London has a tracking spell working on Big Bill's locaiton. A quick side trip to the Hanna Theatre can't take long.. can it?Actual Play starts at 07:02
Knights of the Night
KOTN Actual Play Podcast 75: "Delivery - Life is a Stage"
(upbeat music) - Hello and welcome to Knights of the Night Actual Play Podcast. This Dresden Fowl Story delivery was written in run by our GM town. And now, please enjoy episode 75, titled, "Life is a Stage." (upbeat music) (upbeat music) - I want to explain to our listeners that we've tried to improve the quality of the file. And in some recently released episodes, what happened was there's a switch on every corner that gets flipped over to MP3 from Wave, and we lost some of the quality, and they signed in a little muddier. Luckily, that doesn't continue a lot. We also, in the feedback last week, for instance, forgot to try out a fan. This is things that we try to normally take care of, and sometimes the ball is dropped. If a bad episode or two sound quality slips through, there's nothing we can do to go back and record it, we just have to kind of soldier on. - We're not that dedicated. - Yeah, that ain't gonna happen. - All right. - I heard you all on the script. You know, Frieden, feedback when I was downloading some of the episodes, somebody mentioned the fact that these ones, they can make out whose voices-- - Yeah, again, I don't know, maybe we were listening to the ones before, you know, the ones that we were doing from before, they said I had a hard time just figuring out who was-- - And it might just be the quality of the recording, as opposed to, because like I said, we discussed this before, I'm not sure if you weren't here, but the fact is, John and Thomas are my sons, and their voice is very similar to mine when I don't have a cold. - And you and I being brothers. - And you and I being brothers are similar, so you would think, with this particular configuration, it would be more difficult to tell the voices apart. - A lot of the original recordings were also done on your iPad, as opposed to this better mic. - Yeah, yeah, it was my iPhone thrown in the middle of the table, so definitely, they sound quality, it was nowhere near as good. - It was until we went back to that when I, you know, that really noticed it. - Yeah, it's like that, you know, you're watching high-definition television, you go, ooh. And then you forget how ooh it is, until you go back, and you watch a regular channel and go, "Oh, crap." And but then again, your eyes will adjust to that standard, relatively quick, and then when you flip back here, like, ooh, it's pretty again, you know. But it's the same thing, you know, I'm doing the editing, I'm used to the high quality, and then I listen to the old stuff and go, "Oh, geez." - It didn't take long for the moon landing to become passé, and no one wanted to pay attention to it, so. - Sure enough. - Yeah, sorry, this podcast is comparable to-- - The moon landing, it's that technically difficult. - And that, it's that kind of impact on pop or culture that we're having. - What's our tang, you know, what is that? - I don't know what that means. - See, see. (laughing) - Wow, sorry. - If I hadn't said that, I want you to feel very old. - Somebody said something very interesting, I thought, was that the "Back to the Future" movie, when he goes back to the future, he goes back to the 50s. You know, that's where he goes back and is, that whole environment with his dad and stuff, and how crazy that is. Do that now, and you're going back to the 80s. That's the same distance traveled time life. And I was like, "Oh my god, I'm old." (laughing) That's the equivalent of being really old, you know, that-- - No, no, you don't remember what tang was, or was your-- - No. - It's one of the first commercial products marketed that came out of the space program, and it was an orange, powdered orange drink. - I drank a lot of tang. - I drank a lot of tang. - I drank a lot of tang. - That's what you did. - That's right. - If you want a velcro, everything was velcro. - If you want to be like an astronaut, you drank tang. - It's basically orange, coolate, pre-sugar. - Well, I think it's also the technology to create a powder, you know, create a powder that you just add water to, and then you get all sorts of drinks. - I'm sure, coolate. - A little round before that. - It was everywhere. - And that's good as tang, though. - It was pretty awesome. - Tang was changed. - The world was changed by