[00:00:05] Speaker A: You are listening to an Atomic broadcasting production. So sit back, relax, and enjoy the feature presentation. And remember, do your part, such as, like, comment rate. And don't forget to tell a friend to tune in for an atomic time.
[00:00:30] Speaker B: Now, where did we leave?
Ah, yes.
Concerned that their presence had somehow been revealed, uber and Zafir met back up with Neros and Alward. Their suspicions were confirmed when they were invited upstairs, where they came across a secret meeting about to begin.
[00:00:56] Speaker C: Okay. Hi, it's Sam. I'm here to talk about cool things like comic books again.
I want to talk about a comic book creator, actually. Specifically, Daniel Warren Johnson. He's a writer and an artist. I recently read one of his books, two of his books, and I read another one before, and so I felt like I wanted to talk about him.
[00:01:18] Speaker A: What are they?
[00:01:19] Speaker C: The first one is one that I think several of you will find very entertaining as a premise. It's this really cool book that just came out recently. It's a self published book with image comics. It is called do a power bomb. It is like a father daughter story about grief that is, they are pro wrestlers that get invited by a Necromancer to what is essentially a Mortal Kombat Dragon Ball Z tournament.
[00:01:45] Speaker B: Okay, that does not fit at all. What went through my head when you said do a Power bomb? I just had starfox.
[00:01:51] Speaker A: Well, they're wrestlers that's do a barrel.
[00:01:52] Speaker C: Pro wrestlers, and they go to this alternate reality and face other teams of tag teams from alternate realities and other worlds.
[00:02:00] Speaker A: Wait, is it a death match?
[00:02:04] Speaker C: Some people have that opinion, some people don't. But the Necromancer gives everyone an opportunity to bring back a loved one.
[00:02:10] Speaker A: Yeah, I was about to say, why does the Necromancer exist if it's not a death match?
[00:02:14] Speaker C: He's bored. There's a lot going on there.
[00:02:17] Speaker D: He's bored.
[00:02:18] Speaker A: Is he like a Lich?
[00:02:19] Speaker C: Maybe? Read the book and find out.
[00:02:21] Speaker D: Anyway.
[00:02:21] Speaker C: It's very heartwarming. My wife read it first, and she cried over it. It was just really good. And then I also made her because I didn't want her to take my book I was reading at the time. I made her read Wonder Woman Dead Earth, which is also by Daniel Warren Johnson. I should specify I also got teary eyed while reading do a Powerbomb. It's very good. Another book of his I read also yesterday. I read them back to back was Wonder Woman Dead Earth, which is a story about humanity and love, and it's set in a post apocalyptic future that Wonder Woman wakes up in and doesn't remember what happened. And she's, like, the last surviving hero, and she goes on a fun journey.
[00:03:03] Speaker D: Typical plotline.
[00:03:04] Speaker C: And it is also beautiful and quite amazing. My wife said within the first ten pages, he was reading it. She was reading it and stopped and was like, this guy gets Wonder woman.
[00:03:15] Speaker A: Oh, wow.
[00:03:17] Speaker C: It's super amazing. Both of those books are so solid, and I definitely recommend anyone who's slightly interested in picking them up.
[00:03:24] Speaker A: What are their names again?
[00:03:25] Speaker C: Do a power bomb and Wonder Woman. Did Earth. Also, if you end up liking his stuff, I also recommend Beta Ray Bill, which is a Marvel book. It's a marvel book. It's that guy that's like Thor, but he has a horsehead. Yeah, you may have seen him. He is an amazing character, a thurshead. And that is a story about kind of about, like, finding beauty and worthiness.
And it's also very touching. He's a very good writer. He's also done murder Falcon and extremity.
[00:03:56] Speaker A: Wait, is it Murder Falcon, Colon, and Extremity or no, those are two different books.
[00:04:01] Speaker C: Murder Falcon is one book. Extremity is another book.
[00:04:04] Speaker D: Okay.
[00:04:04] Speaker C: Gotcha such amazing stuff. I was in the middle of reading Sandman Mystery Theater. I was finishing that up today.
I was finishing it up last night, and my wife's like, I really kind of want to read it. I was like, okay, I finished this arc. You read it, and I will read these other two books.
I wanted to talk about it. Those books are amazing. Seriously, you can go to in stock trades or organic price books, and you can get good discounts on them, and they wouldn't be too expensive. Like, seriously, recommend ten out of ten.
[00:04:36] Speaker D: I thought you said Sam, man. And I thought you had a comic book that was, like, dedicated to you.
[00:04:42] Speaker C: No, not yet.
[00:04:44] Speaker B: Mr. Sam. Man Read me your book.
[00:04:50] Speaker D: I wrote a book about hero about comic books.
[00:04:53] Speaker A: Paradoxes. It was great reading it.
[00:04:56] Speaker D: I love those.
[00:04:57] Speaker A: It's literally a book. It's just called, like, on Paradoxes or something.
[00:05:01] Speaker C: That's cool.
[00:05:01] Speaker A: It goes through all of the very famous and some non famous philosophical and thought experiments and paradoxes throughout all of time.
[00:05:08] Speaker D: Name one.
[00:05:09] Speaker B: I want to see if I recognize it.
[00:05:11] Speaker A: You're going to hate me because it's the most recognizable paradox ever. But it's the ship of theseus it went through that one.
[00:05:20] Speaker D: That one was featured in WandaVision.
[00:05:22] Speaker A: It was very poorly. Well, I mean, and then it also did an old one from one of the earliest Eastern philosophers I can't remember their names. Where it's like, you can never step into the same river twice.
[00:05:35] Speaker D: That one was featured in Pocahontas.
[00:05:41] Speaker A: What?
[00:05:42] Speaker D: It's in the song Colors of the Wind.
[00:05:44] Speaker E: It is. He is correct.
[00:05:45] Speaker A: I did not know that.
[00:05:47] Speaker B: I didn't either, but I've never watched Pocahontas.
[00:05:49] Speaker A: And then there's also okay, what about the bootstrap?
[00:05:52] Speaker D: Paradox?
[00:05:53] Speaker A: Is that one it's probably going to get there, but it hasn't gotten to that yet.
[00:05:56] Speaker D: Okay. You're familiar with that one?
[00:05:57] Speaker A: Is it the pull yourself up by your bootstrap sign?
[00:05:59] Speaker D: No, it's the one where somebody gives you a bootstrap and then goes into the past, and then you give them the bootstrap, and then they come into the future. And give you the bootstrap. So the question is, where does the bootstrap actually come from? If it's in this ever changing loop.
[00:06:13] Speaker A: Isn'T that just the godfather paradox?
[00:06:15] Speaker B: No, it's a self fulfilling prophecy.
