[music] Hello, and welcome to Night to the Night actual play podcast. This World of Darkness storyline, Shagrin, was written and run by your storyteller Scott. And now, please enjoy episode 105, titled Chaos. Before we get started with the episode, we have a little bit of feedback. The first was a post on archaeotunepodcast.com site. It was by Anonymous. I can't believe people still post there. Occasionally. Yeah, that's nice. Anonymous said, "By the way, does anybody have the MP3 version?" "The versions of the intro and outro music for this hunter campaign, is there a longer version of each?" Which there is not. The music that we use for both the intro and the outro was written by a friend of ours. You can find his work at zenaudiosmith.com, he's the one that wrote the music for him. And I do have the clean version. I asked Anonymous to send me an email on our feedback@keotn.com. That way, I could respond with the clean versions, no voiceover, just. But it's no longer, it's only a minute long. We have dirty versions. It's a dirty version. We also had a little bit of feedback from Facebook, but we had a lot of feedback from Facebook. We will cover that in a bit. The first was from Anthony Urchmer who said, "Hey Knights, I'm really enjoying the world of darkness games so much." I started to listen to you all for the dressing game because I needed a good example of how to play, and you guys are the best at that. I wanted to start a dressing game after listening to you, but instead, I started a world of darkness game because it's easier for my new players to pick up, and they're all new players. Thanks again, Scott, for explaining some of the roles during your play. It helped me a few times when I was running my game. Keep up the great job, Anthony. Thank you very much. We appreciate the suck them over to the dark side. The dark side. The dark side. I'm sure that once this plays a little more experience, they'll go for the fake things. The fake things. It does require a little more experience. It really does. What do you guys think? The new players, was it easy to do a pick up on one of the dark things? They're new here. Not new role players. Being my sons. They started playing a lot. I'm talking about the rules of the game. I think the rules to fake are easier, but the role playing is not necessarily easier, but it demands a lot more of you at face value than in the world of darkness. You can intricately role play in world of darkness like we do, just as intricately as Dresden, but Dresden requires it. Yes. Or fate in general. Right. I have to agree with that. By Thomas, I wouldn't really add much more to it. I'd say the same of the GM too, is that the world of darkness requires it. Well, no, world of darkness requires it. I agree. I agree with you. I agree with you. Because Dresden is a little different, it requires every night that you play, you can't really have anything pre-ordained, because they're going to go in directions you never expected. The system allows them to do that, and it requires you to be fast without you. It's almost like you make a framework of an idea, and you roll with it. Or a world of darkness, you can actually have a little more control of it. I mean, you're in the middle of a field right now, and there's not too damn much you can do about it. You know, I'll turn around and go home, but you're the heroes. So, you know, really, is that an option? I really think that the way you put it is right. I think fate-based systems demand a bit more of the players, and the storyteller or GM as well. But I'm glad he enjoys the rules explanations that we sometimes throw in there. It's nice to know that people appreciate that. We kind of got some feedback before on that end, but good to know. In particular on Facebook, we had some feedback from episode 103, Ari said, "Yes, I was just pondering on what I was going to listen to on today's commute." You saved the trip you did, and later responded, "Nice moments on this episode." Also, the description from all around the table made it really easy to see things happening. Good job in role-playing. On another thread, the discussion about rules, world of darkness versus fate. I see it that games with more immediate effects to a role, like the world of darkness, are more about reality in a way. As the things that you did happen, and now we get results, positive or negative. And then see how the story moves along. Game systems that have the possibility to affect the outcome after the role, like fate, I'd say are more about the story, allowing everyone to try to make the story go their way. The bad side of the immediate result is that one failed role can end your character. But then, on the opposite side, the changing of the results with the lingering rules sometimes might force a step away from the story as things are happening or not happening, kind of like talking about playing instead of actually playing. But how do you get the best of both worlds? And he's got a valid point that fate, just like we've discussed plenty of times, that fate requires the gem to go with the story where the players will take it, and the world of darkness has much less of that. And I think that we also, some of us mentioned that we didn't feel that same sense of, like I didn't feel like my character, even on those really cool scenes with Constance where she could have ripped my head off in literally seconds flat, I never felt like I was in danger because I always felt like after I rolled the dice, I could tweak something or make something happen, whereas in Jim's case with his character last story in World of Darkness, here's your last role. Good luck. Right. Oh, you didn't make it? The bomb blows up. Sorry. I was going there and the best of both worlds, and maybe, you know, maybe when we play the next World of Darkness adventure, and we try, they have some fate-based ideas in the mirrors play box and sandbox. That's nice and grand, but the next one. Yeah, the next one down on the line, I think I want to try to maybe tweak it just for maybe one story and see if we like it, if adding a little bit more player control to the story does something. Yeah, you can say the World of Darkness community is going to burn you at stake, sir. No, it's in a World of Darkness book, you know, a published book. A lot. I know they're going to have book burnings. You know, we don't burnings. Well, you know, I don't know. I don't know. Our listeners are really all about that, but I think you'll still have that sense of finality when you roll your dice, but with just a little bit more of an option to tweak it a bit. All right. Thank you for the post. All right. We also had something from Tom Rocket on the same episode, and he said, "Awesome work by Sister Tate and Jay Alton." Sorry, they're true. Do you say that or do you say that or do you say that? No, I said that. Well, I miss Captain Leatherman, Sir Clay of Cleveland. I heard Mike just threw up a little sign. I heard, once again, the quiet tones of the Every Man Chew Park Special Olympics. To Every Man. The Every Man. I generally miss. I think that is a compliment. Yes. I think he meant it as one. Oh, good. I genuinely miss this world setting in mood. I kind of like starting in the middle of the story and that the new mountain man has ties to the paramilitary task