tang. All right, before we get started with the episode, we have a little bit of feedback. Just one note from our blog at kotnpodcast.com, and this was in regards to episode 72. It wasn't really specific to 72, but it was from Peter in Slovakia, the homeland. - Yes. - But a few of us. - Yeah. - But our mother. - One majority. - Well, we have seen a table of slowbacks here? - A lot of them, yeah. We are much more slow than anything else. These guys, too. You're out in no-- - No, Slovakian. Not Slovenian. - Slovakian, yes. - What does that say? It's Slovak, right? - Yeah, Tom. - Oh. - It spoke. - I don't even know about Czechs. - Slovakianian. - Or Czechs. - It could be Czechs. Anyways, Peter says, I just want to thank you for your podcast. I'm a big fan of fudge and fate derivatives, and I like to listen to your Dresden file gaming. Peter from Slovakia. - Well, thanks, Peter. - Yeah, thank you, Peter. - Appreciate the feedback, and glad you're enjoying it. And quite a few of us here at the table, one, two, three, four are Slovakian and descent, as well. - So half. Are we sure? - Yes. - Want to check? - Doesn't matter. - We're definitely more, you know, the country is called Czechoslovakia, but at the time, it wasn't at the time, it was definitely Slovakian that our groups came from. - Okay. - So, it was just Czechoslovakia for what? - From the end of World War I, because Peter's gonna know much better than us, but I think it's gonna end of World War I to the end of the Cold War. It was Czechoslovakia, and then it finally was separated into countries. But yeah. - And I find it interesting once people on Facebook will, like our page, I try to friend them back just to have conversations with them and whatnot when I'm on Facebook. - So don't be shy, Peter. - And we've been getting a lot of foreign listeners, mostly from that region, Slovakia, as well as an upper-- - The Baltic States? - The Baltic States. It's just mildly interesting, because some of their updates will show up on my page, because I've friended them, no clue, because it's written in a different language entirely, you know? One of them, I don't know if it's a common feature of Facebook, but one of them had a little translate button, and it changed it to English, it was really cool. But anyways, we want to thank Peter, and with that, we'll get on to our episode where we have a special guest joining us. - So we're gonna start our dressing files. Delivery, I am your GM Tom, and starting on my left is, John playing Roberto Martinez, Guardian of Cleveland empowered by a fallen angel. Thomas playing Maxwell Edison, and undercover FBI. Scott playing London Deals, a moral sear to the supernatural. - I am Jim playing Edmund Shadowski, private investigator, New World Blackboard amp. - My name is Mike, I'm playing Ellen Montgomery, the warden who's come back to Cleveland to clean up the town. All right, and tonight we have a special guest with us, Alan, who will be playing one of my NPCs for me in this upcoming combat. - I'm Alan. - Where we left off last time was, with you guys going to the Hannah theater, to meet with Ryan Nelson, who is-- - Perinette. - Yes, for leader of the Perinette. - Local. - Perinette. - We're gonna meet him at-- - Wait, how's district? - Yes, Hannah theater. - Mm-hmm. - So you guys flew up in two different cars on the outside, it's like he's 14th in Euclid. - Okay. - At the Hannah theater, two cars pull up, Alan, London, and Edmond are in one car, and then in the other car is Roberto and Maxwell. - Why are we meeting Ryan Nelson? - We're picking him up to drop in one at Safe House. - Bill Donovan met with him-- - Oh, what did he say? - For several lemons. - So he knows what he was up to before he disappeared. Is there any information to be gleaned from this gentleman? - Oh yeah, he knows a lot of-- - Okay. - The first thing I thought we were just being good Samaritans. - No, when my rule is warden, do I have any particular relationship with the Perinette? I know in the books, Jason emphasizes that. - Well, Jason, it's set up the Perinettes. - Have you been around in the last 15 years? - Yeah, that's the problem. - Yeah, you haven't been in the city now. What you did with other Perinettes and-- - Other cities? - The Perinette is something that, like, Dresden had set up, but would I, as a warden, view the Perinette as basically a bunch of potential people I need to arise? - You tell me, it's your character. Did your character think Perinette is