[00:06:16] Speaker A: Yeah, the Godfather being your grandfather. Yeah, but with a bootstrap it might I don't know, I think it has a thing on the difference between the.
[00:06:24] Speaker B: Grandfather paradox and the bootstrap paradox is the grandfather paradox is you are your own cause, whereas the bootstrap paradox is you are a closed loop of existence.
[00:06:34] Speaker D: So Jacob had said that the grandfather paradox is the one where you actually kill your own grandfather, ending the loop, making you impossible.
[00:06:42] Speaker C: There's too many grandpas.
[00:06:45] Speaker A: Too many grandpas.
[00:06:46] Speaker B: I'm my own grandpa.
[00:06:48] Speaker A: That's a very weird future.
[00:06:50] Speaker D: It sounds funny, I know, but really?
[00:06:56] Speaker A: Oh, I know that.
[00:07:00] Speaker E: Song.
[00:07:02] Speaker B: Speaking of families and people dying, are you guys ready to get started?
[00:07:05] Speaker D: No, not after that.
[00:07:08] Speaker A: I want to sit here and talk about paradox.
[00:07:10] Speaker E: It's one way to ask if we're ready to die.
[00:07:12] Speaker D: Mother is actually Neros.
[00:07:14] Speaker E: What?
[00:07:16] Speaker D: From a different timeline.
[00:07:18] Speaker B: We begin with a long shot of a clock tower 827. The night is deep by this point, although lights glow from most windows of the Aeridsen estate. One such window looks out from the third floor landing, where most of our heroes have just arrived, creeping past the guards and into the off limits portion of the manor. They had just drawn up to a halt when they heard the croaking papery voice of the woman known as Mother in the common room ahead.
Let's bring this meeting to order.
Child.
Is he here with us?
Another voice? A younger woman? Yes, Mother. He is listening.
Ah, glory.
Let us do the king the honor of our introductions.
Firstly, Brenger, chief of the Wolfskin warriors.
There's a ringing thud of an axe head butted against the floor. Hear your highness, my axe cleaves. By your command, Odphus, your most faithful devotee.
May we soon see our king with our own blessed eyes.
Data, the elphin who sees the unseen.
Your victory, my king, is sure, for I have seen it.
The patron of our gathering. AW, dear.
May my riches be a mere drop in the goblet at my king's table.
Ilva the Green Speaker.
I look forward to your imminent return and your leading us in triumphant battle.
And Hodi, the fae blooded it's quiet for a moment, Hodi. The king cannot see you sparkling.
My apologies, Your Majesty. I am here.
Unfortunately, Saito, the king's shield, is absent on a mission, but he is with us in his heart.
And finally, we have the twins, Siggy and Svelta.
And as this speech has been happening, the four of you, UVair, Neros, Alward and Zafir, have been on the top landing of the stairs, about eight to 10ft away from where this conversation is being held. In the common area, there's a low, like, four foot high wall separating you. So it's difficult to see what's happening, but you have clear earshot of the conversation.
[00:10:32] Speaker A: Are we supposed to go in there?
[00:10:35] Speaker E: I have no idea.
[00:10:37] Speaker B: They called us up.
[00:10:39] Speaker A: Well, they didn't really tell us where to go out. They just said, Meet us on the third floor.
[00:10:43] Speaker E: To be fair, she didn't specify.
[00:10:48] Speaker B: We can just kind of watch from the edges.
[00:10:52] Speaker A: Do you think it'd be rude if we interrupted them? Do you think they'd be mad?
[00:10:55] Speaker E: Yes.
[00:10:56] Speaker B: They told us to be here. Yes, but I don't really want to get in the middle of a bunch of cultists.
[00:11:02] Speaker E: But, like, here outside the room or just I don't know.
[00:11:07] Speaker A: Should we?
I don't know either.
[00:11:12] Speaker D: Zafir puts his hood on and takes three steps up so that my head peeks up.
[00:11:16] Speaker A: Do you see anything? Does it look like we're supposed to be there, or are there other rooms?
[00:11:21] Speaker D: Well, there's lots of rooms, but should we try? How am I supposed to know if it looks like we're supposed to be don't.
[00:11:27] Speaker A: Does it look zephyr?
[00:11:31] Speaker B: You can see over this short wall that's not a whole lot shorter than you are.
And in the room is a circle of chairs, and every chair is occupied. There are no open chairs.
[00:11:45] Speaker D: There's no open seats. I think it's standing room only.
[00:11:48] Speaker A: Let's find a different room, then. I don't think we're supposed to be in that one.
[00:11:52] Speaker D: Is the room next to us open?
[00:11:55] Speaker B: The door is closed, but you may try the door.
[00:12:00] Speaker A: Okay, try me.
[00:12:01] Speaker E: Dor?
[00:12:03] Speaker D: Yeah.
I just turn the corner and reach for the handle.
[00:12:08] Speaker B: The door caves under the intense emotional peer pressure and opens.
[00:12:16] Speaker D: What happens when I go to the therapist?
[00:12:21] Speaker A: What's in the room? What's in the room?
[00:12:24] Speaker B: It's a nicely furnished bedroom.
[00:12:27] Speaker D: Flick the light switch.
[00:12:29] Speaker B: There is no light switch. Roll a sanity check.
There is no light switch.
[00:12:36] Speaker A: There's no light switch.
[00:12:37] Speaker D: What am I going to do?
[00:12:39] Speaker B: Uber is going to pop up next to Rule.
[00:12:48] Speaker E: Hang on. Those are my tentacle arms.
[00:12:51] Speaker B: So Neros picks up Uber and holds him up.
[00:12:54] Speaker E: We can't use the same sound effect.
[00:12:56] Speaker B: Meanwhile, the meeting has been continuing.
They've been discussing, like, scheduling, and so and so is going to be bringing supplies over here. Nothing particularly exciting.
[00:13:11] Speaker A: You say that we're in a cult? That's scheduling the downfall of society as we know it.
[00:13:17] Speaker B: Business meeting.
[00:13:18] Speaker A: I kind of need to know.
[00:13:19] Speaker B: Sure. So they're talking about know, hey, when are we going to have our next lunch meeting? And stuff like that.
[00:13:26] Speaker A: Very.
[00:13:26] Speaker B: Are they unexciting business talk?
[00:13:29] Speaker D: So when's everybody going to die?
[00:13:31] Speaker A: Is it code hit?
[00:13:34] Speaker B: But just as UVair is, like, heading up the stairs, there's, like, an awkward lull in the meeting that draws all of your attention, because it's like they've stopped talking for a minute.
And the voice of mother cuts through the silence and is like, child, you look cold. Why don't you fetch yourself a blanket?
And there's a sound of shuffling, and someone begins leaving the common room and walking around the low wall towards you in your mean we were invited up.
[00:14:12] Speaker A: Go, go. And I start pushing Zafir down the hallway.
