[Music] Hello and welcome to Nights of the Night actual play podcast. This world of the darkest story Shagrin was written and run by your storyteller Scott. And now please enjoy episode 114 into the fire. Actual play starts 12 minutes 27 seconds. [Music] All right before we get into the episode we've got a little bit of feedback. First of all I want to say thank you very much to whoever's been using the Amazon link. I can't tell specifically what was being used but someone bought they do categories. And one of the things was a computer it was in a computer category and it had to have been a computer because it was a big boost to our budget. Enough to cover like a month and then some just our portion of it so nice. Thank you. We use the link I really appreciate it it helps us a great deal and actually there was a lot of additional traffic so so you want to thank all the fans that remind them the Amazon links there for anybody else who wants to use it. In addition to that we haven't had a review in a while and when I search for nights of the night there's two things that come up one is the Thursday night role players it's an AP podcast like ours. And ours which is the you know the nights of the night they've got 49 reviews we've got 41. So come on guys push us over the you know always a little bit of random meaningless competition. Haven't had one in a while. They're in a competition and totally unaware of it at all. Yes they don't know that they're beating us and even who the hell we are probably. But as far as feedback goes we had Jeff Aton who is a new listener as far as I know or at least a new poster who responded on Facebook about episode 111 and he said finally caught up and I love the podcast. So it was just a brief message there but it was responded afterwards by Michael Ersec who I believe is a friend of Jeff's because he says dude Jeff didn't shit get crazy in that creepy farm sniper rifles are no joke. They are absolutely not they're very serious. I think the World of Darkness has a great job of portraying just how deadly it is. Because you're just not only are they were smacking us down equally. Yeah and you guys are wearing Kevlar and you were pretty banged up just from the bruising even if it took it from a lethal down to a bashing it was still painful. As Jay I was dealing some death but right my character is specifically built to be I mean he was a trained scientist. This is what I do right this I mean I do other things as well but this is my main focus of my character is he was a sniper and and you're getting a chance to show getting a chance to show off. These guys aren't specialists in the sniper and they're doing a pretty decent job too and it shows you just how deadly the weapons are. Yeah it does a good job of portraying isn't deadly system in general and it does a good job of that. Jeff's response to the comments about how deadly sniper rifles was. Ha finally started using that thing instead of leaving it in church towers. Apparently someone who's listened to both storylines. In a very long first story shit look you were able to use your sniper rifle grand total of one time. Yes and it caused me more trouble because yeah you were able to use it well no that really when you used it from you tried to use it I think from the when you're being ambushed and the gas was weak and there was the ambush and then there was the bomb in the basement. I mean they totally wanted you guys dead which amazingly somehow you didn't die. One of us died well sort of. Matoni pretty much dead. Right third degree burns took them out of the game but anyways you really didn't have much of an opportunity so I'm glad at least in the second story you get a chance to everyone you get a chance to shine somewhere and this is your chance. And the fourth message in that string was from Michael so and Jeff Michael Jeff Michael it's like snipers everywhere. This is how I imagined Iron Kingdoms would be if one ever got started except with robots. Never played Iron Kingdoms I haven't either. But thank you to both Michael and Jeff for joining us on Facebook and hopefully they're enjoying the adventure. Merck T posted on Facebook about episode 112 and he had this to say which was I have an idea how you guys can get an idea on what the silent listeners might prefer regarding feedback. Well this was about the discussion that we had. Whether we move we have the feedback in the beginning we move it to the end what do we you know what we have been for and the argument was that the majority of our listeners don't tell us what they would prefer. We get a few people that speak about it and he says you can make different versions of the podcast one with pre-feedback one with post-feedback and one with feedback separately and you can do this for a couple episodes and then you can check on the statistics of downloads for each version that way you would be informed from the silent players as well. The drawback here would be that it's a lot of work checking both sites and iTunes and wherever you post it for stats not to mention the fact that editing three different ones. I myself don't mind the current setup but I wouldn't mind the feedback at the end version either. Now to this I have to say that while that's a wonderful idea in execution it won't work and the reason it won't work is first off we have roughly 570 listeners if you look at all of our episodes the average comes out to about that 40% of those which is a good deal of listeners download from iTunes that's their choice of how they download things. Now if I put out three episodes one with pre-one with post will actually be four because one separately entirely and then the actual podcast without so it's four different podcasts if I put them out through iTunes first of all that would eat up a ton of space of storage on our on our site lips and that we use. Second of all iTunes if you put out multiple things and someone comes in and checks iTunes it says well there are four of them but it only downloads automatically downloads the last one the most current one in the RSS feed. So already there you're skewing your numbers the numbers 40% and then you're asking the people to go back and select the one they really wanted to hear when they already have one. Right which probably happened. Are they going to do it? No they're probably not going to. So right there you're already saying it's not right it's not going to work because of the automated way that nearly half of our people download the podcast is going to screw us period. Not to mention the fact that we would be required to have four times as much. So come on you silent people. So the only way we're going to find out is if people if silent people say something and right now we just haven't had a enough people say that they want at the end to change. I think it's how we've come to it. We had a few. A few but I think not quite unless we already say it's perfectly fine the way it is. All right until that changes we're probably going to stay. Lastly on Facebook we had the siren picture that was put out there by Kel Ordo. Right and I just wanted to mention that we have by far the most likes on Facebook on any of our pictures was for that one. We've had a few here and there which people are like oh I like that that's cool. This one was just blows them all away in comparison. It really does. It got a lot of a lot of positive feedback from the fans. They all enjoyed it. Yes Kel Ordo tapped into the zeitgeist of the of the task force siren or it should make like a little fireman t-shirt out of it. Maybe we're a little logo shield maybe on the left brush chest whatever left chest stop saying yes you have to in addition to that we had a little bit of feedback just generally from Facebook. Two of them Taylor McClure said I don't think I've ever mentioned this before but I'm currently running a Dresden Files RPG game set in Oakland California. The two players are a Chinese street wise wizard and a grief counselor who is actually a despair eating white court vampire. We've played five sessions not including city and character creation and so far the players have rescued their junkie friend from a satanic cult of drug dealers. Had a malt with an old lady who is actually a horrible soul eating monstrosity punched a human trafficker in the face and had lunch with a scheming alchemist fought off a paramilitary dub stepping necromancer and invited a homicidal avatar of death hate anger and destruction to hang out with them for a while as long as it only kills people that they think had it coming. The last development was about what's that that'll work out. That last development was about as expected as Roberto becoming gold lord of playland. I just thought you might be interested that's always that's always an incredibly fun to listen to other people's adventures. In fact Richard Watts is also running Dresden File RPG that he was running over Skype and he's got a blog page and I've been following the storyline that's there it's great to hear from the fans it's always fun to hear the adventure of other people in the same universe. I remember when I read that it sounded like he painted a picture for me with just that description and first of all the his characters the the chinese street was really sounded interesting to me and I I think I even responded to Bob I just kind of flashed on the image of egg from big trouble little china yeah and how that would really fit into that universe and I thought the other idea was brilliant I mean to have a brief house with all fed off of despair that's like yeah that's some good stuff that's