dangerous wild cards that need to be controlled? - Well, that's what I'm trying to remember. - Your character is by the book, right? - Well, I remember, this is Cleveland. - Right. - When you were here with your mentor, the Perinette did not exist. - Okay, so that's knowledge I don't have as-- - You don't know how he treated them? You wouldn't know how you want to treat them. That's up to you. You were in the Bahamas on an easy thing, you know? Yeah, but you know, a lot of people go-- - I'm mad at the fuck, but in the Bahamas, things are pretty relaxed and, you know, the rum helps things go. - No paradise. - Yes, there's a lot of zombie and people, you know, voodoo and stuff. - Insights and annually the threat that they're made out to be. - Okay, good enough. - Before we leave the hotel, am I able to make a phone call to Ross Realty to put down a appointment? Do you want me to get a appointment? I want to buy-- - Yeah. - I want to buy Bill's old house. - Just put a bit on the house. - Over the phone. - Right, I'll buy it. Whatever they ask in price. - Apparently I have funds and means now, so I'm about to buy it. 'Cause I'm pretty sure that-- - It had like $25,000. - It immediate, but I also can sign and put the invoices and vouchers for more. - Just all of this mystery I needed to buy a house. No, I'm not kidding. That was all of my list of things I need to do. - Well, yeah, I mean, I need a place to prepare a spell to take out a word. - Do that in back, Alex. - I can't do that in my room for eight of the key. - You have the number for Ross Realty, you call there and you get an Allison. And she says that she'd be more than happy to meet you at the home and bring some paperwork. If you want to put in a serious bid, just tell me real time. - Later this afternoon, we'll work pretty for me. - Okay, Allison, three o'clock? - Three o'clock it is. - Word, that's like one hour from now. - We didn't launch and I did the spell. - You went to the coffee shop and you went to the house and you left the house. - Six o'clock. - Six o'clock. - Six p.m. - Whoa, already? - No, that's when the appointment-- - Okay. - Now it's like, whoa, that's really, whoa, that's too late. - How about tracking Bill Dunham and you think you'd deal with that by six? - Nevermind. - Nevermind my business. I mean, if you don't want to meet your mentor, that's okay. - Wow. - We've got to go see him and what if-- - It's multitasking, I get to establish a base of that. - I know, we're not a member of it, I've just got to go buy your house up. - Right, with his old place, which has been clean and there's some interesting things underneath there. - Clean by. - Do you know something I'm not aware of, sir? - No. - Because we talked from two cars. - I just wanted to be able to, hey, so. - This appointment he did in the morning, you guys are now all men outside the Hannah and in the Hannah are well outside the Hannah. One of you pulls up first, let's say Roberto and Maxwell, 'cause they were on the east side, I don't know what that means. - Yes, they were. - So they jumped on the highway and got there. - Let me just make a declaration and say that the place I want to take this guy is in the playhouse district. So we're actually picking him up, we're actually meeting him there and then walking. - So the safe house in your house and you're there. - Dear Lord, do you want us to walk? - Shofo. - If we're picking him up or do we have any resources? - Yeah, yes. - You're always thinking about a very short distance, like it's a couple blocks away or something, so I wasn't meeting him here or having a driveway across town somewhere else. - Let me just open the door. - Okay, I don't think it would be much of a stretch to say that you're the one who made up where the meeting place was, so I have no problem that you would make it close to a safe house. I don't even think that requires a role. That just makes sense. So you do have an apartment near here, there aren't a lot of houses near this location. - I have an apartment with people, I know, I guess, all like that. - So you guys are outside and you all get out of your car, it is a reasonably sunny day for Cleveland, it's mid November. - Is someone going to interrogate this channel and give us some information from him? - No, I get some stuff over here. - If only I got some stuff over here. - I figured that's why I'd like to have what you guys are doing. - I can do full light interrogation. - I can do mean interrogation? - Yeah. - But