force being trailed by the man who would be their scout. Clay's combination of old and new task force members, and please, Jay, use Chew as a point more often. Chew did an excellent job of using his liability to infer all the mysterious development. Now, off to the polls to vote for either Michael Clay or Jay Alton. Well, but Rocket, there's a remote. Not just one, but two. Two compliments. Choose whether to change a heart, I guess. Definitely a compliment for Chew. Wow. Come on out board. All right. One quick thing I noticed is we had a post on episode 104. Which just went up right before I got here. So Richard William Watts said, "Great job, guys." I was having trouble getting into the story on this one, which is probably my fault for jumping in without listening to the first adventure. But once Scott hit the flashback for Jay, it had a great punch. I love the echo on the flashback transition sound as well. Also, as I mentioned, Tom, the ambience of the World of Darkness story. Both the description and the music has made me tense at times. Congratulations on your Hitchcockian manipulation. Well, thanks. We appreciate that all kudos to Tom for the editing and making the episode sound even scarier than they might be around the tabletop. And if you get the chance, go back and listen to shitblock. It's not quite the same production values. The story is, I think, relatively compelling. And the characters you learn a lot about the characters themselves. So if he's bored and looking for some stuff to backfill, certainly worth a listen. But don't expect the production values of Dresden, because we were still cutting our teeth. And like I said, hopefully we'll have the backlog available soon. The first couple episodes of "Shitlock" were kind of rough, because they are a recap of what happened. Always good to tell people that as well, that you're not going to get the story right from the start, but around the third episode or so, it starts getting pretty serious. There was some good stuff. Some good stuff, yeah. It was a long story, but it was really, I thought, well played by the players. And our last post was from Anthony Hearntmer. This was the same gentleman who, at the beginning of our feedback here, made a comment that he really enjoyed "The World of Darkness" and that he had originally come in for Dresden. And has now there. But his comment on episode 1 of 3 was, really, a whole episode about getting over a fence. Wow, that's impressive. Very impressive. That's us. I think that we could make an episode compelling, getting through a fence. I thought that was a good, you know, last episode. I think it's kind of interesting. It was the first episode of the story, and we really didn't know what was going on. So a lot of it was feeling out the situation, even though we didn't know what the situation was. Because we used to just stand in front of the fence/door and argue about how to do it. This time we just ran out of the car right through it. This time we kept doing things like actually trying to unlock it or try to break through it. Or climb it over for a half hour. The episode would have it over in five minutes and Mike actually shone up with his goddamn Leatherman. Yeah. Right. Go ahead. What if you were asking for one? I wanted to drive a car through. So it's Leatherman. Unless he could have took the gate out. You know, we could drove the car through. We weren't going anywhere. Exactly. It's a really useful little play tool, but it would be equipped to handle such a situation. Did you get a kick back from Leatherman? I mean, seriously, what? Looking at the vote really quick. Even all that talk about Michael Clay and Jay Alton, leader so far, has been Chupark. Chupark. Wow. I think they just missed it. Maybe you rock it actually one online and voted for Chup? No, I did. Chupark. Chupoated for Chupark. We also have our links up there. So Christmas shopping coming, Thanksgiving soon. Leatherman purchase. Black Friday, Leatherman purchases for everyone. We also made some money. I'm going to link it up on our page. I did that. I did that. I did take it about one other minute, Amazon.com. We also did change our homepage a little bit more. We've added the direct link. We're continuing with that. In addition to that, I had an ability to stream right from the episode. Nice. You click on it so you can mention that to listener who was asking for that. Yeah, I should change my signature and white wolves to say, "Now, streaming." There you go. In the near future, our web developer will be adding an archive because we have a slight problem in that our episodes, iTunes will only list 100 of them. Now that we're above 100, our earlier episodes are drifting off. We have them. They're still off there. They can still be listening but you can't get them through iTunes. So we're going to put something on the webpage that is like an archive and which will be grouped by story. So it's a problem we thought we'd never have. True enough. If you want to listen to shit, like we'll have one page with all the links of every episode one after another. The same thing with you. We'll try to sort it by a campaign. Mike mentioned a massive amount of feedback on Facebook and we're not going to read each individual post but we will read this or we will mention it at least. I thought I lost the episode. I was doing the final edits on it and I was saving it and I added a WAVE file because that's how we record to keep the quality of it high. And when I was saving that last WAVE file out after all the edits, my machine locked up in the middle of the save and corrupted the file completely. It was gone. It was history. And this has not happened in the history of doing this podcast the day before I had compressed it down to MP3 and sent it to Scott for review. I've never, ever done that before and if I hadn't have done that, that episode would have been lost forever. It's been the lost episode but we had a lot of posts from our fans that were very, very sad to hear that and glad that it wasn't too. And one of them. I think it happened. I think it happened. Yes. There was some little physical violence involved. Yes. I want it threatened. Yeah. I think it was DJ Allen's thread that we got there but glad that it's working. Well it's good to know they care. But there was because when you said that, you know, you had a problem not like you were being a drama queen or anything but we had a problem with how everyone responded. It would have been forced to have one of those, let's just talk about what happened in the episode. Yeah, that would have sucked. I just released the episode tonight, right before we're planning it, I put it out there. And I thought it was a really good episode. I don't know. We'll see when the feedback comes back but I thought it was. I'm interested to hear it with the sound effects because I just like to listen to it, just raw. And I thought it was compelling enough as is. But I could imagine if you did the sound effects, like especially like when Thomas took the first step out of the property and all the crickets and birds. But I timed it that the music was coming a little louder and the birds were coming a little louder so that they want to drop off to nothing. And I found out actually listening in the car socks because the music has played at a low level