great that's good that's a good character concept. Lastly we had a post also on Facebook from Richard Watts who said hey guys I enjoy the stories especially the flashback scenes which I feel add a lot of depth to the characters for the listeners. I have a couple things I'd like to ask slash say first off as far as the feedback is concerned I like having it up front with the notation for the beginning of the actual play. I see this as a pretty reasonable compromise between people interested in the feedback and those who would rather skip it all together. I absolutely disagree. I was being completely unreasonable. Yes you were. I understand that some people will have this queued up for multiple episode chunks but then again I'm assuming the older episodes will not be changed anyways which leaves new listeners to get used to having this feature or not having this feature at all. I think the main thing that your listener might need to keep in mind is that this is an actual play and not a radio drama especially with the quality you put forth and that it's a free service. I'm sure if you are all paid to produce it we could enjoy a commercial free version. Additionally I enjoy the feedback section of the podcast. It's always fun to hear what the other listeners are thinking and to get some player reaction to the comment and I appreciate the heads up you give regarding the greater world of AP podcasting and general game geekery such as the fake core kickstarter. Second I have a question for both times. Scott is GM so the two systems that we've seen so far. Would you mind walking me through the process that you use to create your storyline? I'm a new ish GM and while I'm pretty comfortable running things like one shots my ability to consistently generate cohesive stories could really use some sharpening. This may be the wrong form for such a discussion and if so please let me know what the best form would be. Thanks for putting in the effort that you do and for having concerns for the fans opinions on things like the feedback issue. Happy gaming so thank you very much for that. Does he write something right? Same sounds so familiar to me. As far as I know he's not a writer. Okay he's about as common as um from your team or team. He's one of our Calordo for having heard rocket and a while. You know rocket's been silent I've seen him and good he still exists. I think the GM discussions might be good for like a wrap up so like we did for Jersey. Well I think we actually did in some version covered in the last I don't know if it might have been the one that we lost. It could have been. And yes we definitely wouldn't want to include it in the feedback because it's the lengthy thing but I mean we'll just write it was a Facebook post. Yeah I think I saw it a while back. Maybe we'll just each write separately our thoughts and ideas of how ideas come to us. This answers question that way and if people want to see it on Facebook they can catch it there because I think we might talk about it for 15 minutes and that'll just take up a lot of time for the the feedback section that some people may not be interested in listening to the GM because they're just a player or just like listening to the story. I wouldn't mind writing some of it up if it helps them. That's great. So we'll try to do that and when it gets done we'll make sure that it's mentioned right in the feedback which with that that is the end of our feedback we'll wrap it up and we will get on to the adventure. This is chapter eight in the world of darkness story chagrin. I am your storyteller scott and with me on my right it is. I am gem playing sister Katie O'Connor part of the shadow of congregation freezing on Bob playing FBI special agent shoe park member of the Bastille conspiracy. I'm playing Jay Alton the member of the ascending one. I'm just playing Edgard Montes, a voodoo practitioner of the Le Mistaire. John playing Daniel Morgan, mountain man, turn mercenary from the task force of ocaric conspiracy. I'm playing Michael play isn't here today but we do have a special guest who's sitting in just to listen and enjoy our company and it's Joe from Zen audio Smith. Hi Joe. Hey guys. Joe is the wizard who put together our opening and closing music for both world of darkness. The world of darkness and Dresden starting music is different but the end credits are always the same stuff. Great. All of that is done by Joe and also sitting in with us currently now at this table is Doug who is a longtime player who's been away for a bit and hopefully will be seeing return to the table sometime soon. So if you hear another voice it could be Doug's as well. All right. We're still in a field outside of a farm. Yes. I'm in a bar or in a flaming barn. That's much better. Or outside of a trailer home filled with zombies. Better on the outside than on the inside what I would say. Where we've left off I believe was well Mike's not with us and he is severely wounded and cowering. Doesn't he just die because he's not here? Well he has started the first day. He's not expecting to trip him with some wolves and then we put him out of his misery. But for the extent of this session we'll have him just cowering undercover because that's really what he's doing currently anyways. Laylo and give him some first aid. He was trying to help you guys in the trailer home but we'll say that he helped us out. After we exited the trailer home you're right. I think I started running toward the chicken coop and then inside just to laylo and heal himself because he was really he really took a shot from a sniper rifle. So Jay you'll be going first. If I'm not mistaken John's character he's running towards the barn. He was running towards the barn. Saw what looked like a task force Valkyrie project a dance ski member fleeing the barn. There was lots of flames it caught obviously out of the barn so there's like hay a lot of combustibles and there was almost an immediate blaze. He knelt down in one knee aimed a sniper rifle and struck a shot struck home. He saw the man I think stumble forward face first and called out that he had been wounded. You did the target right near the side of the barn had been wounded. You gave me an option for doing that and telling the children to get out of the flaming barn. Yes you should like a moron I did have the virtue of charity but I neglected that. Well you were being very charitable to your your teammates and that's a charitable to the children in the barn. Come on now man. Around the right hand side there was a chicken coop that started on fire as well. Yes Jay you look from the hill like you're looking towards the chicken coop which had started. You saw actually I think some shadows moving across the chicken coop. I'm on the hill like looking towards the colonial I'm watching to the right where the chicken coop is to see someone break to the house and the left from the barn and either of those places if I see somebody move there they're going to. So you're basically holding an action to see if there's movement then you're gonna act in that time. It's much easier because of the scoping such a small area to visually it would be easier because it's nice. I mean you're scoping back and forth. You're pretty far away from your perspective it's a smaller it's not a huge range. If I could do it visually and see somebody then I would do that instead of then bring the scope up. I think your scope is the way you have to go to scope so I do that. Okay so you're basically holding an action. I'm assuming that someone's going to break from either one and then go to try to start the colonial line fire or take the guy out at the top because he was keeping them at bay with the gun and he's not doing that anymore so I'm looking for someone to move in. Right thanks let's see both of them. So chew go ahead. So I finished puking. Yes. Bronze over. You wipe the vomitus from your chin and what? Oh you were holding the door closed hoping the thing didn't bust through and kill you. Yeah that's what I'm doing. Ramos coming to give you a big hug. Is that crackhead trying to open the door? Right because he's not a zombie. It's no zombies. The trailer is definitely freaking slightly and you could see the door moving back and forth the allowable amount that it would do with someone pulling on it relatively forcefully. When the trailer's rocking. Don't come and knock at you. Oh I'm not knocking. Put two rounds to the door. This is a different saying. You never heard of it. It's when there's zombies involved. Can we run this thing down? I feel like we're building it a lot. It's been at least one story. So this isn't a screen door. This is a solid door. It's a solid door with a window that is smeared over a bit and quite disgusting. So you and the window is kind of high. So all you can really see you can't see like some matted hair with blood in it through that small window. So you definitely all indications pointed at one of the zombies. Is she trying to turn the handle at all? Does she seem like she has some? Is the zombie about to be out here? Right. Is she trying to rip the door off? Right now she seems to be trying to rip the door off the hinges. Okay. Are you fucking kidding me? I'm gonna put two rounds to a damn trailer about head height out of one. So who's with me? She's just trying to speed it up. She got away from that thing. She got away from the trailer very quickly and so did Edgard. He started stumbling down the pathway towards the stone colonial. So two, three seconds. What do you got? I'm gonna ask Sister Katie if she has a weapon right? She's not here. She, what