I'll take it easy. - I can be a good cop, bad cop. This is November 29th, to be exact, so it's a late November. - But this guy's also pretty sure someone's trying to hunt him down, so it'd be nice to have somebody here and back we have him. - Pish, posh. - Jumped on the way there. - No bad guys around. - I'd say that unless the warden is very persuasive with this word, then mech would be best suited to talking to this gentleman. - I think he's right perspective with this sword. You're pretty good at that. - At this point, I am content to be quiet and let admin-- - Well, let's jump. - I didn't know you were right, but mech's well-conducting the interview, or do you want to take care of yourself? - I can take care of myself. - But I just need someone. - One year to do what you guys are looking for. Things I might miss that we need to ask on. - Well, off the top of the bat, any thing involving Sarah Lemons, the Situation Bay Village, and Lila. Lila's death, and who might be connected is that the same people that it's connected to, whoever he thinks is chasing him. - I'm pretty sure that's a given, that whoever's killed. - Yeah, but we don't know who they are. - That he was-- - That he knew or connected-- - But you don't-- - I think what the warden is saying, you don't know if he has any information. - Yeah, right. I don't know if he knows who they are, exactly. - Well, let's start talking to him, find out what he knows. - Okay. - Is he there? - Yes, actually, you walked into Hannah theater. He is not in the theater. Well, he is actually in the theater. He's not in the lobby. - Uh-huh. - I don't really have a picture of the theater. And again, I'm in my iPad. - That was the one I went to. - You want a job for him? 'Cause I'm talking about something like this where you have a sage and you have three zones, which would be the floor, and then there's balconies with piles behind it. So we're just gonna go with that. - No, I'm sorry. - And then-- - You're the guy. - I do indeed. This is Ryan Nelson. Tool, he does look like a tool, doesn't he? - He's a dork. - He looks like a guy with a broom on the arm. - In his arm is in a cast indeed. Ryan Nelson is sitting like on the edge of the stage right here at the middle. - That's rather strange. - You guys are walking down? - No. - I'm totally staying in the car. - You were sitting outside the car talking to everyone else. Are you getting back into the car? - Yes, I-- - You opened my pick-up. - And I'm not walking into a darkened theater when I'm wanted in how the hell did he get in the theater in the first place? Why is he standing outside? Like normal people do when they're being picked up and sculpting about? - Because she's in danger. - I mean, I can understand if she was in the lobby. - Okay, you're in the car. - We're checking inside. - My point is, we probably can't leave. - Okay, I'm not going in. - And there's no one attending the lobby. - Door? - In fact, no. - We can't leave London alone in the car outside. - See ya. - Have fun. - Actually, yeah. - I'll be in the car with him just unpaid for that. - Bye. - Find him, interview him, bring him in the car. Let's go. - Second best come, maybe. - So it's, uh, this is what? - Three o'clock in the afternoon then? - Yes. - Which would be-- - So you're standing-- - I think. - You just opened the door to end to the center and you see him standing there. And I'd like alert you next to this. - If I remember correctly, there's a big lobby to the-- - So you're outside, he's not there. You walk into the lobby. - And then you have the-- - He's from out of the state and the hand of theater and this huge lobby. And then you have to go through one of those doors to get to prison with what that is. - Yes. - So he's not even in the lobby? - No. And when you open the door, you do see him there and I want to alertness for all of you. And how about outside, do we have to roll? - No. - No, here. - Oh, not outside. - I have a good alertness. - I have a good alertness. - Fair alertness. - Yeah, you guys don't notice anything. You noticed that he does not look comfortable. He looks like he's sweating. He looks like he's trying to look like he's calm and failing horribly. You know, all the good stuff. - You're following me. - Okay, if I remember correctly, the doors are over on that sides of this. And then if you come in here, there should be like the stairway up to the balcony areas. - We're on here? - Well, yeah, it came up here to this colon aid and then you can go down to the box seats and the... - Yeah, and off to the left and right are stairs to the balcony. - Right, I quickly whisper, who's with me, actually? - Edmond, Helen. - Edmond, you're the guy who was kind of active here. So he knows who you are. He doesn't know who I am and I am a little suspicious. - He's never met any face to face. - Yeah, he might know verbally, but that's about it. - Oh, okay, call him. - Oh, that's right, that's right. 