so it doesn't interrupt everybody's talking, but you can barely hear it in the car. On headphones it's very, very evident. With that, that's end of the feedback. So thank you everybody who sent an end and we'll go on to the episode. This is the world of darkness story chagrin, the second story in the vanishing city storyline. My name is Scott. I'm the storyteller. To my right is. I'm Jim. I'm playing Sister Katie O'Connor, None and Crazy Driver. Bob playing Tupac, FBI Special Agent. Tom playing Jay Alton, leader of this Miley crew. Mike playing Michael Clay, Artifact Hunter. Thomas playing Edgar Montes, a Haitian voodoo practitioner. John playing Daniel Morgan, a mountain man turned a mercenary. You run full speed towards this downed woman. I'm right behind him. No problem. Stay low and as I can and move as fast as I can. Yeah, I come in low due to sliding things right up next to her and I'm scanning the trajectory of where the bullet came from and trying to find out where the shot originated. Katie, do you have the medical training? I have the God and Lord Jesus Christ on my side. I also run up behind because I'd rather have our leader ready with the weapon to return fire if necessary. I've got medical training. So everyone who's dropping, everyone that's running behind Jay is dropping any pretense stealth and just moving out into the open where they just saw a rifle report ripped through this woman's chest and is running with disregard towards her. Is that a fair statement? I'm doing a certain thing to me. Serpentine Shelley, serpentine. Right. I'm standing heads up running. I am ducking and squeezing as fast as I can. So it's kind of like a crab walk along the ground? Kind of situations. Yeah. It's still very quiet. Well actually, it's like I take me an hour to get there. Yeah. If she's on the ground, somebody can feed away then I'm like, it's not to mention I walk over there. We're also are kind of on the lee side of the hill because she tumbled down after she got hit, right? Right. She got hit after she came down the hill and came to a straight away. If you remember correctly, I said the hill blocks maybe 50 to 100 feet. Okay. Beyond it, but beyond that, the farm is viewable from where you're at. Then they've got to be squatting on the hill. They're shooting. How far? No, there's silos. Oh, okay great. Great. I have a rifle. And a stone tool. And I'm not running like a maniac. So I'm gonna just be kneeling and trying to stand on the shot. How far away does the shot sound? Was it pretty fairly close or did it sound like you came from farther within the camp? Just to give you a quick answer, it wasn't super close. The rifle report was not close. Okay, make a wits plus firearms roll, please. All right, I have firearms at four wits at two, so it's six, and I have a specialty in sniper rifles, pistols, shotguns. Go ahead and take your extra special. Okay. So I have a total of satin. Okay. Take anything away from it. I am not going to take anything away from it. If I'm hearing footsteps behind, I'm yelling, not yelling, but I'm dropping into my stay back in the woods. I, it's not going to work, I know, but still prone. Your team is still going to listen to you this time. Is that what you're talking to? It's two successes. So Remington rifle, relatively large gauge, could be used as a sniper rifle, on occasion. With a good coat. Yeah, that's mine. Is it? Yeah. Well, there you go. And I killed her. The report was based on your expertise in sniping, based on where she was, where the trajectory of the wound is as you get to her body, it will give me distance as well. Yeah. It looks like it probably came from the stone colonial. Oh. Okay. Do what I know of that. Do you tell me? So, yeah, I report back. You, with a, with a slide, you run over the dirt path through the risk of just wicker like grass, it's so dead, and you slide down your knees to get to her. Right. And she's coughing. I've been in combat before. Yes. The first concern is the person shooting. I'm not going to be the second person on the ground. So when I'm sliding, I'm landing, bringing the rifle up and looking where I think the shot came from, looking for any movement in the colonial at all. And reporting to the others, the shot came from the colonial. Okay. You can go ahead and make an investigation role. Oh Lord. Or it would plus composure role. I'm going to do a composure since it's more. It's five. Total five. And this is kind of an important, so I don't spend one for three more. So I got eight. Okay. Because of the distance involved and the very, very dark surroundings that you're dealing with at this point. Looking through a sniper rifle, which gives me magnitude and it's like vision. Right. Did you add that in? As equipment bonus? Okay. So let's add two to your weapon bonus. And I'm subtracting because of the distance and it's a pretty quick action. You're running up to your phone position, you're looking through your scope. I'm going to give you the full wammy of minus five, which is usually the highest and any single one modifier. I'm going to be minus five for the darkness because there's a lot going on. She's moving. Right. Flapping your arm while you're trying to look through your scope because there's a thick wet cough coming from her lungs. Two successes. Two successes. Let's see what looks to be a Remington rifle with a scope sticking out of a boarded up window at the very peak of the stone colonial. And that's all. It's boarded up. There's just enough room to move a Remington with some degree of functionality. You can't tell how much degree at this point, but you look up at the rifle and the rifle is pointing right through there to you or her because you're right behind her. So it's hard to tell. The thing you said, though, was there's a very small hill that she went up and over. Yes. The house, he's elevated because he's at the top. Correct. But if I get close enough to the hillock, I'm going to be able to block this. Yes. So that's... Your estimation would be yes. That's my move. I'm moving towards the hillock. Well, after this. But I'm reporting back to the guys, top of the colonial, boarded window, one rifle. They back in the woods. All right. Let's roll for initiative at this point. I'll go around the table. I'll just roll real quick, please. And then... What is it again? The dexterity plus composure plus attention. Which is eight plus six. Sister Katie's got a 14. Two. I have a 13. Michael Klythe. A 15. And Edgard. Ten. And Daniel. Seven. Okay. Michael Klythe. You get the report from Jay as to where the shooter is. What do you do? It gives the order to fall back or save the story. I heed my leader's advice. I also use my meditative mind to effortlessly enter a meditative state whenever I choose and maintain it for as long as I need. And I start trying to focus and listen because these woods are still full of goppery ages. So I'm paying attention to the house, but I'm also trying to get into that zen state and listen to everything I'm trying to be aware. Got it. Excellent. So now we have Sister Katie. I am sliding prone next to the girl and the bike and Jay putting them between me and the window and the building. You do have them to serpentine across an open area. Yeah. So go ahead and make a stealth roll as you try to move across stealthily to