she saw her get out and start running towards the Morton building. And you can still see her. She's not far enough away where she got, you've got she lost her. She had to pick herself off the ground as well. All three combos out of the trailer. Yeah. She's trying to hold in her intestines from the sniper shot she took to the stomach. Okay. I'm sorry. The door is facing this way? Yes. That way. The door is facing towards the storm colonial to the west. Okay. And Jay is, I'm on the other side. Jay's on the hill like still door, reporting to you from the network. I'm guessing with the doors, you're pretty good chat though, right? The best of what I do. How likely do I think she is to be able to break through that door? Do you have any knowledge of the occult? No, but you want me to make a roll. You'd like. What's science? I know about science. I know about, I guess you do. I'm at all doors. Okay. How about this? Does Chiu truly believe that these are half-dupped drug addicts? Or does he truly believe that something unparalleled like the re-woman is happening here? Because that's going to really determine what we do. Well, seeing all the damage that we're done to these things, there's something supernatural going on. He's not sure what exactly. So yeah, maybe he thinks that she does add superhuman strength and she could rip down the door. Okay. Do a wicks plus occult roll minus the roll because it's a skill you don't have. Last three from training. Unfortunately. His wits are full, so he's down in one die. One die, I have my wits above me. Yes, you do. So I'm rolling one. Pretty impressive. Four wits. Nice job. Yeah. It's pretty all down zombie. I'm rolling one die. Yep. It used to be Spanish. It's a name. Nice. You feel fairly confident through some conversation you had with Edgar over the summer. Let me screw you on zombie. That zombie will eventually figure out how to open that door. Okay. Do you two want to get back here and assist me with this woman? Still won't say zombie. Still can't say. Okay. That's what he says over the last week. You both as a free action can respond. Shoot it through the door and run away. Note that Katie does not say her. She said shoot it through the door. It's noted, but I'm still holding it back. Okay. Her bag. Got it. I've got anything. Just keep running. It's pretty much. So you have no. Yeah. Basically you don't have a lot of support. You're feeling kind of alone right now. They're getting farther away. The darkness is kind of enclosing again. Doors rattling. A vision of dad's trailer coming back to your head. You know, you're trying to fight him down, but you're really the biles starting to rise in your throat a bit. Let it out and we'll shoot it when it walks out the door. Just keep running. It's all good. Double tap. Walk back three steps and shoot it and then just keep doing that. It's a slow thing. I have a shotgun. Yeah. Three steps. Is this what you told them? What? I got the phone. Shoot it. Shoot it where you're going. Shoot me. I make a decision, buddy. I'm holding the door. Okay. Do you go up to the door and put your shoulder into it? Yeah. Okay. Excellent. I can't. Yeah. I'm not going to put shots to a trailer. I have a shotgun on the side of it. I don't know where he is. That would be insane. I guess. Sister can you go. Run to the barn and save possible children. Run back and shoot a zombie. I'll go back. So many decisions. What's a no. Your hand guard says I'll go back into the headset. Thank you. I am. I think I'm halfway to the Morton building. I doubt you're halfway to it or whatever. I was going to head to the Morton building and my idea was and then skirt underneath the windows the best I could and then head over to the barn and see if there's anybody to save. So I'm what your move is minus how many because your wounds? No, my wound is I think minus three. So my speed of 10 is now seven. So double move is 14 times three foot. And I'm going slow and then a crouch and I'm trying to stay steady. So you're not double moving? I'm going double move with no stealth because I'm hoping that most of the things that are going to try to shoot me are taking down and out and I want to get to that barn as fast as possible. So I'm probably just moving. Okay. You're within about 30 feet of the Morton building at the end of your movement, crouch down moving as fast as you can. Again, kind of bent over holding your stomach because it's just. I said, Dan, the last thing you want me to do is shoot anything. I'll end up shooting you by accident. Edgar, go. I go back and gone for nope. You've had not gone far. So you turn around, you head back towards the trailer, you see chew, leaning his shoulder into the door, holding the handle, talking into the headset. You see quite quite distressed. I'm looking at the shotgun. And actually, I don't have the strength to use shotgun. And guard is almost bad shape is, where are you at? Are you negative one? Negative two. Yeah, you're bleeding from a shoulder and what you believe is a zombie. A tore open part of your throat and your shoulder had also dug in your, one other one had dug in your thigh and ripped that open to a point where almost bone is showing. So you are severely stumbling and walking with a lot of pain back towards the trailer. I lean it out into the open. I will take care of it. I kick out the try and gun and slap in the rubber. Whoa, whoa, whoa. That's my turn. I can kill your guy at 10 out of wasted. Go for it. I have one guy knocked out already. I don't need this other guy. Go. I draw my gun and I walk back to and that's pretty much what you have the quick drawing. You do not have the quick draw merit. Okay. So you take your turn of drawing your gun out, you walk back and you are basically maybe five to eight feet behind shoe aiming at the door, but don't get a chance to pull off the shot this turn. Do I get a bonus drawing or is that actually requiring an entire turn of commitment? It would be an entire turn of doing nothing else but aiming to get a plus. Edgar does, dude, his belief is that zombies are slow, but he's never rolled for this. I mean, unless you told him. Oh, yes. Yeah. He's basing it off of his belief right now. He wants to make a roll, a free roll, a cult for zombies. Yes, you may. I have bonus two, not speciality. What's your wits? Four. What's your occult? Two. That's six dice. Do you have a specialty in zombies? No. All right. Six dice. I got my zombie now. The patient food you guys. You did. You had a touch into a patient food zombie class. Go ahead. Mine is two dice for injuries, anything else? No, that's it. Just the stress of the moment is kind of weighing on your mind as you're trying to catalog back through all the things your grandfather told you. One success. All right. It depends on the magic being performed and the type of corpse being reanimated. And in this particular situation, based on your experience in the trailer being not on the attack by them, you believe that these zombies are slow moving and incredibly unintelligent. They can't open doors. They can't? At least to my knowledge, they're dumb. They're dumb as hell. Well, not that they wouldn't be able to figure out eventually Edgar to be fair. Just they're not going to turn a door now the first time they walk up to a door. No. They're going to pull on it. They're going to shake it. And if it accidentally opens when they're pulling on it really hard. Awesome. Yeah. For them. But most people who live in trailers can barely open doors. Yeah. Yeah. It's basically we're dealing with trailer trash. But you wouldn't know all about that, apparently. You had a really long impression in the trailer. Sorry to all our listeners who live in trailer. Yeah. All right. To zombies turn. The door is shaking aggressively when it does not open. And you don't even feel like the handle like put pressure where it's a strength contest. If you can hold it shut from her, she's just rattling the handle and banging on it and trying to get through, but can't seem to suss it out. John himself, stolen maritime. You can all hear some moaning coming from the gate and from just behind the trailer on the fence. As you recall, there were three corpses that were latched, two that were latched to the gate and one that was latched, the fence behind the trailer home. And we didn't unlash him, did we? No, we did not. So there's some flailing going about and some moaning, but nothing more than that. All right. So the fence is shaking and I'll keep on it. The fence is only shaking really in the vicinity of where the trailer is and where the gate is. They're moving really slow. Daniel, you're up. Okay. I've lost this guy in the flames, right? You've lost him in the flames, but you find yourself in a cozy restaurant. That's an improvement. Yes. You're in Fairfax, Virginia, nice little suburb of DC and you're having dinner with Casey and in the corner is a beautiful fire that your table is next to. You're having a fine meal with her and she's apologizing to you for taking your spot on the team going into Cleveland and to Ohio City to do the mission. You know, she knows it was, it was your first mission and she's not quite sure why she got switched, but she just wanted to say she was sorry and you guys are friends and she feels really bad about that. You're not mad at me, right? No, you can't accommodate for what government organizations decide things. I'm kind of scared to be honest. I don't know what to expect there. I mean, they say that some agents have disappeared and we're going in to try to find them, but I mean, it seems like a heck of a