'Cause you called him and then he convinced him and talked on the phone. And you were gonna go with him regardless. - Where? - 'Cause you're his friend. - Employee. - Employee. - Right. - I will hang back here. I'll hang back in the shadows and try to cover you guys with magic if necessary. This is around the day. So are we in the middle of a matinee? Is there an actual? - No, there's no. There's no form of sight. - So why don't you two go up and I'll hang back in the shadows? 'Cause this doesn't look right. I don't know why this guy is sitting in the middle of a theater. - Probably because he didn't want to be out on the street. But why would he even put picking center stage? There's a little bit of, I don't know, it's just too theatrical to me. - I want that too. - All right, you're walking down the main aisle, or one of the aisles. You got the one on the right or left. - Wow, my mom always said to go right. - No, go left. - You're going with him? - No, I can talk a lot. - You're going right and left, you're going both aisles. - Yeah, yeah. - And where is Alan when this is going down? - I will be trying to be close up to the stairs where if something's happening above me, I can go up the stairs, but also keep an eye on their back and I'll see what he's looking like. - Okay, so for example, is he watching them or is he looking at somewhere else where-- - All right, you can't be in the middle of the stairways and see him. There are doors that they close, so that they don't have to be carried. So you're either opening the door and standing in the doorway, or you're going up the stairs and standing in the balcony, but there's doors to those as well. - I'm going to be inside the theater on this level. - Okay. - Relatively close to where the doors are that are, I presume, the stairs that go upstairs. - Okay. So remember correctly, you can roll your lower, like alertness, but for magic, to try to spot anything magical. - Well, I guess that's, yeah, I was looking to see if that was part of my-- - That's fine. - Okay. - If you're spending a turn doing that while they're walking down. - Yeah, I'm trying to get that sent, okay. So, and that is my conviction or my discipline. - Your lower. - My lower, thank you. And I have a great response to that. - Oh, that is more than enough. They're about halfway down the aisle and you kind of open up a little bit and start sensing. And there are definitely creatures all over this building. Like your getting magical creature hits. - Inside or outside. - They're in the building. - All right, I did. I go out the door. (laughing) - Your thumb. - I'm out. - Shikes. - Perhaps something. - Oh. - Should have done a little bit earlier. - Follow. - At this time, let's have any-- - Life. - Alertness roll from everyone. - I get four. - Four. - Huh? - For order of, oh, death. Death. - Death. - Even those outside. (loud clattering) - Oh, sure. - It'll come in the plate later. - I rolled a fantastic. Holy shit. - Duck. - Nike. - You rolled a. - I don't even have alertness. - Still. - The door is great. - You're really great and you don't even have it? - Yeah. - Wow. - Four spot. - Three percent chance. - Well, bitches. - I do have it and it was good. - I average again. - Now I average 'cause I was kind of proud of you. - Oh, I was proud. - I was called. - Thank you at my part. - So my compass is pointing right at Bill Donovan. - Just in case you were wondering. (loud clattering) - Hey, he has information. If he's not dead by the time we leave. - If you don't bring the guy-- - Can you two in? - What's the point? - Well, we've already got the first half up front. - There is that. - Just to be clear, that's a passive sense. So I'm not triggering alarms here, am I? - Yeah. - So conceivably, these two don't know that I've just detected this other than at least. - These definitely would not. - Right. - If some other magic user had their sight open, they might be able to detect you doing something like that. But otherwise, pass it. - It's all a metaphor. - If