the body. Why do I have stealth? I have five dice. One, two, three, four successes. Oh, nice. You move yourself into position behind both the wounded bike rider and also behind Jay. I want to be close enough to the girl that I can touch her. In that case, you'll probably not need to be behind Jay, you'll probably need to be next to her. Okay. Then I'll do that. I'm laying prone on the ground and I start praying. I'm going to say since you serpentine and move stealthily, that was your action for the turn. Using the stealth. If you would have ran right to her, I would have gave you an action. You don't get to do something after that, Sister Katie, just need to understand what that happens. Yeah. Another large port comes, and this time, since many of you were, your eyes were gravitated that direction where Jay had said the first shot came from. You could actually see a little muzzle flash if you will, as the bullet is fired and it enters the upper shoulder of the woman that's flying in front of you. You can't tell whether it was aimed at her or you, but she definitely blocked the shot. It took the shot for you if nothing else. So she lets out a low moan, again, it sounds almost like bubbles bursting in her shots, just popping and she's moaning and she doesn't seem very long for this world at this point. That takes us to Edgard. Do I'm in the thicket area? Yeah, I think an area. Maybe you flinch a little bit when that second shot goes off. But I'm going to maintain my stealthiness and maybe keep an eye out from behind us if they were trying to sneak up on the mission. Okay. That's good. And you have your awareness is with plus composure. How many days is that again? I'll roll it for you if you see anything. Five. Okay. And it's dark. Thirty. You know. One eye. There is no one sneaking up behind you at this time, but again, tough to tell. Did you need to roll anything from micro play if you heard anything? How long does a meditative state take to get into? Instant. It's an instant action? Yep. Okay. Go ahead and make that roll, Mike. From on your turn, we'll back talk a bit about it. So Mike, make your roll for your minutes to stay. Do you want to roll it since you have five, like you did for him? Yeah, Mike. What's your which plus composure? Five. Okay. The crickets stopped, the birds stopped, your ears are ringing a bit from the rifle. Report, bouncing off the nearby hills and whatnot. You do not hear anything that seems odd, ordinary. There's nothing else creeping around to the bus of your knowledge. Right. There's nothing going on besides this horror scene in front of you of this lady basically being murdered right in front of you. Edgard took his turn and it leads us to Daniel. I'm going to take aim at the silent, I have no transmitting of that scope, but I'm going to try. Do you have fast rock? No. But I had the rifle out anyway. Okay. You do not have a scope? Okay. Why don't you go ahead and add up your dice for your shot? Firearms and dexterity. Yes. And this is only five. Okay, but you also get your weapon. That's five. Wow. So. Wow. At long range without a scope, we're probably going to have to look at something because the house is darkened. So it's really hard to even know where, where that, I mean, kind of guess the windows kind of in the middle. I have a little shot to go by, but that's about it. Yeah, it's a good point. I forgot about the muscle shot that everyone kind of saw there. So we'll go with a minus three for darkness. And then we'll go with a minus two for range. Now, to be fair, you're just aiming at the window. It's boarded up. I mean, you're not like trying to shoot through the scope of the. This will just be to get the guys to head down or whatever that, this will accomplish. Thank you. Roll your dice. I don't have tranquilizers. I'm asking a conversion to fire. This is the guy we want to talk to. Probably. If you're just going to try to pin him down, go ahead. Do not hit him. I hope I don't roll exceptional successes. Well, that would be. Do you want one success? No more. Can you shoot? I knew. I thought you could. It does. That stress it. My bulk is soft. No pillows. I forget how that. I rolled two successes. It might be rough and bullet-style. Or something like that, but he hasn't had those two successes. I had a round of tranquilizers for this gun, but I gave it to you. Yes. I have that. Jay. So you definitely struck something, seemingly the top of the house there. It was boarded up with a lot of wood. And you heard a hollow sounding, a striking of a bullet hitting. Can I move in the same turn? Yes, you may. I'm going to separate myself from the group a little to the left. To the east. To the south. To towards the hill. South. Further. South. Further along the woodliner in the open. A longer woodline. Okay. Only because I want to not pin my group down. The stealth is not really going to be possible because of the fact you fired this turn. So if you want to move away from the group, you're going to have to pick up. The goal is to draw attention to myself in different places. I'm not going to be stealthy about this. Okay. There's a little pressure in the wood, but that is what it is. Okay. It takes us to Jay. Alright. Quick aside. Who's our mouth? Who does it talking? You? I have two empathy. It depends. If they're shooting at us. It's you. Yes. I know. But we wanted to talk to this guy eventually. I want you to move up on the left side. Oh my god. If you can't see the house, you can't see you. And then move from building the building to be close enough to talk to this guy. I'm going to try to trank him and then we can just rush the house. I have persuasion and manipulation, but I don't have intimidation or anything. I don't think we want to intimidate this guy anyways. But then you go with him. You and Chew go left side. Yeah. It's just Katie and I were going to drag this lady up underneath the bridge so we can't see us or under the hill. It's the lady. So I forget. It's good talking to these good people. She's going, but you're still alive right now. If I have to, I wait for Sister Katie and we both crawl, dragging her so that we're all three of us undercover. I'm assuming, Scott, that I don't have my Kevlar armor. We weren't coming for combat. We were just coming for a long time. Oh, right. I think that you probably came. Always. Dude, I wasn't meant to bend. I don't know that it wasn't in the band. It was in the band. And then you decided to put it. Because you had to know. I just felt like your agent showed up. Yeah. I could see that. You know, this guy had gone into a deep cover. He might not be welcoming. I could see Kevlar. All right. Chew and I are wearing our Kevlar. And everybody's probably wearing it and we might have gotten it except for everyone who didn't intervene in three months. Yeah. Since our lesson counter. I can live with it as a storyteller. It's fun that you all have Kevlar. So I'm skipping down to Sister Katie's initiative and then both of us are dragging her so that we're under the cover of the hill. Can't you shoot this guy? I need the trail. I need the trail. You don't shoot out in the open. You shoot from cover. You have the trite grounds. Yes, I do. We want to sneak up on them. Be good if you aren't conscious. Michael, do you? I'm in the cover. Yes. You're up. Do I need to