tough, scary mission for our first one, what do you think? At this point, how many people are going in there and disappeared? Eight. Just one squad of eight. Two squads of four. And she's another? She's third. Mm-hmm. Okay. Do you think I should be scared or am I just, is she like rookie jitters? No, you should be aware there's a huge threat to our organization out there. It's taking two squads. I'm sorry I had to take my spot, but I hope you come back all right. Yeah, I just wish they gave us more information. We don't know a lot. It's like we're going in blind and it's almost like we're being set up to fail it feels like because we just don't have any good information. It's the worst part. They don't have free flow of information in an organization. Well, I come from the sticks. Right. I mean, it's what your character would say. Being from an Alaskan frontier man, he's probably pretty anti-government for a large part. I don't know. You want, I'm not ready to call it a night yet. You want to grab a bottle of wine, another one. Enjoy the fire. Tell me more about Alaskan. So that's what you think of as you see these flames roaring, you kind of have a flash back to that beautiful fire and now I smell cooking children. Not yet. It's just what you think of as you're on one knee and you kind of have that flashback back to Casey. You met your last night with her and it was a really nice night. Okay, so your turn. You've lost somebody in the flames. You hear some screams of children. The flames are definitely becoming much more aggressive. They're kind of left up to the top of the building and out of the top. The roof is in flames. There's stuff falling from the ceiling, like smaller pieces of wood and clusters of hay that's falling with our little flaming bombs kind of dropping from the hay loft above. It's an instant inferno right now, an instant one. It's too damn fast. I don't have anything to quench fires on me. I would think that I can't see anyone moving in the flames in not through because I've lost that guy. I'm just looking for human survivors in here. Go ahead and make wits less composure. I have three wits and three closure. Okay, and minus three dice for the chaos and the cacophony of noise that this inferno is causing. One ten again. Just one success. One success which is all you need. You see, off to your left, there's two people underneath the hay loft that are prone on the ground and not moving. To your right, where there are some farm utensils, a little bit more metal, a little bit more hard-packed dirt, a little less hay. So the fire isn't quite as aggressive although the building smoke is making it very difficult to see. You see what looks to be two small form forms of cowering behind what looks to be the burnt out husk. Not burnt out from this fire but burnt out in general. Husk of a farm tractor. This is up against the left wall. Up against the right wall which would be for you, the north wall. Okay. The south wall has two chrome bodies. The only doors to this place are at the front and back. Correct. And they are how deep in here? They're probably about a good 20 to 30 feet in, hard and judge exact distance in this maelstrom noise. I just want to know if I could reach their, my character can obviously eyeball how far he can travel. Yes. With the speed of 11 meters. 11. 11 yards. In three seconds. So you can move 30 feet, you think you can reach them with a regular movement. When you want to move. Yes. Can you reach your gravel and get them out one turn? Probably not. You could take a double move and he'd be using a move as his action where grabbing them up would be the action. I'll move a rabbit in there and shelter them. I have strength. I can carry small. Yeah, I should cross. So I'm going to, because there's falling pieces of timber and hay and there's utensils spread out on the ground, you're going to need to make an athletics plus dexterity roll. Let me know what your dice are. Great. Three dice. Minus one die for the implements and stuff in your way. To not fall over and spend it well. Yeah, this is irrelevant. I've already risked it so I'm not going to do that, but I'm spending it. And this is two dice. Technically you need to spend it before I tell you what the minuses are, but we were going to go and quick there. Don't worry about it. So it's two dice. You get to add three dice because of your willpower expenditure. You're giving you all you've got five dice. Go ahead and roll. I was nowhere if how many I was going to need. Threat. Roll. That's one success. Thank God. In another one. Ten again. Go and go. No. Okay. Two successes. So you leap over like a timber falls in front of you and you leap over it. The hay is just dropping like fiery rain from the sky. You're kind of dodging that and pulling your jacket over your head to a way not really the jacket, but you know kind of putting your arm over your head for protection. And you reach to children who are powering in the corner by this thing. And they look up at you with these big eyes like they did. They did not see you at all. And the older one, the two of them might be eight or nine says help. And that's what happens at that point. You have an action you can take if you want. That's to pick them up. You're going to try to grab each one what you're going to put away your rifle. Drop it. Okay. Drop your rifle. Both boys. Go ahead and make a strength plus athletics role in this particular instance. What are your dice for? Yes. His organization is highly military. Yes. And a lot of them have like a strap that has the gun. So you let go. Come on. Yep. So why don't I do four? Four. Do you want to add willpower? No. Okay. They are not squirming or moving difficult in any difficult manner. Roll your full four dice. Success. You need one success. You've got to be met two kids. Want to meet each arm. Does that anyone do it? Yeah. The arms roll with the shoulders. Punching over. Got them under the arms. Okay. Turn around. You're getting ready to come back and the flames are just pouring around you and moving all around. But again, this is an area that's a little bit less flaming and less infernoish than the rest of the barn. John, I'm going to give you one willpower back for charity. No way. I didn't plan this. You went to. I am surprised. You put yourself at risk and the mission behind schedule for rescuing two children, which definitely feeds into your virtue. It's disobedience of authority was a vice. I have it. You and me both, actually. While you were switching out your trunk round and putting in your reel round. Yes. When you brought the scope back up to the chicken coop, you noticed that the flames were definitely starting to expand and you lose a, like you see the tail end of the form coming out of the north end of the chicken coop and then running towards the west. Okay. West is up towards the stone colonial. Unfortunately, you couldn't get your gun back in time to take a shot at whoever it was. But to your eyes, it was another military looking figure. It'll take a while for them to get there. Coming out of the chicken coop and then running along the tree line. So it's going behind the stables? Yes. Can you see it from the hillock yet still? When he caught it, he caught them between the two buildings right here in this gap. And then to disappear behind the stables. You know, without a scope site. Okay. You got your turn though because you had to lay down to. I'm looking for them to make a break for the colonial. That's what I'm going to take. That's your shot. You're looking at that gap between the stables and colonial. You could go into the tree line. Make a move. They could give you a description of the situation. The shed has a light orange glow starting to form. The barn is a roaring inferno right now. The Morton building is glimmers of orange through the windows. Nothing extreme. The chicken coop is absolutely going up in flame. It's turned from a little flickering orange to a more robust, but not anything like the stables. Excuse me, the barn. The stables also have an orange glow to them as well. So every building has some sort of fire going on except for the stone colonial. What about the silos and the silos? Is there any fire over by the shed in the miscellaneous equipment area? Can we see? Yes, the shed. I'm not sure. Oh, sorry. Did you see? No one has a view of the shed. No one sees any big roaring glow in the corner. Fair enough. No. No one sees a roaring glow from the shed. All right. Chew, you are now the leader. At least initiative wise. You've got your shoulder against the door. You feel it banging against you as you're kind of holding it. You again are fighting down those visions that have plagued you ever since you walked into that trailer home of some 20 years ago when your father wasn't a very similar one doing his atrocities, which led you to your life in the FBI and your pursuit of serial killers. Where is Sister Katie? Right about here. I'm heading this way toward the Morton building. I'm just right about at the corner of the building. She's about 30 feet away. She's kind of stumbling over the uneven ground. Definitely bent over, holding away from this trailer. Yes. Okay. And and Edgar, you have your pistol drawn and you're ready to shoot this thing? Yeah, you look back towards and look a quick look. And now with so many buildings on fire, it's no longer the pitch black knight that it was before. It's now the hellish, orange, black knight of your nightmares. Looks turned all around. Jay, your soul over on the hillock? Yes. Isn't stood up since. No. Well, let's just make a run for it and have