[00:14:16] Speaker D: Down the hallway? I was just going to go into that room.
[00:14:18] Speaker A: No, down the hallway.
[00:14:20] Speaker B: Okay. So away from the common room.
[00:14:22] Speaker D: So I open the door and immediately walk away from the door.
[00:14:26] Speaker B: Well, are you allowing Alward to usher you away, or are you going to go in the room?
[00:14:29] Speaker D: I'll allow it.
I'll allow it.
[00:14:34] Speaker B: As you begin moving away, a young woman, probably, like, in her early 20s, comes around the corner into the hallway, turns to face you all, and begins walking down the hallway as if she hasn't even noticed your presence.
[00:14:49] Speaker A: What's she look like?
[00:14:51] Speaker B: She is clearly Siggy's sister. She has blonde hair and fine features and is wearing, like, nice woolen clothes with, like, beating and embroidery details.
[00:15:05] Speaker A: I'm just going to keep pushing Petite down the hallway, and it's like, that's felta go.
[00:15:10] Speaker D: Zafir kind of just stays out of the way. So if she comes that direction, he's going to move out of the way.
[00:15:19] Speaker B: Everybody make me a perception check.
[00:15:26] Speaker A: Is that nice job.
[00:15:27] Speaker E: It's a natural 20.
Nice first roll of the session.
[00:15:33] Speaker D: She's so perceptive.
[00:15:34] Speaker C: She knows who her mother is.
[00:15:40] Speaker E: I don't think Jordy will let me know.
[00:15:44] Speaker B: 17.
[00:15:46] Speaker A: Dirty 2023.
[00:15:49] Speaker B: So everybody but UVair everybody but UVair notices with the way that she's walking and, like, trailing her hand along the short wall, she's clearly blind.
[00:16:03] Speaker E: Oh.
[00:16:05] Speaker A: Alward's going to gesture to Uber and Nero to come up and give the universal signal for she can't see.
[00:16:14] Speaker E: Is there a universal.
[00:16:20] Speaker A: He holds up.
[00:16:21] Speaker D: His paddle that says she can't see.
[00:16:25] Speaker E: I could also take that into interpret hide from her.
[00:16:30] Speaker B: So as Alward is ambiguously signaling that she may be blind or you may need to hide, it's too late. And she steps in between the pairs. So we've got Alward and Zafir, who are up in the hallway and moving away from Svelta and Neros and UVair, who are still on the stairs.
She turns away from that half wall area around the common room and walks towards the door that Severe had previously opened.
[00:16:58] Speaker E: No.
Does she fall into the room?
[00:17:02] Speaker A: I feel so bad.
[00:17:03] Speaker B: She's heading in that direction at this moment.
[00:17:07] Speaker C: Who says she's going to hurt herself? She's just walking into an open room.
[00:17:10] Speaker E: That's fair.
[00:17:10] Speaker D: How fast can I get over there?
[00:17:13] Speaker A: What half your speed? If you're stealthing yeah.
[00:17:17] Speaker B: To remain stealthy, you might be able to get to the door just as she.
[00:17:24] Speaker D: Yeah, yeah, do that.
Where did Sophia get a heart?
I opened the door.
[00:17:33] Speaker E: What's that gonna do to her?
[00:17:35] Speaker A: So I don't think it's heart. I think he's trying to cover up tracks.
[00:17:41] Speaker D: I mean, it's kind of like she walks up to the door, she realizes it's open. She's like, Well, I didn't leave that open.
So you're going to close it right.
[00:17:50] Speaker E: When she gets there?
[00:17:52] Speaker D: I don't know what I'm going to do yet. I'm just going to get over there.
[00:17:55] Speaker E: Oh, my goodness.
[00:17:58] Speaker B: So, Zafir, you sneakily. Move down the hallway quickly. Alward, he is moving past you as he's moving.
[00:18:07] Speaker A: What are you doing?
[00:18:08] Speaker D: Why I say nothing, and I'm just is she reaching for the doorknob?
[00:18:14] Speaker B: I'd like you to make a reflex save or acrobatics check. Your choice.
[00:18:18] Speaker D: The death of the south. I think I'm going to go with reflex. Oh, I'm going to go with acrobatics. I mean, it's going to be around the same thing anyway. But that is h. 30.
Yeah, that's a 30.
[00:18:30] Speaker B: So with a 30, Zafir takes off at a startling speed for his silence down the hallway, dives into the room just before Svelta gets there. You would have time to close the door from inside before she reaches it.
[00:18:44] Speaker D: So I feel like doing that might actually push wind onto her.
So instead, I'm going to make my fist the shape as close as I can to the doorknob and put it.
[00:19:03] Speaker C: Right in her, like, the area that.
[00:19:06] Speaker D: The doorknob would be.
[00:19:13] Speaker A: What is your intelligence modifier?
[00:19:17] Speaker D: Probably one petite.
[00:19:19] Speaker A: I love you.
[00:19:24] Speaker E: What kind of plan is this? I don't understand.
[00:19:27] Speaker D: One that I came up with running down the hallway.
[00:19:33] Speaker A: You die first. You served. You right.
If I die first, Uber will hunt you forever.
[00:19:42] Speaker E: I also feel like she would know the difference between a doorknob and a roll crafting check. It's too late.
[00:19:51] Speaker A: He's already said it. It's been canonicalized.
[00:19:55] Speaker E: Unless you have some sort of metal.
[00:19:58] Speaker C: Glove gauntlet thing, or it's just a fleshy doorknob.
[00:20:02] Speaker E: That's weird.
[00:20:03] Speaker A: But Uber is at the top of the stair. He's watching this happen.
[00:20:06] Speaker E: He's going but I mean, it is.
[00:20:10] Speaker A: Alward's over there, just like so, Alward.
[00:20:16] Speaker B: Neros, and Uber all watch in slow motion. Zafir runs down the hallway, slides into the room, and reaches out his hand like a doorknob. Zafir, I'm going to need a deception check.
[00:20:28] Speaker D: Deception.
[00:20:29] Speaker B: Okay, you better.
[00:20:38] Speaker D: So I'm going to give you this card.
[00:20:40] Speaker A: Yeah, you better. He rolled a three.
[00:20:43] Speaker D: I rolled a three.
Can I do a prep point?
[00:20:47] Speaker B: After using a hero point, you can, but I'm not going to promise. I'm going to accept your explanation.
[00:20:53] Speaker D: I'm fair.
[00:20:56] Speaker B: That's not much better.
[00:20:57] Speaker A: What you get?
[00:20:58] Speaker D: Well, I rolled an eight, but plus a seven.
[00:21:03] Speaker A: I don't know if that she's blind. She feels her way of everything.
[00:21:06] Speaker D: Okay. So I am going to use my preparation point.