go back up? Daniel, who's going to go along the sides of the house? Daniel's not going along the side. He just dropped fire or trying to drop fire away by moving target on the side. But of the woods. If you've got a spare moment, Daniel, take a look for any kind of tracks of the Velcro Asians. If they come through the Sierra, I want to know if they're on our left or right. I'm assuming now they're on our right, but that's just. Then on the video of the woods, right? I go, Jay, what do you want me to do? Nobody comes through the woods. Keep an eye open. What do you got? All right. What do you got in the way of firearms? Nothing nice. Okay. Thank you. You are. Okay. I have weapon training, but I didn't come equipped to this part of the gun. You could have a gun if you want. I really don't have a problem with you thinking that it's probably going to be a friendly encounter or at least a tense encounter, but not even if I had a weapon, it would not be like a pistol. It would be a pistol. It would be a pistol. All right. We had stuff in the van. So once we saw the Velcro agents cars, we had to do a pistol. Okay. Right. Right. After Michael goes, right before you two, are going to drag the bicyclist to safety. You hear an outburst of small arms fire. It's almost like a running gun battle in a sense where you just hear, excuse me, because they feel like it's still blocking you from some of the visions that you would have. But as you're looking in a direction, you definitely see some flashes throughout the other side of the hill. Not just on the other side of the hill, but further on where you can actually see because the hill is not blocking you anymore because it's a distance. The more building, the hen house, the stables, you can see just different types of gunfire going off. Sometimes you just hear it. Sometimes you don't even hear it at all. You just see flashes through the window and you've got to figure there's a gun going off like through the glass. It's like as if unit combat just broke out from Jay's perspective, right in the middle of this farm stand. The majority of it's coming from all over aimed at the cloning of building. No. While it's contained within the building, the hen house, you see, you don't even hear anything here. You just see flashes of light that look like they're gun fire in the darkened windows. The stables, you're definitely here and see fire coming from the stables going towards the middle of the property itself. The Morton building, there was definitely a thunk of gunfire going into and potentially out of the corrugated metal surface of the Morton building. This is it. Again, just a small unit combat broke out right in the middle of this farm stand. Do they sound like they're different weapons? Yes, absolutely. There's pistols. You wouldn't know this, but Jay's going to record this over. There's definitely a semi-automatic, not a sub-machine gun. But yeah, you're talking about some definitely some semi-automatic, maybe some automatic fire, some pistol fire, and again, some fire that you don't know if that's what you're hearing or not, but you see flashes inside some of the buildings as if the fire is going off. Potentially. Or just a closed building and decent acoustics or whatever, you know, and just something erupts. Now it's your turn. Jay and... Sister Kate. So if you're trying to drive her, one of you who has to, is teamwork, one of you assists. One of you... I'm assuming I'm doing most of the ground art history on this. Strengthless athletics, sister. My strength is two. What's your athletics? Two. Okay. This woman is relatively sizable and she's entangled in the bicycle, minus one. Am I assisting you? Yeah. You have four, right? Yeah, I had... I had four. I have five, so I'm slightly stronger than the sister. You have a lot of stronger than me, then I should be willing to learn. And perhaps the most important factor that I fail to mention there, screams. Definite screams. You hear women's screams? You hear men's screams? From the house. When all the gunfighter erupts, there are screams following the gunfighter. Shouts, yelling, pain, just a cacophony of screams being shouted out. You didn't roll any successes? Did you have a family? No successes from Katie. I have a role. It's a personal home rule, home rule rule, where if someone fails in a way, work, they actually get more in your way than they help. So it's only a minus one, but I gave a minus one for anyone who helps. It was trying to help them fail. Makes sense. So, what's your total number of dice? Five. Five, minus one for sister Katie, kind of getting you the way a little bit, minus one for the way. And her way. No problem. Any time. Two successes. All right. You pick her up, and actually you drag her and the bike because her foot is-- And her-- Apparently it's just real fucking Katie. Um, and Katie. No. What kind of bike? You finally kind of catches up and tries to help. This way. And you slide it on-- You get to the-- Kind of the-- To the bait section of the-- Of the hill, so that you are now under what be full cover of the hill. We'll lay that order. There's a whole-- The war breaking out here. I heard it. What do you got in the way of guns, Katie? I got two light pistols. What? I'm assuming-- I was assuming that this lady in the bike is not wearing a Valkyrie uniform of any type. I mean, what is she dressed as? She's rather homely. Uh, actually-- I'm sorry. We got a picture. A picture. Homely. I can just show you just how homely she is. Oh, thank God. So you don't know her name, obviously, at this point, because she can't really form sentences. She's definitely middle-aged to the upward end of middle-aged. She's wearing what looks to be a flannel t-shirt. The sleeves are rolled up on it. She's wearing what looks to be some kind of-- So far. --dongery. Yeah, she definitely is-- she looks like someone that you would see in a rural setting. Possibly the wife. She have a name tag hat field. Dan McCoy's. Yeah, but she-- She absolutely is moaning and sputtering and spinning. And when you go to pick her up, your hands are covered because the exit wound on the front of her chest and then on the front of her shoulder where she got shot the second time is pretty egregious. You have served in the battlefield two turns. Mm-hmm. If this blood is not stopped-- Right. --she's gone. You need a Dr. Luci's. That's where Luci's would save her sister. That's all I'm saying. Dr. Luci's-- I am not-- You always redo that. Maybe-- maybe 10 seconds. So I don't got-- You think she's-- she's definitely-- I don't want to say three or six, but-- Right. It's less than 10 seconds until Leah, before she leaves up, she's going to have a chance to do anything. Um, no, you moved and your action was carrying her. I soon found her. Okay. That's fine. The hunes that I can do takes time. Oh, for fun's sake. She doesn't have time. She doesn't have time. It's going to be up to you. Do you want me to find out what she knows? You obviously are aware of just the barrage of gunfire it seems to meet the second gunshot from the stone colonial. But the second gunshot just all hell breaks loose in the farmstead. Pretty sure no one's behind us. All that guard has in the way of guns is a pistol and a knife and it's not a gun. So like-- We're outnumbered. Not gunned. That's life. Let's