Jay cover us, I guess. Aren't you going to plug this door? Why don't you plug the door and then make a run for it since you're there. Okay. Try to keep up with me. Can you come and be down over the hillock and almost vomit it before you. Yeah, whatever. Okay. We wrong. Chew, please make a resolve plus composure roll to take your shoulder off of the door and potentially let this thing escape. It can't open doors. That's what it says. There's one thing knowing it, there's another thing truly, truly accepting it down deep. How many dice? I am rolling in five dice. Five dice. Because of the horror of what happened to you inside there minus one die. That horror of watching me lose bits of my limbs. That horror? You think he'd be affected? No, yeah. Probably. So, so, so me running away from my past is a minus one. A minus one. That would be a bonus. Oh, really? Yeah, really. Your virtue is fortitude and you're running away. This is not a time to be fortitude. No, no successes. No successes. You cannot quite pull yourself away from the door. The panic is the vials too far in your throat. The panic's setting in. It feels if you can't possibly leave the store if you do. You're letting some horror out of the world that can't be taken back. Damn, that's a funny way of saying you're too afraid to run away. No, it was a nice way of saying you're too afraid to run away. Okay. It's good. The solid door between you. It just feels good. You've got her trapped in there. She can't possibly get out. I'm going to shoot her in the face. You might feel better after that. Okay. Well, let me move. Oh, I can't. Well, I didn't say you couldn't crouch down or, you know, take a different position as a door. You should probably get away. You're all right. Move your head and try this guy. I've seen him at the firing range. Whoa, whoa. I'm not that bad a shot. Yes. You've seen him at the firing range? Okay. It's ugly. Yeah. My thanks. Yeah. Yeah. Yes, you're fast. But, you know, shoot. It ain't worth a damn. So, do you crouch down and keep your shoulder against the door or do you stay standing? For the moment, I'll stay standing. All right. Sister Katie, stumbling, you can get to about within 10 feet of the Morton building. If you do a double move, you can get to the door and actually open it. I don't know if I want to go in the Morton building. I don't hear any screams or cries from inside it. Do I? You don't hear anything over the roaring of the flames in all the buildings that are contributing to the noise of catateness of the situation. So no, if you don't see anybody pounding out a window, you don't see anything happening, but you could get to the door if you wanted to. I'm going to get to the door and take a listen at the door. And then if I don't hear nothing, I'm going to continue on to the pond. I definitely know I saw a kid go into it. Okay. You get to the door. You take a quick second to listen. You don't hear anything. You continue for another 10 feet or so to the edge of the Morton building. So you're right at the very northwestern corner of the Morton building, about a good 25, 30 feet from the barn. You just looked at the roaring of fire. Right. That takes me to the right side there now. And gone. Okay. Despite your basic side accusations, I'm going to find shot. Admittedly, I'm also moving. Yes, you are. So a little bit less. Give me a dipole, please. Okay. Five dexterity plus one for firearms, plus two for a dose mod on the light pistol. Like pistol. That's eight. Eight. One is two for injuries. So that's six. And whatever else penalties you want to get. Are you doing anything? Are you adding anything to tracking anything? You're doing willpower. I'm a lot of willpower. You're all on a willpower defense. Edgar, that zombie chewed on you. Yeah. I mean, like really good. Yeah. So I can't help but thinking that your first exposure to zombies, your first real encounter with a paranormal, your hand's not doing a little bit of this. So I'm going to subtract one die for just the nerves of the situation of fear. Well, I wouldn't argue about the minus. I'm a performer that I might have seen something serious from before. Fair enough. But nothing quite zombie yes. No, nothing's taken chunks out of me before. This is pretty new. So what are you sharing? Right next to your face. There's this zombie. Through the door, this door is here. It's good. Right. Okay. Go. All right. That's ice. Don't get a dramatic failure. I mean, even a failure. I might get chewed at this point, guys. No ones, but no successes either. Yeah. Wow. Oh, shit. Wow. That's not necessarily good. As you see, as you're crouching down, you see his arm moving and you're like, this is not good. You can't go into a full crowd. And he literally pulls off a round that was right where you were standing. It goes into the door and between the legs, because the lady's up higher, you're standing in the steps, but it was between her legs and into the steps. And yeah, that would have happened. I want the none back here. Anything else besides the firing at guard, you still have a move in action one. This move in action can only be used for movement. I need a crouch. That's crazy. Can I just crouching? Like, what's your two steady his aim? You can try. What's your day? Very good. Roll the six feet on crouching. Mine? No. You can crouch. His dice pull for shooting might be better than mine. What is a day's pull for shooting? What is it? But my dice pull for holding the door, dexterity and firearms, dexterity firearms, plus your weapon. Yeah. Plus your gun mod, whatever that is. I'll try it again tomorrow. I will crouch down. Firearms, plus the gun. Tomorrow is three seconds from now. Yeah. Sorry, Drew. What are you doing? I'm looking to see what my dice pull would be to actually kill somebody. See how, if I really want to pull my gun out and try to shoot something or not. Fair enough. Okay, that's the end of your turn. You crouched down and tried to study your aim. Yeah. And it takes us to Jay. Mm-hmm. I'm still watching. I'm looking for that person to break through just on colonial day. Information that we want is in the top floor of that and it cannot start on fire. Got it. Oh, I believe it. My dice pulls about the same. This lit on fire. I don't think the leader did that. Shoot, throw away hit. You don't get it. Again, shoving in the door, hitting against your cheek as you place your full strength against it. I'll beat it from a lower position. And, but again, the door handle doesn't have to turn. So I'm still hasn't figured it out. Yeah, I want to be away from the door. At this point, I'd rather be in there with her than outside with him. Okay. As much as I appreciate the mocking of my aim. That's really dumb. It's not your turn yet, but I get your point of view. It was a zombie turn. Oh, okay. And again, more groaning and moaning from the fence posts and the gate as the zombies writhe in zombie horror. They're going to writhe so that the gate just falls over. All right. It takes us to Daniel, two children under our blazing inferno. Are there any windows here that I can knock out? Their feet is fire broke. All right. About 10 feet further to the west towards the stone colonial, but on the northern wall where you're at, there are some windows that are not broken out. They're still there. So about 10 feet away, there is a window. I don't mind if it's starting for a month. I'll jump out of broken window. I know, but that's the only window that's seemingly close that you can see because the smoke is billowing and is becoming so... Is this more viable an option than, say, running out the exit of the door? Easier to get to, part of the break through probably. I got these 100-pound weights. You should have run it. Make it straight, just a withdrawal. Just roll wins. All right. That's great. That's three. Oh, unwitful am I today? No, you're fine. That's full capacity. Won't success. All right. You believe that getting to the window, you would most likely have to, because the window's a little bit higher up, you can't, like, dive through the window. You'd have to set the children down, hope that they stayed still and didn't panic. I'm running. Smash something through. So to you, the obstacle course out the door you came in is the lesser of the two evils because in the interim, when you went to grab these children, several large timbers fell in the way of the Western escape. The Eastern escape only has one major timber, one major piece of timber, and a lot of falling fiery hay. So that's kind of what you're dealing with. Also, the fire on the ceiling is more aggressive towards the colonial, that it is towards the way out. This is a very quick observation you're making. So you think your best chance is to run back the way you came. Okay. I'm going to do that. I'm going to head towards the stern exit. Yeah. I'm upside down. Sorry. Good luck to you. You start running. I like counting my wheelchair. There is a huge piece of timber that's fallen the way you jump. I'm not running away here. What's that? Am I not rolling? Oh, you're rolling. Okay. I'm trying to explain to you what's happening. So you have these fireballs falling down on you, these birding hay. You've got two children into your arms. There's smoke, which is definitely starting to become difficult. Getting in your way, getting in your eyes. Your eyes are watering. The children are starting to scream and kind of tug at you and yelling in your ear. So you make the run. You have to jump over this timber. What's your dice ball? Dexterity plus athletics. I have three. Your dice ball is three, but I'm spending