[00:21:11] Speaker B: All right, so how did Zafir prepare for this situation?
[00:21:17] Speaker A: So you know how he biscuits?
[00:21:22] Speaker D: You know how he went to find the tailor that made semi similar outfits for this event?
He asked the tailor what type of ornate objects they would be wearing or using, or he was also thinking about masks and, like, well, what if there's, like, a bobble or something, and it's hanging off the mat. And he just kind of collected a couple of different objects and whatnot that he could use with masks and the different outfits to just be like, yeah, let's hang this here. I look like a Christmas tree or whatever.
Christmas is not in this realm. Probably. I don't know.
And he found an object in his pockets that is the very similar shape and size of a generic doorknob.
[00:22:18] Speaker B: So Zafir runs ahead, sticks his fist out. Everybody's just watching in horror. Zafir looks down, switches out for a doorknob at the last minute.
[00:22:27] Speaker D: See, I like to think I had it in my hand, and I put my fist out, and then it just kind of slid out from the hole produced by my thumb.
[00:22:41] Speaker E: This is the weirdest.
[00:22:42] Speaker D: Or if it can fit on my thumb, it's gonna fit on my thumb.
[00:22:45] Speaker A: I love this. This is the shenanigans I play for.
[00:22:48] Speaker B: And solely because this was a preparation point, she grabs the doorknob, turns it, and it kind of just spins in Zafir's hand. And then they walk together into the room.
[00:23:00] Speaker D: I twinge in pain slightly because it is twisting my thumb.
[00:23:04] Speaker A: Do you make the noise of the door?
Don.
[00:23:11] Speaker D: I noticed when I opened it before that it did not make sound.
[00:23:15] Speaker B: And then as she goes inside, she goes as if she's going to close the door behind her.
[00:23:21] Speaker D: Well, the door is still there, so, like, she can close the real door.
[00:23:27] Speaker B: Zafir, you have split seconds to decide if you're going to stay in the room or leave on the other side and let her shut you out.
[00:23:33] Speaker D: I'm going to stay in the room.
That was my original plan.
[00:23:37] Speaker E: Oh, my gosh.
[00:23:40] Speaker B: So the rest of you watch as she closes the door, leaving her and Zafir alone.
The three of you who are outside of the room, then hear now, with Svelta away, we can get down to real business.
[00:23:57] Speaker E: Oh, snap.
[00:24:02] Speaker B: With that dramatic line, we fade out to black for a commercial break. And when we fade back in because we've cut out the commercials. This is a premium show.
[00:24:13] Speaker C: What about the carriage insurance commercial?
[00:24:16] Speaker D: Man, I'd sure hate to be sponsored by them.
[00:24:19] Speaker B: We fade back in from our commercial break. Has your valet. And we see GWIB standing outside the back of the building, and he looks up at the clock tower, looks at the moon, and then sadly walks away.
[00:24:35] Speaker E: No.
[00:24:36] Speaker A: He only waited, like, ten minutes.
[00:24:38] Speaker C: You said she'd come by later.
[00:24:40] Speaker E: I did.
[00:24:41] Speaker B: WIBB has no patience.
[00:24:43] Speaker E: No.
[00:24:44] Speaker A: The OTP is gone.
[00:24:46] Speaker E: GWIB, come back.
[00:24:49] Speaker D: Now we have a new.
[00:24:53] Speaker E: Why would you do that to me? Why would you do that to Nero's?
[00:24:58] Speaker B: Maybe so that Gwyb can live to see another day as the building explodes. No.
[00:25:03] Speaker A: Now we must restart the campaign.
[00:25:05] Speaker B: I've broken. It Abby's Soul.
[00:25:07] Speaker E: What soul? I'm a ginger, okay?
[00:25:10] Speaker B: I've broken all of Abby's souls.
[00:25:14] Speaker A: She walked into her basement, shattering glasses.
[00:25:17] Speaker E: All the souls in the basement just.
[00:25:19] Speaker B: Start crying back inside the building.
It seems that they're getting down to real business.
Benga, how are the warriors coming?
And you hear this harsher voice. They're coming along. Well, Mother And Your Highness.
Soon, I imagine they'll be able to control their excitement in battle.
They still need me around to help guide their efforts, but at this point, I think they'll be ready when we good.
Ordphus how is the morale of the people holding up, Mother? The people, they grow more fervent in their devotion to the king every day.
And Data, is the project complete?
It is mother. And I am ensuring that no one has a chance of standing in our way. And then, Alward, you hear as if whispered in your ear. You are paying attention, aren't you?
[00:26:42] Speaker A: I don't like that.
Howard's face is just going to sort of drop into, like, a panic, and he's going to look over at Uber and I guess start moving back that direction.
[00:26:57] Speaker B: UVair is going to look back questioningly.
[00:26:59] Speaker A: Like, I don't have message. I can't she's just watching you just.
[00:27:05] Speaker C: Hold up a notepad with a pen.
[00:27:07] Speaker B: Just a scroll, just there's a sudden just like someone clearing their throat. Obviously to try to get attention as we hear the person who was previously introduced as Audier saying, if there's any issues of importance that must be seen to, we should get to it quickly. I'll be leaving town for Tom Grove for a business trip soon.
The company has requested my presence for some critical course. Of course. And how are relations with the company coming?
I am sure that if there should come to a disagreement, they would aside with the king.
Very good.
[00:27:57] Speaker A: Would Alward know or recognize that name, maybe from his company days? Or would he have reason to suspect it's the Infernal Mining Company?
[00:28:07] Speaker B: Actually, I was going to say no, but I thought about what you did with the company.
[00:28:12] Speaker A: Yeah, I was their accountant, and, you.
[00:28:15] Speaker B: Know, Adir is their landlord.
[00:28:20] Speaker A: Somehow Howard's face even drops more as he just continues to frantically gesture towards.
[00:28:31] Speaker B: Aunt Ilva. How are our reinforcements from the Gungir Forest coming?
They are difficult to negotiate with, Mother, but I am sure that by the time we are ready to move, I will have a sizable force.
Good.
And howdy.
Howdy stop sparkling.
[00:28:58] Speaker E: What.
[00:29:01] Speaker A: That line? Now it's twice.
[00:29:05] Speaker D: Is he a vampire in the Twilight universe?
I watched that movie last night.
[00:29:12] Speaker B: Oh, sorry, Mother. I was a bit distracted. My task is coming along quite well. Quite well. I do predict that I have about 10% of the important people in the city under my thumb now.
Very good, very good.
And the newest addition to our number.
Siggy, you have quickly risen up in our ranks to a position of authority. Do you believe that you will have earned the respect of the men. In time, Mother, I will accomplish whatever it takes to ensure our good good.