let them kill each other and then we'll sort this out when it's all done. We'll clean up. That's basically what I do. There's a lot of information in that gun. You investigate absolutely. Exactly. As soon as they create a crime scene, then you're really going to shine. Right. There's all crime scene recognition. There's some time yet. There was an age of cross shadow here. The good thing is you two can actually get information from the dead anyways. Suggested that I can protect yourself. Angles are good. So if you can get some flanking over here on the left, it's not a bad idea. I already had it there. After all hell breaks loose, I think I'm sprinting it. Or south. East is towards the stone colonial south is round the hill. Right. Stay to the woodwinds. Stay protected. It's possible to stealth through this field. I just want to know. To the field? To be a massive minus. You'd have to move slowly. And grass is relatively high. It's dry, but there's certainly footpaths around where you could try to crouch down and use the cover of the grass. It's not impossible. It's just a grass field. There's no crop in it, like a corn or anything. It looks like further on when you're looking up towards the farmstead, there might have been some corn lying fallow and not being kept. Usually if the grass is tall or what you're describing, you can sometimes see the trails when moving through it or the passage. Right. So do we see any of those? Nothing. Yeah, nothing. Quick question, Michael, but nothing from Valkyrie or any recent activity on this side of the equation. It doesn't make any sense. This lady obviously belongs here, so who's up on the top of the building? Well, I assumed it was the original. It could be that the guy has a massive family and they're all armed because they're farmers, but why would they shoot her? She's a farmer. She's not valuing. Maybe she's escaping the family. Maybe she knows. Let's talk to them. Let's talk to them when they're all dead. So you don't want me to get moving? You want to take care of that guy first? I got to save this lady. I can't take those air too many things to do. Keep her life one minute and I can do what I want her to do, Jay. Move left. Move left. Go to South. South knee. South knee. South knee. I move south. I'm not getting shot. No, stay to the border lines. Get close to the mortar building to figure out what's going on. Has this sniper shot since the second firing? No. Why are there -- he has zone trouble or -- Yes. Something happened. Something happened. He did that fire at the start. You shot him. Anyway. I didn't hear him. I didn't have him. I'm going to start moving, but I'm going to slowly and slowly. Okay. Roll stealthily minus two dice because of the darkness and we'll say you can move at your normal speed, but you're not going to double or quadruple, which are options you have. Okay. I normally have eight. Okay. So you're down six because of the darkness. Just one success, but it's ten. Just one success, which is all you need. You find an area in the woods that's not quite as clogged with undergrowth, so you're able to move pretty freely and quietly and you're moving from tree to tree and you're starting to get an angle. What's your speed? 11. You're quite -- My dexterity is crazy. 33 feet you're able to move. So 30 feet, you're right at the edge of where the hillock is starting to kind of fall down and even out both of the -- well, it doesn't both of the north and the south, but you're at the south. So you're getting to the point where you're able to see a bit beyond the hillock. Mm-hmm. And you see the beginnings of beyond the hillock of a small, rickety fence. You have maybe four foot, five foot high, definitely down in the Google Maps. Snow fence? Yeah, almost like a snow fence. Okay. That type of rickety-ness to it. Daniel, go. All right. I think I don't have to worry about the guy and I'm going to start sprinting across the meadow here. You're a little bit to the south of the path. You're moving up last turn, and I like to see exactly where you're going. We were along this south near the woods and pretty much here. And you're just going down here. I'm going to end up on the south side of the Morton building. Okay. Edgard actually caught up to you. This turn into your his movement, and then you just start dashing across the field towards the Morton and towards the rickety fence that I was just describing to him. Okay. So you have options. You can move at your normal speed, dodge a little bit, try to make yourself somewhat inconspicuous. Or you can move double movement, like you said, taking action and trying to be stealthy. You're just double movement. So you're moving, whatever your speed is, twice. I think I worry about flat out, balls out, run. And that's four times your movement, and you lose all your defense for that turn. Okay. I think a ball's out running guys difficult to shoot, but there's enough trouble that I could ball's out, huh? Hopefully. And I run down with someone's barrel. Okay. So your movement, your speed is 11. I'm a giant. Yeah. Really? Yeah. Those long strides are loving. Bigger times. Four is 44. 120 feet in three seconds. We have the Olympics. Dude. That's impressive. I could move that fast too. You actually pass the hillock, and you see that small rickety fence going across the length of the farm yard as far as you can see in the darkness. And in the middle, you see a small gate that's opened where the dirt path goes. She must erode her bike out that particular gate. And then butt it against the fence on the northern side, like towards the hillock. Yes. You see what looks to be like a russet out long trailer. Someone may live in. I'd like you to make a... Which bus can probably? Yeah, with plus composure for personal awareness, you see what's happening around you. What is it? Six. Six dice. Okay. Minus two because it's dark. And minus two because your balls out running. If you were doing the double run, I would have made it minus one, but the quieter four run nets just putting your head down and motoring. Ooh. Two successes. Wow. Very impressive. You notice what looked to be centuries, one on either side of the gate, and one that's very close to the trailer home. Okay. Throw myself on the ground. You're right. I don't know where that four times is. I don't know. Maybe it's a D and D left over or something. You could just do double. It's a full action. No other feats can usually be performed while running. And then dropping prone, it's not really a feat. Obviously, you could double move and drop prone. Okay. Okay. So Daniel, you want to do that? Yeah. You're like, throw myself to the fence. You're almost not nearly as close to the fence as you were before. Okay. All right. It's 60 some feet. But he's able to, yeah, you're not even close to the fence. Is that scale important? We could just say it was closer. I'm good. But the point is, you've got the angle to be able to see because it's not nearly as high here as it is in the middle. Yes, sir. This is the highest part. Did you report that there's two guys on the other side? Yeah. I don't know if they're armed, but there's guards at the gate. He reported there's two guys on the other side of the sail, but that now tells me they let her driveway throw. Are they Valkyrie? I asked. He was double moving. He's