willpower. Two of them to get out of here alive. You may only spend one willpower. Okay, I was unsure. That's right. And because of the smoke, the fire, the distractions, minus two dice. Oh, of course. All right. Four. And only one ahead. Good luck. Ooh, two successes under 10 again. Two successes. One for each child. You're left behind the loop. You leap over the timber. Your timberland boot catches a bit, but you catch your balance, you land, kind of fall down to one knee, striking that knee hard on the pet dirt of the bard, but you scramble back up again, make a run for the exit as fire is falling around. You, and more timbers are falling behind you, you escape that smoke-filled blaze and you're in fresh air on the outside again with the children underneath your arms. At this point, crying. Not you. Children. Unless you want to be. No, I'm fine. All right. I didn't suffer any like. I didn't mess up my knee. No. Okay. Just descriptive purposes. Okay. I point them towards the east end of the field and push them. Ron. And say words. Yes, run to the zone. No, just hide behind this building here. The more you want. Does he see me in the corner of the building? Oh, yeah. Run to the none. More time, not dressed as a non, but okay. Run to the penguins. With the plus composure. With the plus composure is six. Subtract three dice for distractions. See if you see cake. Yeah, I do. No problem. All right. One success on three dice. And so you see her kind of waving the you towards her, but you push the children and say, Ron, and at that point, your three seconds of that really are done long. Yes. One second. That's obvious. J which plus composure. Five minus one for the smoke from the various blazes interfering with your scope. Roll. Two. Ten. Three successes. All right. You're looking for someone making a break from behind the stable towards the stone colonial. What you pick up out of your scope is someone crouching at the southwest corner of the stables. And with a sniper rifle pointed in your direction, however, you're able to quickly ascertain that it's moving back and forth ever so slightly. You haven't been spotted yet. Okay. Fire. Go ahead. Four for fire on this four for dexterity, four for the gun. One for sniper. Thirteen. I've already risked this scene, but I have two more to spend. Cillemon one. It's the last of the enemy that I know it's live. So I'm going to spend one. So that takes it up to 16. 16. All right. Again, for the smoke down to 15, the Kevlar will be minus three. That takes you down to 12. And he has almost full cover, which takes you down to nine. Yeah. Go ahead. Two. That's all. Just two. I don't think he's down. Yeah, I don't think he is. You see a shot that penetrates what you look like just above the kneecap as he's crouching down his thigh. So he buckles down as he takes the shot, becomes a bit more exposed because of that, but probably has a really good idea of where you are at this point, but not his turn. He spent his turn looking for you and did not find you. I have farmed them all of this target that I just shot at. Mine is not a silent gun. It makes it very loud. No, that's fine. So yeah, here with the sniper shaft, I've been hearing that all night. Well, I also, I'm letting you know where he is, which is kind of at your back. A lot of your here are the bottles at the stables right into the hip. So more snipers. You better get back in that trailer. It's safer with the zombie. That's a feeling as hell. I told Jay he's mistaken because if he shot him, then he should be dead. That takes us back to the top of the order, which shoot. I'm going to try to get my shit together and get away from this door. That's just not a good place to be. No, it's not. You know what? I'm actually going to say that you get plus one to your role because his fucking aim with the gun is actually more scary than your serial killer father, you know, atrocity trailer parks. You know how to motivate people? You know, you're a leader of men. You put his block on your shoulder and blew your ear off on this one. Go ahead and still. Make your role. This is a free action. Composure plus resolve plus composure. All right. You're trying to sum up the four to two to step away from this door. That's one. The only thing between you and the zombie, plus one because intestinal fortitude to step away from the door. What are you doing? I'm going to keep my shotgun and train on the door. I'm aiming for anything that would be coming through the door. All right. You're not firing through the door though. Sure. I'll take a shot. I still have some shows left in this. Okay. I don't know what you guys pull this. It's mine. Nice. And I'm going to give you a minus two due to the emotional toil that's going on with you right now. Actually, minus one because you succeeded to step away from the door. So you're a little more under control. Minus one. Eight dice. I'm going to crouch down then. That's the game. I have one success. Wow. Eight dice, one success. Chew is just staggered by the the emotional toil of the scene. It's a really poignant door. It is. It's very poignant. Your, well, shot. It's literally the door. The shot pushes you back a bit, almost losing your balance in the crouch, but you don't. But there still seems to be that rattling door. Let me just use my shotgun and it fucking over. Katie. Katie. Okay. You stand. I'll be over there running for you because I can hold that button. Yeah. And there's shotgun blast and sniper fire going off. And you just heard a report from Jay saying that there's someone at the edge of the stables, which these kids are running right into the line of fire. That's the thing too. I'm thinking is there's nowhere safe on this map. What's behind the Morton building? Youth farm equipment, old roughed out carts and trailers. Anyplace you can go into has got it. Yep. He's not a fun place to be. Run into the woods. Those wild dogs there. Where is Rex? My, my beijon for say. Your attack beijon? My military. When you ran into the barn. I'm not mistaken. I thought you told him to stay in the junk pile behind the Morton. Oh, yeah. In sick children? What? No. I thought I sent the children there. I was working on it. Can I pick the dog up? No. I think that's where you left. Do you think I'm like my killer attack? Okay. No, he's there. He's back behind the building. He did not announce this. No one knows. That's where I'm going. Well, if that's where you're going, that's fine. You'll see the dog there. Uh-huh. I'm going to try to pick the dog up. You gotta have a little can, right? Yeah. I'm going to, it's a German shepherd. It's not really. Yeah, it's not a beijon. The both dogs are probably happy to see each other. I'm going to do that with us. You attack each other. It's like a dog. My idea is to go around, shut around the back here, and then kind of maybe try to help this way. Head back up. I'm going to recover behind here as well. Okay. You start running. The kids switch angles, but it's not turned. I'm going to grab my turn. Oh, this way. Right. And, but you get there first to get around the corner with your dog in tow, and you see a German shepherd that's obediently sitting there waiting for its new master. You made good use of that dog. Sit there. Sit. Can I try to keep these men looking to get the dog to come along with us? I'm going to say that with you, that was, that's a big building. That's almost 50 feet across. You're actually doing a double move just to get around, redirect the children. You spot the dog sitting there. Okay. And you're safely behind the building. Well, at least in the south side. I'm building away from this night. I remember correctly, as I was covered with his master's guts, I spelled like him. And which gave me a benefit too. So he probably had a minus to that. That's what I know. Actually, it wasn't his guts. It was his brain matter. He took a shot today. Yeah. I was speaking. And he was trying to shake your hand and welcome you back to the full in his head exploded. Whoa. He cleared with the details. Okay. Yeah. That happened. Edgar Gomez. I'm going to shoot again because there's nobody nearby this time. Actually, Chu is still nearby. He's in front of you in a crouched position. I was aghast, I got an idea. Aim for Chu. Yes. That way I'll miss. You know, hit the door. I would have stepped off to the side. I didn't hear it, but I have nothing if not benevolent. So you stepped to the south. I said I was stepping away. I was going to raise you up against your shoulder right next to you. This is handshitting. Come on, Chu. I need to stall your surface. Go ahead Edgar. All right. I'm going to shoot ice ball. Five plus one plus two is great total. Minus two for the damage taken. So that's seven. All right. I just math. It's so wrong. It'd be six right now. Okay. And then I had a minus one for some reason. Because your hand is shaking because you got a tech by a zombie. Is my instaljerk? And it's freaking you out. Yeah. I think so. Okay. I am for the door on fire again. All right. Aim a little higher. Yes. Go ahead. The last time he's crouching. And apparently not on my way. Okay. Cool. There we go. Two successes. All right. Your bullet pierces the door, which slows it down a bit. So your shot goes in there, goes into the door, and you pause for a second and rattle, rattle, rattle, rattle again. I'm glad you guys are weakening the door. You may have struck home. But yeah, you know, a real nice job of weakening that door for the zombie. We have a movement. I'm going to put, no, no, no, I'll put you between me and the door. That's dumb. I'll shoot him again. But