Meanwhile, in the corner room with Zafir and Svelta, she has just closed the door behind her. Zafir, you've kind of dodged around her so that you're in the room now. And then she just kind of stops, and she seems to be, like, deliberating in herself.
[00:30:18] Speaker D: I mean, I am not sure what to do.
I'm just going to stand there real quiet, like, help her out.
[00:30:31] Speaker A: She seems to have going through something personal.
[00:30:36] Speaker B: And as you kind of stand there, like, not sure what to do, she takes a deep breath and then leans her ear against the door.
[00:30:45] Speaker D: I'm going to silently as possible move to the what's the word? Adjacent corner of the room so that I'm away from her, but not completely diagonal.
[00:30:59] Speaker B: I see. So that you're not on the opposite side of the room from the door, but you're not right next to her.
[00:31:05] Speaker D: Exactly.
[00:31:06] Speaker B: And she holds that position for a while, like she's listening through the door for a bit, and then she eventually just walks away from the door, obviously frustrated, and sits down at a desk. Now on the opposite side of the room from you.
[00:31:23] Speaker D: How does one introduce themselves?
Like this?
[00:31:27] Speaker E: Oh, my gosh.
[00:31:28] Speaker B: Oh.
[00:31:29] Speaker D: What?
[00:31:32] Speaker A: If I could make an out of character suggestion as a servant.
[00:31:38] Speaker D: There would not be any servants up here at this point.
[00:31:40] Speaker A: The servants quarters are right there, literally right there. Okay.
[00:31:44] Speaker D: How long has it been?
[00:31:46] Speaker B: Maybe a minute. Not long, but it feels like a long time.
[00:31:51] Speaker A: If you want to go with the servant idea, you can open up the door and then close it, close it.
[00:31:56] Speaker E: Again and be like, oh, I didn't know you were like, I'm sorry.
[00:32:01] Speaker A: I thought you help clean.
[00:32:04] Speaker E: It's actually not a bad idea.
[00:32:06] Speaker D: It's too out of character.
[00:32:09] Speaker A: Yeah.
[00:32:09] Speaker D: She's going to hear from the corner of the room, a slight rustle, an.
[00:32:14] Speaker B: Intentional rustle, and she just, like, stiffens up in her chair. She's like, I'm sorry. I thought I was alone.
[00:32:27] Speaker D: Well, you're not.
[00:32:31] Speaker A: Well, you're not.
[00:32:33] Speaker D: I'm very sorry to disturb you.
This was an accident.
I wasn't meant to be in here.
[00:32:49] Speaker C: He's playing the I'm really awkward, and I'm sorry. This is a weird card.
[00:32:53] Speaker A: I'm so glad I can't witness this. Uber would die.
[00:32:59] Speaker B: She relaxes a little bit and kind of half turns around in her chair and is like, I don't recognize your voice. Are you from out of Joel?
[00:33:10] Speaker D: I'm from many places.
So, no, I was here. I've been here for a bit and then left and came back. But what do you know about helmets?
[00:33:32] Speaker E: Why?
[00:33:35] Speaker A: How about you start with, what do.
[00:33:37] Speaker E: You know about shovels the Fear? Why he's playing the awkward?
[00:33:42] Speaker A: The Fear is my new favorite.
[00:33:44] Speaker D: I'm playing slap hands, my friend.
[00:33:46] Speaker E: Don't kill her.
[00:33:48] Speaker C: Not that slap. The actual slap hands.
[00:33:53] Speaker B: Her posture changes again. Previously where she was starting to relax a bit. She is now more on guard, and she's like, you know about the helmet?
[00:34:04] Speaker D: Yes, we all know about the helmet. It was presented tonight, if that is what was actually presented.
[00:34:18] Speaker E: What?
[00:34:19] Speaker B: So you know nothing more about the helmet than was just announced tonight?
[00:34:24] Speaker D: I can certainly make things up, but if you're looking for actual answers, I wouldn't be much of a good source. Now, the question I have for you is, what are you trying to find out about this whole situation that you're not being told to your face?
[00:34:49] Speaker B: Who are you here with?
[00:34:53] Speaker A: Catering.
[00:34:57] Speaker B: If you're on this third floor, you must be connected to one of the Circle.
[00:35:02] Speaker D: Well, in a manner of speaking, we were instructed by one that was in the Circle to come to the third floor.
I don't know whether or not the others are aware I was going to look in this room.
So here's your explanation of as I'm why I'm here. So I was going to look in here and then coming this way, and I noticed that you couldn't see me, but the door was open, and you turned my thumb, and I panicked, and now we're here. So that clears all that up.
[00:35:53] Speaker E: I don't know that it does.
[00:35:55] Speaker A: Turned by thumbs.
[00:35:59] Speaker D: I heard that you were supposed to be getting a blanket, and I figured you wouldn't be in here. This long pause for response.
[00:36:12] Speaker B: She stands up and goes around so that the chair she was sitting in is between you and her, and she just is gripping the back of the chair.
Who are you with?
[00:36:26] Speaker D: Me. Myself. And look, I'm not going to hurt you. I know that's something that people say when they plan to hurt you, but.
[00:36:35] Speaker B: As you're talking, all of the color drains out of the room.
And we'll cut back out to what's happening outside.
[00:36:47] Speaker E: Zafir's going to die.
[00:36:49] Speaker C: He's in dark vision mode.
[00:36:55] Speaker B: Back outside of that room, the meeting is seeming to be finishing up, talking about each person kind of going around what they're talking about. And then it's quiet for a little bit, and then Mother's like, svelter hasn't returned yet.
Oh, my gosh, Siggy. And before she can finish talking, there's like, a sound of, like, a chair being scooted. And Siggy begins leaving. And he's like, I'm going to go check on her.
And he is now turning around the corner to come down the hallway.
So the three of you who are not in the room there's, alward, UVair, and Neros, you three are all on the stairs at this point, right? Oh, I back down as soon as I hear the chair scooting up.
[00:37:46] Speaker A: No, stressed out. I think I'm going to try and get in the room, because if he's going to go check on her, I can't leave him to die. Don't look at me like that.
[00:38:06] Speaker C: There is another door in the room, but I don't.
[00:38:08] Speaker A: Know if that door leads to the room. I know there's a door there, but I don't know right.
[00:38:15] Speaker C: What I'm saying. You go in, grabs a fear, and go out the other door.
[00:38:17] Speaker B: Yeah, well, you don't know those two rooms are connected.
[00:38:20] Speaker A: No, he's saying we have the blueprint in the room. Oh, yeah, we do have the blueprint. Yeah. So I'm going to go into the top room that's connected and make my way around and try to get yeah, that's right.
[00:38:32] Speaker B: I keep forgetting we actually do know.
[00:38:34] Speaker A: Yeah, I know. We came prepared.