Valkyrie. He didn't see anything. Yeah, but he didn't see anything. They smell like Valkyrie. He's about at this point, 150, 200 feet from them. It's sizable in the pitch black. The fact that any kind of glint at all. The path goes down up and over the sail. Yes. On the other side of the hill, the path continues. Yes. And there's two guys standing on the other side of the path that obviously let this bike rider just ride through. Seemingly. And yet someone from the fence. And then there's a fence. Just shot it. Running across. And then show up on her, man. And there's a trailer home right here. No. Show up on your Google map. We work for the government and we fucking use Google maps. Apparently, it's a recent addition. The last day of the satellite over this area was three months ago, and there was no fence there. Okay. No. Clavin' Ohio. Gotcha. Build the fence. Charis capital of the world. Come on. I'm fairly certain you could take no other action that turned. How about running back to the free line where your commander told you to stay? He didn't. I did. You said no. Well, that was before hell broke loose. And when hell breaks loose, you just do whatever the hell you want. No. Of course. That's for the man, man. That's the fast-fucking time to do whatever. Michael, what? Call the boss from the radio that, okay, I don't think anyone's... Headset. Just headset. Just headset. You can whisper and do it if you want to. If the house is under assault right now, now's the time to hike up and pull the woman to the cover of the tree line. Also, if we can't get a beat on these guys, what's gonna stop them from backtracking and taking their car and find out that half of it's throughout the gate, are they going to... Are you saying this in three seconds? I'm saying it right now. Oh, I just finally have three seconds. That's right. I just really have to point... Okay. Just quickly, we disabled their car, drove the other one into a tree. They're not going anywhere. What about our car? Our car's fine. But it's disabled as well. We have the keys. We have the keys. I'm pretty damn ineffective here. I don't know what to do here. You talk into the headset, but that's not the obvious you could do other things. Well, I mean, I'm trying to pay more attention to the woods around us and listening for anyone who's trying to sneak up on us. Okay, so Michael Clay does not hear anything, doesn't see anything, and he's watching your six. You hear more shouting, more crying, doors slamming. You hear children's voices. Aw. They're older than 12. They're like middle-aged children? Middle-aged children. They're more like... Tweers. You know, they're queens. Young adults. They just took over Waco. Aw. They're the ones shooting. There you go. That's my reference. They're screaming die, Nazi sympathizer, and they're killing the Valkyrie agents. Whatever you need to tell yourself. Speradic gun fire. Not as much as the eruption that was the last turn. It's sporadic gun fire now. And that would be Michael's turn. And we go on to Jay and Katie. How long? Is this still the first round here? Oh, no. We've gone for several times. Oh, because I haven't done anything yet. I feel that surprise around here. I have you in the legs. It's time. Jay, now you've got the two! Whoa! You know you're a wuss. You just, I've had a treat. The fuck's happening? Oh. Two of you are right. Dude, I'm in the van. I did miss you. Last turn. Let's go ahead and do a quick shoot turn. This would be last turn. We went after Jay and Katie here. Go. I guess I'm going to army crawl my way up the little hill it there. It's just great. It works great. No, this fuck. Because this is a couple rounds ago, so this sniper is still out and about. So you army crawl, we'll say the first turn. You crawl on the base of the hill. You don't have to be right next to Jay and Katie unless you want to be. Because it's stretched out for 20, 30 feet. At least it's a little up in the land. I don't know if I'm going to get an exactly army crawl, but I just want to stay low. You crouch and move your way up there. Go ahead and make a stealth roll just to be fair. Three dice. No, it's dark. You get plus two. One success. That's all you need. So how many turns can I take here? You can take one and then as soon as Jay and Katie are done, you go again. Alright, Jay and Katie. I'm not taking care of her this moment. I'm looking over the hill. If either of those guys are dressed in all black stealth operatives, I'm taking one out. So, you move up to the top of the hill. If that's what's required. You sculp it. Look over. Go ahead and make a Witz plus composure or with plus investigation roll. Alright. My goodness. It's good. My goodness, by the way. Four successes. Two of them. Zeros. Good luck. Not five. Just four. Okay. I suck over. The trailer lies in your complete darkness, which is just off the side of the fence. And silence. In the inky blackness, you can just barely make out the forms of sentinels guarding the fence line. A figure stands to either side of the open gate, and one more leans against the fence near the trailer. How many successes you said? Four. I can read their name tags. Yeah, it was pretty impressive, but you have the skull. So, that's part of the equation. And the figures are dead tight to the fence. Good thing I threw down the grass. They're kind of like held up in position in the place against either side of the fence and the trailer. Two men on either side of the fence. One woman by the trailer. Like out of the uniformed in any way. Not uniform. They look like they're farmers, and there's bullets for their forehead. In each case, they've been shot in the head. Recently? Just now? If there has changed four times now. You would say that it's longer than five minutes because their blood is caked on their head. And with the heat register that you're trying to get with your scope or your night vision, actually, you can see the fact that there's caked blood on their head, but there's not like a swarm of flies around them either. So, recent but not too recent? I was going to switch to the guy in the building and take a shot at him if he's available, but that's probably too long for three seconds. I just dropped back behind the hill going, "What the fuck is going on?" What do you see? I explained over the thing. So you're dead. Farmers, stressed to the fence, shot in the forehead. I think it looked like they're standing. That's fucked up enough to be awkward. I would think they're still there. I think this is an excellent place to end it for the night. This isn't just a raid, it's a murder squad. I'm popping out the thing of trying so I haven't put it in real. Fuck these guys. Okay. As we did last time, instead of having though, what do we learn? What do we blah, blah, blah, blah, blah. Let's try to take just a few minutes to talk about or questions of what happened this evening in the story and in our characters' development. So, I'll open the floor up to anyone who wants to hazard a guess. What do you think the Valkyrie's strung them up because they didn't want people noticing that the guards were good? I don't know why they have guards. But they have guards and lots of people here and children that are over 12. Absolutely. So they strung up the guards to make it look like they were still around. Private