I'll back up a bit. Not a full movement because that is an ungodly amount of space. You know how fast they move, kind of. You've seen her crawl around as I think. Get the movement enough. Just out of her way if she managed to go through the door because we keep shooting it like idiots. Okay. Zombies continue to moan in the fence and on the gate, the door continues to rattle. Don't know how much more that zombies got, but she's still right on that door. You have to. All right. I have a dog with an range of vision. The dog is within range of vision. The children started running towards the north end of the Morton building then switched to stop running towards the south end. His sister Katie directed them to cover. I was a lot of them. I hope that is a new attack signal. Yeah, you have a flaming building behind you. You have a sniper behind you. You have a fallen man who you don't know if they're dead or not on the other side of that barn. What do you choose to do? I'm going to go around the south side of the barn and head that way. Whistling to find a wave behind me. Got it. Go ahead and make it quick as you peer through the barn. Again, we're just filling up with smoke and it's very difficult. I'd like you to make a wigs plus perception role, please. Six. Okay. Minus two because of the difficult viewing conditions of inside the barn. All right. Two ten agains. The two forms that you saw underneath the loft. You see both forms trying to crawl out from underneath what's a blazing afferno. Really, almost all around the except for the path that's powered by that large piece of timber that fell. You jumped over. I would need to leap over this timber again to get at them and then to carry two live human adults over a piece of timber would be challenging. They could be dead. In the leaves. Can I go around the south side and like hack and run the axe? Hold on. Do I have an axe? You have an axe? A hatchet. I have a hatchet. All right. You just carry that shiver. Yeah, I'm a mountain man. Really? All right. I go around the south side in like eyeball where they're at and start like hacking through this wall. Highballing is pretty easy to do before you run. I'll tell you that the south side of the building isn't flames. That was the outside. So structurally, it's true. Also very much like flames jumping out and stuff. So going up and attacking it with a hatchet at close range to a building that's wood that's fully 20 or 30 foot high, flaming. You could do some damage to yourself. I just want to give you some forewarning that you're a mountain man and you've been around fires before. This is inferno and it's dangerous. And the clearest route to them is through the bryron, not hacking through a wall, which will put you in danger in maybe even birds just standing next to it. Ideally, I would start with a window when you work down, but really, I am not rebirtile. I understand that. I'm just saying. If you go next to it, it's a wall of flames. It's outside the building. It's a wall of flames. Yeah, I'm telling you it's a bad idea. It's good to be nice. I don't need the willpower. And I know there are two living people, but I don't need the willpower. And I can't survive that. It's not something I can do. I am not a nimble dancer. And also the Hulk. Hook and lift these people and then pirouette over this inferno. Wait, that doesn't sound like someone who has a vice of pride. If you do it, who can? If you use your pride to your own detriment, at the end of the scene, you get all of your willpower back to assuming you're still living. You got this. You're a mountain man. This scene is the end of the mission. Yeah, go. You don't know that. Go. Go, go, go. I might just see me out. I'm like, sorry, fine. I'm helping you. You're welcome. I'm leaving all these nonsense. They're going to turn out to be a monster. He charges back into them. I'm sure there's obviously a farm really rotates me. That is just amazing. You are saving these children's parents. You jump, well, as you jump over the... I'm not going to crawl under it. Just pick it up. You can rush it aside. Okay. Same as it was before. You haven't missed it yet. Athletics plus dexterity. I'm trying to remember what my dexterity is. Two. I'm going to run in there and save you. So three. Three done. Since I'm going to get all my willpower back. I'm going to spend my second one again. Six dice. Mine's two, if I'm familiar with this. It was minus two, but there was a brief part of the the ceiling of the barn on the south side burned away. So there was a huge upflow of smoke and flame and it actually only minus one this time because you actually have a clearer view. The fire's getting better. All right. If mine better, you need more air. All right, there we go. Oh, hell yeah. That's two successes. That's great. You jump over. You move your way. There's a stall that both of them were in and you were over to what looks to be a large stall that did not have a ton of hay in it, but is flinging all around. The wooden sides are the ceiling is there. Stop falling on them. Actually, the ceiling is a walk above them. The rescue is kind of hinging on whether or not they talk to me. Right. Well, there's one closer than the other. It looks like what would be a middle-aged man, maybe in his 30s, 40s, like that. He's faced down on the ground kind of looking up, but really, you really have a hard time seeing his face because of the way he's clawing his way before we're trying to get the hell out of here. So that's the one's closest to you anyways. I say, I invite yourself. I just want to be a middle-aged woman behind behind behind. Okay. I just want them to talk, so I like shout at them right here. Talk to me. Give me your hand. I kick them a little bit. Right. And then I reach down. Let's kick them over. The most charitable prideful mouth man. Talk to me. This is obvious, all right? I'm sure there's... I don't want to get rid of them. I would just say it would be worse for me because I'm in a burning building. He reaches towards you and trying to seemingly freakin' hungry to help you. And what's your defense? Oh, shit. Two. Well, it's just exterior. Yeah, that's two. Two? What the hell is wrong with you? A man with eyes that are just not living any longer reaches out and claws at your life trying to grab you and hold you as you were cutting up. You're gonna make sure you was all right. And he grabs a pant leg and rips it off and you stumble backwards. Your pant leg is gone. Oh, no. You're not. You stumble backwards. You don't lose your balance. Excellent. And your pant leg is ripped below your knee. Oh, no. Just below your knee. That's all you're saying. Not naked. None of that happens. It was ready for minutes. Sorry. And so that's what happens on your turn. So you moved in there, you went to go help them using your action and he tried to grapple with you and bring you down to his level. That's the end of your turn. Okay. Other children try to eat you? To the turn, eat me. Yeah. Not yet. Okay. Jay, it's your turn. No. He shoots at me? Yes. You saw the same thing you saw the first time. Even though you had a lawyer, a blind register. Well, to his defense, there is a lot of smoke and stuff coming across the scene, but he could not find you and he disappeared behind the other side of the building. What building is it? The stables. The stables. He just backed around the corner. He was aiming around stables. He's kind of either put his wrap all around here or he disappeared. I'm assuming he just put his back to the wall and just drill on him right through the building. Okay. Through two walls? Through two walls and six horses. Dude, I shot the other guy through a brick fucking building. All the horses are all bunched up on one end as a stable. They're all simultaneously tied. Maybe the other one is burnt away and you're pulling it right through. Right. Alone, Winnie. I had a third key. Not spending any wall powers. Okay. He has full cover, so you'll use the protection of the building as the minus for that, but that's the handle differently. You have to go through the wall and blah, blah, blah. Because of the smoke and flames, minus two to your wall. That's it. All right. Eleven. One, two, three, four, five successes. He's gone. Six successes. That's it. That was exceptional. I'm going to go with a wooden interior door as the thing that you're firing through the basis. It has a durability of one, so one of your six are taken away. It has a structure of six, but you're not trying to destroy the entire door. You're just trying to get through. So I'm going to say that only the durability is what mattered there. The wall continues on seemingly you can't tell at this point. Right. Through a second wooden wall, which would reduce it down to four, and then maybe struck home. Right. That takes us back to top of the order, which is two. Shoot it again. It's me our last turn for tonight, because it's getting wind. Well, since she hasn't made her way through the door yet, I'm feeling she might not, so I'm just going to start making my way towards the Morton building. Yeah, whatever. Towards the south side of the Morton building. Yeah. And I have faith that Jay is going to cover us from his position. Are you going to get double move? I will not do a double move. So you're trying to move stealth fully? Sure. Because really all you can, I mean, it's really the only advantage besides when you're looking or firing your gun. You could fire your gun and then move. No, I'm not going to do that. Okay. Were you looking towards the Morton building? I'm looking all over the place. It's lit up