you could passively sense that-- - They'd see your avatar like-- - Somebody was in the same type of magic that was passively sensing. - At that point, when I detect this, I'm going to speak in a clear but not virgin who was directed at Edmond, who should know me well enough to know when I'm being urgent and that the fuck with me. I just, I say his name, Edmond. - I stop. - I keep going. - It is actually Maxwell's turn. Let's start with you. What are you doing? - At other stage, how many is going between me and him? - One. - I step across that zone. - Okay. - And two. - And-- - What you see, though, is you come down to the left aisle. He's sitting on the stage and crouch down below the front row of the seat is someone. And that person yells now, and he yanks. - I shoot. He yanks. - He yanks. - The guy off the stage. - I shoot the guy. - He shoot just his hand, you can see? - Well, I saw him. I rounded the corner and he was like grabbing the other foot. - No. - Okay, I don't know. - I'm sorry. I just want to be clear. - All you see at the back is him just come down off the top of the stage as Maxwell whips out of God. - No detriment for shooting a supplemental action. - 'Cause I got that. - Is this a supplemental? - Stumped. - Oh, yeah. - Walk the zone. - No, it's not a definition of a supplemental. - It resounds here. And then the guy also at the stage. - Yeah. - And the back stage. - All the seats. - All the shoot. - Yeah. - Go ahead, shoot. - I'm good. - Sorry. - A roll of good. - I can't do anything else. - I could run. - I'm just saying that from my point of view, it looks like you're shooting out there. - You. - Okay. - Does the guys doubt his spectacularly or does he just know? - No, he dodged. - Exactly. - He seems to be moving off a quick. - So one center stage and one on each side on the balconies. They are all humanoid shaped and moving very, very quickly. The one on the right comes off those after. I don't know if the one on the left comes off those. - It's going to be right on the stage. Right as they were facing the stage. - Pardon? Stage right or stage left? - Oh, yeah, it would be felt flat. - Wow. - You're in the car and hiding like a fucking child. - I mean, I'm not hiding. - I should have tackled. - Oh, you are? - I'm filing my nails. Make sure I have a nice sheet. - I should have tackled. - Oh, good. - Well, you learn that they have some otherworldly polarity. - Solarity. - I don't know. - Oh, polarity. Look at one of them. - Yeah. - Pulls off the tongue. - It's how he talks. - The one on the right jumps off a balcony down on top of you, Edmund, with a great attack. - Well, he doesn't. - Okay. - That was the zone of movement, though. - Yes, it was. - They might have that perk. - They might have that perk. - Go bitch and fad. - Solarity. - Other one. - Two zones for free. - Okay. - Okay, so it's actually a superb attack. - That's not so bad. - Come on, Ed. - What can I do? - I'm now a little mad about it. - Okay, so if he's attacking with his fist skills, you have the option to block with your fist skills. Or you have your athletics to try to avoid being hit. - I would rather use my fist skills. - Yeah, you're using your fighting skills to avoid being hit with his fist. By deflecting it, blocking it, whatever. When it's your turn, you can punch him back. - Right now you're using fists to exceed the superb attack. - I roll three. - Oh my gosh. - I roll three. - Which brings me down to an average. - Okay, an average definitely gets hit by a superb attack. - You want to restore a lot of five out of that in any way using a fake point. - You can add plus two by spending a fate and telling me an appropriate aspect. - Or you can spend a fate on an appropriate aspect. - Two, we roll entirely and hopefully not get a minus three. - You just need a plus one. - Yeah, something I'm going to do that. - Okay. - Because I don't know my strength, so I'm going to spend a fate. - One spent? - Yeah, both both. - That's better. - Got actually a superb attack. - A superb attack and a superb defense. Which unfortunately still means that he hits. You equaled his defense. That means you take only his weapon, which is five points of stress physical. - Wow. - I can take my five bucks. - You can mark off your five bucks. - You can mark off your five bucks. (laughter) - That's enough. - I had these six bucks and a seven bucks and a eight bucks. - He goes to jump down from the balcony and land on you, but you're moving very fast, almost