[00:38:36] Speaker B: Yeah, that's why you can see the.
[00:38:37] Speaker C: Whole map, you losers.
[00:38:42] Speaker B: So as Siggy begins coming down the hallway, alward is just able to slip around the corner into that, like, adjoining room off the side of the bedroom where Svelta and Ziffyr are. And our two timelines we've been intercutting between are going to start lining up now. We're going to do, like, a cool split screen as back in the bedroom, all of the color drains out from Zephyr's perspective, and the camera whirls around to the side, and we see that the whole room has just gone pitch black. But because Zafir has dark vision, he can still see. As Svelta throws the chair across the room towards him and starts running for the door that she came in through.
Do you react to that, Zafir?
[00:39:29] Speaker C: Oh, no.
[00:39:30] Speaker D: If I stop her, I could be seen as hostile. If I don't stop her, she's going to announce to everyone that I'm there.
[00:39:38] Speaker A: Oh, boy.
[00:39:38] Speaker D: What do I do?
I'm going for the door.
[00:39:43] Speaker B: Which door?
[00:39:45] Speaker D: Towards the one that she's running towards.
[00:39:46] Speaker B: Oh, no. So are you trying to head off her escape, or yes. So since you can see perfectly well and she's just thrown a chair across the room, I think you're going to get to the door first.
[00:40:00] Speaker D: I can see better than her in.
[00:40:03] Speaker B: Our cool split screen.
[00:40:04] Speaker A: Ouch.
[00:40:05] Speaker B: In our cool split screen, we've done. Siggy is halfway down the hallway. You've made it to the door in front of Svelta and can block her exit if you choose to.
[00:40:13] Speaker D: I would like to lock the door.
[00:40:16] Speaker B: That would require a key with this.
[00:40:18] Speaker D: Style of door that was pre established.
[00:40:21] Speaker B: So just as Zafir gets to the door, then Alward comes around through the door in the adjoining room on the opposite side of the room that you just left from. And Alward, you have dark vision as well, and you see that Zafir has just stopped Svelta from leaving this pitch black room.
[00:40:39] Speaker C: He's blocking a blind woman.
[00:40:41] Speaker D: As soon as Alward enters the room, he hears me spit off to Svelta. I'm here with Alvarez. Heymir, Neros.
[00:40:51] Speaker A: Uber.
[00:40:52] Speaker D: And is that everybody? Yourself and yourself?
[00:40:57] Speaker A: Upon hearing that, I'm like, what are you doing?
[00:41:00] Speaker B: She takes a couple steps back and goes, who.
[00:41:03] Speaker D: But you asked who I was here with, and that's everybody's names except for mine. Hi, I'm Zafir. And I put out my hand. Zafir, we don't we're blind.
[00:41:11] Speaker B: So we've already established earlier that this door opens into the room. The door that your back is to Zafir is now, like, opening into your back.
[00:41:20] Speaker A: I'm going to motion for Zafir to follow me and just step back into the room, be like, there's someone coming.
[00:41:30] Speaker E: Oh, my gosh.
[00:41:31] Speaker C: What a situation. I'm glad I'm not here.
[00:41:37] Speaker D: I'm standing my ground.
[00:41:41] Speaker A: Petite, you're no longer my favorite. Why are you so adamant about this?
[00:41:45] Speaker B: What is your fortitude? DC.
[00:41:47] Speaker D: Okay, no, when I say I'm standing my ground, that doesn't mean I'm holding the door. It means that I'm going to stay there until the door pushes me out of the way.
[00:41:55] Speaker B: That doesn't make it better.
So you're not going to resist the door pushing you?
[00:42:00] Speaker D: Right. So if the door hits me in the back, I am going to follow its motion, but if it doesn't push me out of the way, I will still be like, if he swings the door open and it hits the wall, I'm going to be out of the way. But if he just non forcibly pushes it, I'm just going to kind of follow it.
[00:42:20] Speaker B: So that second one is what happens as the door opens more gradually, you're able to kind of move along with it and just kind of ensconce yourself against the wall with the door as it swings open.
[00:42:32] Speaker D: Howard, you see me push my two fingers just, like, straight towards the wall. Where you're at? I just point at the wall. I don't know what I'm motioning, but that way ALERT's.
[00:42:44] Speaker A: Just like yes, come on. Like, motions for you to come on.
[00:42:48] Speaker D: And I'm behind the door.
[00:42:49] Speaker B: Now, as that happens.
[00:42:53] Speaker A: Sorry, I know we're not in combat, but can I ready an action for if the darkness that is encompassing the room falls? Because I'm presuming that Siggy, being a normal human, does not have dark vision, so he cannot see. So if she releases the darkness because Siggy has entered the room, I don't want to be in that room.
[00:43:16] Speaker B: I see. So you want to step out of the room if the darkness drops? Yes.
[00:43:19] Speaker A: Okay.
[00:43:20] Speaker B: So as you're gesturing to each other in the darkness, you hear around the corner Siggy's voice, Svelta. Why is it so dark in here? And she just, like, runs to him, is like, there's someone in here.
[00:43:34] Speaker D: How far in does he he turns.
[00:43:38] Speaker B: Her around his body to out into the hallway and pulls out a sword and steps into the room. He's like Svelta, the lights. And she's like, oh, yes. And the room grows bright again. Alward, of course, steps back out into the adjoining room.
Uber and Neros. What are you two.
[00:44:01] Speaker A: Panicking? Panicking is the thing that we are.
[00:44:04] Speaker E: Doing because we're going, what was he thinking?
[00:44:09] Speaker A: Or not, as the case may be.
[00:44:12] Speaker E: I don't know.
[00:44:15] Speaker C: Yeah. All you two have seen people just walking that direction.
[00:44:18] Speaker A: True.
[00:44:19] Speaker E: I haven't heard anything.
[00:44:20] Speaker D: No, we probably would have heard the.
[00:44:23] Speaker B: Conversation on the doorway.
[00:44:24] Speaker C: Yeah, right.
[00:44:25] Speaker E: That's true.
[00:44:25] Speaker C: Someone in here. Yeah.
[00:44:28] Speaker D: What would we do?
Obviously, I don't think that we were supposed to be up here even though we were invited.
[00:44:34] Speaker E: I mean, we were told to come up here.
[00:44:37] Speaker D: I don't know what we're supposed to do. I know we were invited up here, but obviously she hasn't told us that we were up here to anybody else.
[00:44:43] Speaker E: I don't know what to do either. I don't know if we should go in there. I don't know if Zafir's in trouble. I don't even know what all we.
[00:44:49] Speaker D: Know is if he is in trouble, because we can hear ziggy, whatever he's going in there.
[00:44:55] Speaker E: Okay. Me, I don't abby, I don't know what to do.
You're looking at me like I have a plan, and I don't.
