decide how you will keep continuity, manage complexity, and catch errors without diluting creativity. Smith’s position makes the case that the lorekeeper function is not a replaceable clerical task. It is an operational role embedded in creative execution.