pretty well now, so go ahead and tell me what your Wix Plus composure are. Seven days. Okay. We'll say because the smoke and fire minus one, because you're closer than Jay. Yeah, that's a lot of successes. No, usually you're 14. So it's four zeros and one nine. Wow, another success. Six. Wow. Exceptional success. Chew you. You actually see movements. You see some curtains moving and some movement in the stone colonial on the ground floor. First time you've seen that. Let everyone know that same movement. All right. And your movement is? My speed is nine. Nine. So you move 30 feet towards the Morton building. It's about a hundred feet away. So you're one third of the way there. You're going to open in that field, but you get a real good look right down the pathway, straight to the stone colonial, and you're able to spot that. Well, I want to move for a stump, please. Okay, dexterity plus stuff. That's a skeleton. What are you doing? I'm rolling three. Well, okay. I'm going to give you plus two days because of the fire in the smoke. Are you not wounded? Are you? I've previously wounded any way. No, just some bites from those feet are spared. Oh, there's been a bit of rabbit down. It's been a long night. It has been a long night. That's what we should get you called. It's a chagrin. A long night. Three successes. Okay. That's what they'll have to beat behind you. As you move stealthily across the high grass. That takes us to a city. Now I'm trying to coax the other dog to nicely come along with us. Wasn't it following, John? It was following you into the form? Not in the flame. I meant it was following you in general. Katie, animal kin plus presence. Five dice. Five dice. I'm going to say because of the everything that's going on in the situation minus two dice because he can actually see Daniel for a moment and before Daniel rushed back into the building. So it's still feeling some allegiance towards him. Success. All right. So it turns around and follows you and your dog and the two children deeper into the maze of equipment. We're heading as far as we can along into the woods. I don't know if I'm going into the woods. Right here is the wood line, right? So that's really close. I'm hitting on the car. This one's the quickest way there. I'm screwed along the woods. Okay. To move safely with two children and the two dogs following you, I'm going to say you just basically get to the M in Morton. So right to the wood edge there, still very much protected and you're going to skirt the edge of the line or to the south and then to the east. As far as I know or have we heard, is there a way to get around this fence here? No. I mean besides going into the into the wood. Yeah. Where the dead guy was. Oh, they dead bodies over here somewhere in the corner? The sniper. Yeah. Well, the dead sniper laying in the dirt in the shadowy ground is a lot less disturbing to children than walking them through a bunch of thrashing dead zombie light bodies. I've listened to what you think, Katie. And guard. Can I get a bonus to willpower via sloth if I just sit here and aim for three turns? And we'll also I won't miss. You don't get the willpower into the end of the scene. I'm going to shoot her again and I'm going to walk full movement towards the stone colonial. So you stop me open with that sniper? Yeah. You trust Jay? Got more counties. I'm going to do dice full place. Wow. Let's do this again. Five for dexterity. One for firearms. Six. Two for equipment. Minus two because you're wounded. Minus two because I'm wounded. Minus one because you're scared. Minus one. Five. Yep. Yeah. Not bad. Three successes. Three successes. That is unprecedented. Not just not bad. Is that a gun, not a game? And bullet. What? No dude. It's a light pistol. This is made for children. You you aim for the window, the grease covered disgusting window where her blood matted hair is popping around there. And you aim and shoot. The glass breaks. You see an explosion of blood and you hear a boom. Of course no one saw that. You turn around and start moving down the path towards the stone colonial. Go in there and get one of those Dixie cups. Oh yeah. That's what I want. You can go in there and get one of those Dixie cups. You're the zombie man. I just don't you want to know what turned them into? I lost half of my everything. I didn't see anything. Not their dad playing a barn. Didn't I trust that. So it's a trip to the fence that he wants to. So I can't assume the woman's a zombie too. You just assume whatever you want to assume. You don't have to play your vice and virtue. It's just when you do so you get rewarded with willpower. All right. I'm not going to mess with this man. And I'm going to assume he chews his wife to the both zombies. I watched the movies. Right. I know what's down. That's why I'm going to Alaska. Right. In zombie apocalypse. You're going to be doing more Z. Come on. I had a bunker. All right. I'm out of here. And this lady be damned because she's zombie too. All zombies are damn. And I am I'm sprinting it. I'm out of here using willpower as well. And as you turn around and start to make your way. Hold on. Yes. What happens? I'm interested to hear what you have. What happens to me? Nothing. Okay. I like it out. All right. I move. So you're moving. Okay. So which which eggs are you moving to? Uh the one that I can see. Which is the western one. You told me the eastern one's like totally blocked. Well it's blocked with lots of large pieces of wood and you've fallen to see in your pile. I saw an enemy I did not kill on that exit. I'm not going to go wandering through it out of a fire. Right. Okay. Well I said you killed it. No. I said it wounded him. That's you. I think he did say he wounded him. So um you start to make your way. You're preparing to leap over that trustee large. It's a friend. Three times zero you've left it. Three times zero you've not fallen. As that happens. As you're getting ready to time your jump and you are actually mid jump. The ceiling kicks in a rain of burning flaming tiles in wood. Come shattering down over your head. Go ahead and make a roll. Dexterity and then athletics and the willpower. Three times six times. Six times for falling ceilings. No. Minus one for your trusty old friend. The beam. What I'm familiar with. Right and you had it perfectly timed but all this other debris and another beam coming down. It's like down. It's very distracting. Mine is two more dice. That's all. That's all. You do a spin in a somersault mirror to avoid the other beam. Come on woodsmen let's see it. Mountain man. Three dice. Oh yeah one success a nine. All you needed. All right. Amazingly the tiles rake over your shoulders and your head and your singed burn a bit in a couple places but you're able to get out the door. Cosmetically. With no problems whatsoever and you still have an action or a move left. I could have brag the hell out of this. Yeah it was impressive because the whole barn is starting to come in. I could not have carried a woman out on that. Very charity charitable. Thank you. I have another movement. I'm spreading around the southern side. I'm going to get an angle on this guy who probably thinks I'm dead by now. Right. This soldier I wounded. Which way did he come up? He used to. He came out the west. My fear is that the guy on the bottom floor of the colonial is the guy I wounded. I was trying to watch both sides of those but I kind of got busy with the right side. When we have three snipers. Daniel. Worked your way around. You actually have to go to the to the wood line itself because of the heat of the flame. Okay. Okay. I don't I don't make it very far. Just about half. Okay. It's the sniper's turn. So I'm just trying to basically take a look and see what's going down. Well he knows James more last round than me. This is last round. Do a wall. Okay. James your turn and. No more shots over. You don't see anything. What an anti-climatic. End of the evening. I stand up from the hillock and my second action I move towards the buildings I'm firing on the right. Chicken coop to the north. Okay. You stand up which is your first move and then you run down the hill and you basically you could use the trailer as cover. Right. As you move down the hill is that what your intent was? Yes. Okay. That's what you do and we'll end it with a fiery scene of the farmstead of a blaze. Nice job everyone. Thanks for listening to Knights of the Night actual play podcast. Visit kotnpodcast.com for more information on this and other adventures where you will find character stats, photos, storytelling, props and even a forum for comments and suggestions or you could email us directly at feedback@kotnpodcast.com or contact us via Twitter or leave a message on Facebook. All music for this podcast was created and performed by Zen Audio Smith. If you'd like custom professional music created for your podcast or business, please visit ZenAudioSmith.com and please join us next episode for more Vistri and adventure. [Music] That's just the word. You should probably get away. You're all right. Move your head and let's go. I've seen them at the firing range. Whoa, whoa. I'm not that bad a shot. Yes, you've seen them at the firing range. It's ugly. Yeah. My thanks. Yeah. I'm actually going to say that you get plus one to your role because his fucking aim with the gun is actually more scary than your serial killer father. You know, atrocity trailer parks. You know how to motivate people. You know, you're a leader of Batman. You're a miss. I told Jay he's mistaken because if he shot him then he should be dead. [laughter]