[00:45:03] Speaker D: Yeah.
[00:45:03] Speaker B: And we cut back into the room as Siggy walks in, drawing his rapier. And he begins looking around. He is walked into the room. His back is to the door.
[00:45:16] Speaker E: So presuming zafir is still hidden behind the door, and he doesn't know that he's there.
[00:45:21] Speaker C: Yes, zafir is now behind him.
[00:45:23] Speaker B: Yes, zafir is behind him behind the door.
[00:45:25] Speaker E: You could sneak out.
[00:45:27] Speaker D: So at this point, I have noticed the weight of the door twice.
I am going to crouch down like skyrocket kind of squat ish type of thing. And I'm going to best, as I can, push my leg out so that the door doesn't slam, but it goes to about where the latch goes.
[00:45:52] Speaker A: Petite has chosen petite has chosen death.
[00:45:57] Speaker C: Just let him cook.
[00:45:58] Speaker A: I'm letting him cook. I'm here. We're watching him burn. I'm here for this. I'm just baffled by his decisions.
[00:46:06] Speaker B: And the door gently swings till almost latching.
[00:46:11] Speaker D: And I say quietly, sicky. I know you didn't expect us, but I mean fence.
[00:46:22] Speaker A: You gotta get concussed fence. Stop banging your head against the wall.
[00:46:26] Speaker C: You're gonna break the wall one of these days.
[00:46:28] Speaker D: I know you weren't expecting us, but I am here.
We mean no harm.
[00:46:34] Speaker B: And right as you finish talking, he whirls around, and a dagger comes flying through the air and sticks into the wall right next to your head.
[00:46:43] Speaker D: That was a good throw.
[00:46:46] Speaker B: My next one will be better. What are you doing in here?
[00:46:48] Speaker D: Well, if you had let your sister explain that's not a good start.
So here's the deal. We were invited up here by one of the people out there. What did she we were invited by Datha. She looked at us individually. I came up here, I should say looked at me and said, third floor something or other, and I wanted to come into a door, so I was less conspicuous. Came in well, started coming in, opened the door. Your sister came by, tried to open the door. The door wasn't there. And I didn't want to raise suspicion.
[00:47:30] Speaker B: I don't mean what are you doing in this room? I mean, what are you doing here?
[00:47:33] Speaker D: Oh, Daitha.
[00:47:35] Speaker B: No, here. He gestures broadly to everything.
[00:47:39] Speaker D: It's a party.
[00:47:42] Speaker B: Takes a menacing step towards you, and you weren't invited.
[00:47:48] Speaker D: Okay, look, Datha said to come upstairs, so I figure somebody wants us here.
[00:47:54] Speaker C: I have an invitation.
[00:47:55] Speaker D: Look, it's my party, and I'll die if I want to.
[00:48:01] Speaker C: This is going a direction.
[00:48:05] Speaker A: I really want to try something, but I know it won't work.
[00:48:08] Speaker D: I'm here to subvert expectations.
[00:48:10] Speaker A: I don't think it's going to work, but I'm going to try it.
[00:48:12] Speaker B: What you want to do?
[00:48:12] Speaker A: I'm going to go ahead and make my way around as quickly as I can.
That way, whenever he's like, you weren't invited. I could be like, well, we were.
[00:48:21] Speaker D: Oh, my God.
[00:48:23] Speaker A: Because I don't know what else to do, and I want to make it worse.
[00:48:26] Speaker D: I closed the door for a reason.
[00:48:28] Speaker A: Well, then I don't know that, though.
[00:48:30] Speaker D: Well, I mean, you're going to get there, and the door is closed.
[00:48:32] Speaker A: Yeah, that's true.
[00:48:33] Speaker C: I appreciate that. Half the table is on the same page, and half is on the other page.
[00:48:38] Speaker A: It's because we're at half the table, dude.
[00:48:40] Speaker D: They're in another book.
[00:48:43] Speaker C: Or you're in another book.
You went off book.
[00:48:47] Speaker D: I'm off script.
[00:48:48] Speaker E: Yes, you are.
[00:48:49] Speaker D: Very.
[00:48:50] Speaker B: So alward. You make your way across the antechamber. You're fumbling through your pockets looking for the invitations that you forged, and as you step out of the door, out into the hallway, you almost run right into Svelta, who's standing out in the hallway and is looking at the door that's just closing to in front of you.
[00:49:10] Speaker A: I was just like, why did he close the door?
[00:49:13] Speaker C: Why didn't you go through the other door?
[00:49:14] Speaker A: Oh, yeah, let me just pop out this door. That's not the direct entrance of the room. That's not weird.
[00:49:22] Speaker C: You're right.
[00:49:24] Speaker A: And she's too far into the doorway that I can't get in.
[00:49:30] Speaker B: This door also opens inwards, so you'd be able to go out of the hallway, but you'd have to pass right next to her into the room that she's kind of paying attention to.
[00:49:37] Speaker C: So, yes, you could slip by her.
[00:49:39] Speaker B: But she would be yes, you could slip by her, but she would clearly be aware that you had slipped by her.
[00:49:46] Speaker A: Yeah. I think what I'm going to do is basically sorry, excuse me, spelta.
There's a miscommunication I have to let me just get around.
[00:49:59] Speaker B: And she kind of just backs away and is just looking equal parts confused and concerned, and then I'm going to.
[00:50:07] Speaker A: Go and do the room or open the door at least. Oh, my gosh.
[00:50:11] Speaker B: And you open the door just as Siggy is saying, and you weren't invited.
[00:50:17] Speaker A: We were invited. Siggy. Hi.
Hello.
[00:50:22] Speaker B: Turns his rapier to face you.
[00:50:24] Speaker A: No, no need of that. Remember, we're friends. We help.
[00:50:27] Speaker D: Would you close the door for a.
[00:50:30] Speaker A: Don'T I just got here.
[00:50:32] Speaker D: Yes, I know. And you're in here.
[00:50:33] Speaker A: Can you please close the door for a moment? I stepped fully in and closed the door.
[00:50:37] Speaker D: Thank you.
[00:50:38] Speaker A: Why did you want me to do that?
[00:50:40] Speaker D: Siggy, we're here for a reason. But I do want you to know first off, Svelta knows everything of what you were talking about in there.
She was listening at the door.
I don't know if you're trying to protect her. I don't know if you're trying to keep her out of the loop, but she knows everything.
[00:51:04] Speaker B: Then when I'm finished with the two of you, we'll have to have a talk.
[00:51:09] Speaker A: Why are you being so violent? Siggy, we have invitations, and I, like, flash the invitations real fast, and then.
[00:51:16] Speaker B: He'S going to make a perception check.
[00:51:19] Speaker C: Let's see what happens.
[00:51:21] Speaker B: I don't know where you got those from.