arm? This isn't just a farm, it's a compound. The Valkyrie got in a position and then they set up the murder to all go at once. So the guy can talk to the house is Valkyrie now? He might be. Do us. Well, I thought he was the owner. I can't prevent somebody from it. Those guards were all shot at once. Otherwise, they were shot. Oh, you're shooting a Remington? He was. No, I think they're like a primers weapon. I don't remember. I go. Yeah, but you're covering the enforcement. You're kind of like a fight for my family. Exactly. The Valkyrie are coming in to clean this place up and take these people out. But it would make sure they're not going to watch. They could be good Valkyrie guys coming in here for a good reason to take these people out and that might might not be. I thought they were Valkyrie at the gate and if I take a couple of them out from the guy, I would know we're on his side, but that doesn't work anymore. If this was legit, we'd probably go for it, wouldn't he? If she could live for a minute, I could keep her alive. But she's going to be dead before I can heal. No. Scott said 10 seconds. I've got two more turns. I'm not the best. Well, we just need to stop the bleeding. You just need to turn it to her and try to get stabilizer in between the three of us. Shot in the head. You want me to turn it to your neck? She shot in the nose. I don't. But her chest is pretty. Yeah, because if you guys stabilize her enough for me to start doing my thing, then I can keep her alive. It's a kill squad coming in there. They started stealthily because then they tried to prop up the guards and the woman. But then someone tried to escape and the shot went off. But then they got into position. But the shot came from the top of the building. I think they set their guy up there. Well, maybe. I don't know if it helps or not. But the shots on the three struck up farmers seem to have been frontal. They weren't shot in the back. They were shot from the woods. They were probably all silent, joyfuls because otherwise this place would be on full alert. They were really shot at once. If there's an execution style, a quick look at the corpses will tell us. If there's close range powder burns and they're on the bullet holes. So we know that it was. We should give it 10 minutes, then go in and figure out what happened. This was definitely a shot. My concern is... Come back tomorrow and figure it out. I knew as long as we need it here. Give it a week. Shit. These guys, first of all, I don't think we're too far away to do anything for the people in the house. It seems like that. So now I'm thinking that these people are going to now egress and they're going to be coming back our way. And... We're going to be shot by a sniper. Well, either they're going to run into us on the way back or they're going to go to find out that their vehicles are... I'm not curious to see if a bunch of those people come running out screaming on our own. The people who live here are going to come home. The guy we're looking for is an ace-level hunter. If anybody's still alive here, it's him. You think he's a sniper, but you're not sure why? Why not either? He's shooting his own people. Yeah. It makes sense for the Valkyrie to watch the people are escaping. They're cleaning up. Yeah. They're covering up. Yeah, they're... How do you cover this up? Everyone's all shot up. You cover it up after they're shot, everyone. Fire arm mishap. Maybe you burn it. Yeah. I don't know why they're explosion. I don't know why their bodies are tied to the fences or whatever. I think that was the key. You make the trailer or meth lab and you blow the whole place up. It's a... I'm sure there's plenty of fertilizer and nitrates on a farm. And it's a hunter's farm. Maybe they're on purpose. Also, the question marks at this point. Yeah. Bob says a lot. Really in the story. It's also weird that it's what laid at night, right? Yes. 11, 11, 39. And there was some sort of firefighter struggle going in just about every building here. Why would there be people in every building? It's a compound. When they all be in the main buildings. Well, we're not going to have a chance to look at the buildings until we figure out what's going to happen. Because right now, the only vehicle that works is ours. And we've got, so, six draftery and two dogs. There's a bunch of some automatic weapons. And they're almost done doing what they're doing. A very professional, very coordinated attack and raid on... Which is why we shouldn't interrupt them. Again, the one guy that has all the information we need is probably still alive. But we can talk to dead people. Who? We had someone we talked about. And people... I thought I heard that story somewhere in there. I can't remember now. I know I can't. But... But I looked to my leader. I mean, if you're telling us to go in, I'll go in. You tell us to fall back, I fall back. I had to actually work to meet... You leave my orders back. I'll sprint across the field. Notice some guys in the trip on my face. Well done. You are the best. Mission complete. Sit still. This order is worth being crossed. It's fine. With a sniper shooting at us. I made that sniper duck. I got some successes. He's either dead or... Oh, as we did. I mean, in a sense, Daniel put his gun up, fired. Then he was his own covering fire. He was fired and then dashed across the field. To me, it kind of makes... I don't know if it was in the orders, but it made sense as to what he was doing. I can see your character thinking... Those are Valkyrie agents. I used to be a Valkyrie agent. They're my bros. I want to go in and see what's going on. They're killing civilians. I'm not really... He is a wall from Valkyrie. Just be clear. Not only that, they're killing veterans. They're killing a veteran in this fight that we all know about. And presumably a bunch of other people with firearms that probably made it to old children. Old children? The middle-aged children. Crazy bastards. Unfortunately, I was like away in the woods a half a mile away. You still had to see... I just had to kill a shot. Yeah. Couldn't have done anything about it. It's a swishman. All right. Good job, guys. We learned nothing. We made a lot of progress. We got to the best. This is not a stress. I love you. I love you. ♪ ♪ Thanks for listening to the 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, start telling 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 mystery and adventure. ♪ ♪ ♪ So everyone is dropping. Everyone that's running behind Jay is dropping any pretense of stealth and just moving out in the open where they just saw a rifle report ripped through this woman's chest and is running with disregard towards her. Is that a fair statement? Let's let them kill each other and then we'll sort this out when it's all done. We'll clean up. That's basically what I do. There's a lot of information in that. You investigate everything. Exactly. As soon as they create a crime scene, then you're really going to shine. Right. She's all about crime scene recognition. They couldn't stop time yet. There was an ancient gun shadow here. The good thing is you two can actually get information from the dead anyways. You leave my orders vague, I'll sprint across the field. Notice some guys in the trick on my face. Old children. Sweet little ass children.