as fast as he is. In fact, he goes to claw you and you almost get out of the way kicking him over you, but his claws just rip all the way up doing some damage to you as he flies over and lands like next to you in a crouch position. And he's definitely one of the blackboard vampires. - The other does the same maneuver on the other side, hopefully not as bad. Oh, minus three myself. - Did you want to attack me? - Yes. - He did very poorly. - He jumped two zones. - He jumped from the balcony down to where you are. - Yes. - Damn. - And he rolled poorly. - His attack ended up being average. - Yeah, I can dodge that. - Yeah, you can dodge that. - Luckily, I dodge that. I roll. - You think? - He's superb. - Okay, that's enough for a spin. So, would you like to narrate what happens? He comes flying down at you and you get out of the way so effectively that you get an advantage on the next attack. - Who is the next attack? - The next attack would be London or Edmund since London's out in the car filing his nails. Because I told him. - I don't know. Edmund's going to get a spin off this, but I think I backstep and they stumble into each other and knock each other off-pounce. - Wait, wait. - He does, but the only action he took was to pull the guy down off the stage and put his claws on his neck. - Maybe this one jumped and put their leg through those really difficult chairs that don't close. - Well, you can't get your leg out sometimes when you're trying to step over them. - Okay, so he jumps down at you and you push him into the chairs and one of his legs slides in between the chair and how it folds up. - Oh, maybe you can tear it in the embarrassing tent. London. - Okay. - Start the car. - And Edmund. - I'm going to punch you there next. - Go right ahead. Wait a minute. The guy right next to you is a guy to jump down. Are you going to the middle where the guy's got his claws on his throat? - Go ahead. - And I rolled plus one, which is some perfect. - Leaping over chairs. I rolled a minus one, so this guy uses his fist to fight you, which brings him to a good. He's too stressed to his physical in addition to any weapons you have for your fists. - What do you want to do for my fists? - So that's a total of four. - And we are on to Roberto. - How long has it been since they went inside? - It's kind of nebulous as far as how long half combat takes on them. - I would say three or four minutes because they walked into the lobby. - I'm sorry. - They looked around and then they walked into the hands and looked around. - Do you want me to check in on them, please? - You're going to be okay? - I'm fine. - You know you can just go. - I'm fine. - He doesn't normally ride in a pinto, but he's fine. - Okay. - You don't even have satellite radio, you're barbarian. Can you go and see what's taking them so long? - I'm going to lose the tracking on Mr. Donovan. - Thank you, Roberto. - One of the sun rises again. - We have longer than you. - You do. - I'm impatient. - I wander into the lobby. - Okay. Wandering is one zone per turn. - I know. - Sprinking is a little faster, but it's your choice. - Hey. - You don't know what to think. - You are. You walk through the doors and you're not here in the lobby. - And there's our concession stand around here. - There's a concession stand. - Close. - It's unmanned. - So it's like... - Well, it's everything. - However you can make me an alertness roll. - Would he have detected a gunshot? - Head to the alertness roll. - I rolled mediocre. - Sorry, just good. - Good. Which is well enough to hear chairs being thrown and ripping and out. Maybe I should hurry. - Someday. That is the end of your turn. - That is the end of your turn. - Around the hallway comes at Hal Hound. - So they were kind of crouched down. - Right. - They were in the shadows back. - Right. - They were leaping at the wall. - They were leaping at the wall. - Right. - They were leaping at the wall. - So the one did a... - Yeah, that's a bit attack. - You're not surprised because you registered with the blip blip when you were getting magical creatures. And two of them are near you and they are both... The one is doing just a fair attack. - All right. - Hal Hound will go on right towards you. The other is also doing a fair attack. - So I have to defend using my athletics or my weapons. - Here's the other one. - I would choose to... I told you I had my sword out, correct. I will defend against the first fair attack and I will have an even fudge