[00:51:24] Speaker A: The mining company.
I work for them, and they're my escorts.
[00:51:31] Speaker B: Either you're playing dumb, or the mining companies played you for a fool. Those are no invitations.
[00:51:37] Speaker A: Well, you're going to have to bring it up with them, because I was told to be here, and then I was asked to go upstairs.
[00:51:47] Speaker B: I've seen both of you around town. I know that you had the helmet when you left the cave. Don't take me for a fool.
[00:51:55] Speaker A: To be fair, I didn't know I had the helmet when I left the cave.
[00:51:59] Speaker D: Technically, we didn't have the helmet.
[00:52:01] Speaker A: That's true, we didn't.
[00:52:04] Speaker D: In fact, we no longer have the helmet.
But that's kind of a different story. I don't actually know where the man who had the helmet or said not to have the helmet anymore is.
[00:52:18] Speaker A: Well, they have the helmet.
[00:52:20] Speaker D: Well, no, I mean the man who told someone else to take enough of.
[00:52:23] Speaker B: All of this foolishness.
[00:52:26] Speaker D: Is that helmet real?
[00:52:29] Speaker A: I mean, if you're going to kill us, we might as well know.
[00:52:32] Speaker D: Honestly, we can even try to help you, tell you where the actual one is.
[00:52:37] Speaker B: We have the real helmet. I don't know what you're talking about.
[00:52:40] Speaker D: Where did you even get it?
[00:52:41] Speaker B: Make a perception check.
[00:52:43] Speaker A: Can I make perception check?
Is this a skill check?
[00:52:48] Speaker D: Yes.
[00:52:49] Speaker A: I'm going to go ahead and use an ability of mine, and I will explain what that does after I make my other role.
Let me see my perception.
[00:52:57] Speaker D: 18.
[00:52:59] Speaker A: Okay, I got a 15. But with that 15, everyone in the media area has a weird sense of deja vu, as when I attempted it the first time, I would have gotten a 14. And then Albert's, like, in his head, he's like, I did that wrong. And then he reattempts it.
[00:53:20] Speaker D: Why haven't you twisted time before? It could have saved us a lot of trouble.
[00:53:24] Speaker A: I can only do it for myself most of the time.
[00:53:27] Speaker B: So, Alward, you're kind of distracted by trying to maintain the lies and the situation. Zafir is kind of, I imagine, already kind of settled into, like, a battle Zen kind of state with the stressful situation, and he notices there's a flash of guilt across Siggy's face when you ask where he got the helmet.
[00:53:48] Speaker C: Guilt?
[00:53:50] Speaker D: How dare he?
[00:53:52] Speaker B: And he's like, that's not important. Doesn't matter where you stashed it. I found it.
[00:53:57] Speaker D: Well, see, the thing is, we didn't stash it anywhere.
It was given to someone else out of my control. I was kind of half naked at the time.
[00:54:11] Speaker A: What?
[00:54:12] Speaker D: We had to leave things in a place I won't get into that story. But after I woke up, I didn't have it anymore, and I was told that it was safe.
[00:54:26] Speaker A: Wait, you told me that you knew where it was?
[00:54:29] Speaker D: Well, I was told that it was safe with somebody, but I don't know where they have put it. Obviously, they're probably smarter than me and didn't keep it on their person for a week or two at a time. Or three.
How long was I without you?
[00:54:47] Speaker C: A month?
[00:54:47] Speaker A: Yeah, about a month. I mean, we saw each other through the month. You just weren't allowed at our base.
[00:54:52] Speaker D: It would have been nicer if you'd have come out more.
[00:54:55] Speaker A: Well, I was busy. I'm sorry.
[00:54:58] Speaker B: I'm going to give the two of you buffoons two options.
[00:55:03] Speaker D: Okay?
[00:55:05] Speaker B: You can accompany me to the cellars, or you can draw your weapons.
[00:55:10] Speaker D: Well, now, you see, I don't have a pen and paper, and I'm not a very good artist, so drawing would not be what?
[00:55:19] Speaker A: I just don't want to hurt him or be hurt. What?
[00:55:23] Speaker D: He said to draw our weapons.
[00:55:25] Speaker A: Oh, he meant like, you are daft sometimes. Zafir.
[00:55:31] Speaker D: Well, obviously I said I'm not going to draw my weapons, so let's go to the I I'm okay with that.
[00:55:38] Speaker B: And that's where we'll end this episode.
[00:55:40] Speaker C: Okay. What is going on? Lots of things are happening. Sen and Abby look very concerned and confused.
[00:55:47] Speaker E: I have so many emotions right now.
[00:55:50] Speaker C: The Michaels have made OD decisions.
[00:55:51] Speaker D: I'm so happy.
[00:55:52] Speaker C: And I've just been watching it all happen.
[00:55:54] Speaker A: I was trying to help him.
[00:55:56] Speaker C: And what happens when I'm not a character in this game? Things just go crazy.
[00:56:00] Speaker A: Yeah, says the one who yeah, sure, sure.
[00:56:04] Speaker E: Do we even know where you are right now?
[00:56:06] Speaker C: Or what?
Or see?
[00:56:09] Speaker B: All right. So, petite, you have won today's hero point for your divergent problem solving methods.
[00:56:16] Speaker D: More like problem causing methods.
Thank you, everyone. I have chosen the hero point. Fluid motion. I don't know if we've had this one before. I don't think so, but it seems quite nice. For the rest of my turn, I gained a climb speed and a swim speed equal to half of my speed. If I make a horizontal leap, increase the distance jumped by 10ft. That's very I can jump really far. That might actually come in handy next episode.
[00:56:44] Speaker C: There are windows.
[00:56:45] Speaker A: Well, even having a climb speed, that's pretty good.
[00:56:47] Speaker D: Yeah. So I want to thank everybody for this wonderful hero point and my terrible decisions.
[00:56:53] Speaker C: You're welcome.
[00:56:53] Speaker D: I think I'm going to go make.
[00:56:54] Speaker B: Some more and we'll see you all in the next episode.
[00:57:00] Speaker C: Sorry, Spit.
[00:57:02] Speaker B: This has been an Atomic Broadcasting production pathfinder. Galerian and the Lost Omens world setting are copyright of Pizzo. More
[email protected] music in the show is from Monument Studios collection as well as Assorted artists with some original tracks composed by Jordy Hake. More details in the description. If you enjoyed the show, please remember to share with a friend and we'll look forward to seeing you again next time ilva the Green speaker.
I look forward to your imminent return and your leading us in.
[00:57:44] Speaker C: She's speaking to too many plants.
[00:57:48] Speaker B: That's what green sounds like.
[00:57:51] Speaker C: Distracted by that potted plant in her hand.
[00:57:55] Speaker A: They're a new speaker.