so the defense is superb. - Yeah, spin on that one. Describe to me as his dog wanders at you what you can do it. - Then I try to redirect the animal to follow the attack of the other... - Of the next one. - So the next one is average instead of fair. - All right. - As you mess up it's incoming. - Oh my. And that is a +2 in the fudge so that makes it an epic parry. - Wow. - So you put both of them down into crumpled heap at your feet when it comes to your turn. Oh, look at that. It's your turn. - All right. So then I should have massive spin, right? - Yes, you do. - So fun. - Then I will strike as hard as I can at the wand going towards with my sword and I will invoke nothing yet. With a negative wand to the fudge so my attack is great. - Against its average would be a +3 and your weapon again. - It is a weapon 3. - Hold over. - Then you're stuck and make it a fantastic damage to it which takes that puppy out. - Like out out out. - Nice. - Do they ignite or do they just turn into ectoplasm? - You don't want to start the theater. - I can do that. - It's a hell-how and I'm just saying. - Yeah, I just think so. - I was wondering what happens. - I don't hate the theater. I just want to be clear if there is a now on fire. - I like the idea. If a dog starts on fire. - How about a thing? - First you're not on fire. - No, it's a now on the fire. - So we didn't give aspects to the kind of theater. - Combustible. - Yeah. - Combustible. - That would be one out of the set. - I mean it's big. It's acoustic. - So now we haven't ever seen the old fire in the theater. - It's dark in the theater. - Yeah. - Yeah, I would show you. - It's cramped. - Yeah. - Yeah. - I mean, it's a little hard to move around this place. - It's multilayer. You've got a lot of balconies at different layers. You've got tramps because of all the seating. And now we are adding aspects of fire. - All right. - All right. - Well done. - Hey, that's good because I don't have anything that can kill vampires, but now there's a fire. So I'll just like stick their faces on them. - I don't have anything that can kill vampires, but now there's a fire. So I'll just like stick their faces on them. - Did that been under the same zone as this? - Yeah. - You're both down by the foot of the stage near the African. - There you go. - And there's still a guy over there where Edwin used to be on the right side of the line. - Yes. - Okay. - I guess I'll grab the guy on the right side. - So you wish to impose first some kind of maneuver on him. - I was down for that. - I'm gonna warn you. - People within human strength get pluses to fighting crafts. - I'm really good at grappling because I can use monotalytics for some reason. - Okay. - There's a guy front of you, Ryan, with claws to his neck, I assumed you were grappling with a guy. - Is there a pocket to go next? - Yeah. - Okay. - I'll just tuck up a guy then. - Okay. - Because I'm going to throw a grappling next to him. - So I'll block against this guy's turn. He's with my foot. - Okay. - That's one. - I roll the negative one on the fudge dice to my opponent. - Fudge dice to my opponent. - Fudge. - Fudge. - Fudge. - Good. - Good block. - Fudge. - You might want to add to it, but you could see what his-- - You might have to have a fudge. - Fudge. - Let's go for it. - What do you need to have? - Yeah. - You roll the minus one as well, and his athletics are good, so that's-- - Let me start. - So I have a graph. I mean, I have a block of, like, one belly. - Right. - So I can make it three, and then-- - He would have to overcome that three too. - So he crushes nice. - Crushes nice. - Okay. - And he would use every life as we say. - Oh, nice one. - Good. - Even a dork. - Yeah, even a dork was broken. - How did you guys do? - It was in. - It was clearly in. - That was, like, for something so very relevant, does he get a plus one or something? - No. - No. - Sorry. - I could just-- - I thought it's only a plus three. - It's a three block. - Against a vampire. - With such a stress. - Hey, you roll a fair dodge. - I didn't understand that. - I'm not really sure what other else. I mean, I could go with an iron man, because-- - Oh, a second one. - Yeah. - Or a superb block that we use. And iron man. - I mean, if this guy sucked you into this trap, you might as well save his dumb ass. - Yeah. - Because you're getting your ass kicked in a humus. - A humus. - A humus. - And I blocked this man from attacking. - Plus fine Nelson. - Resident dork and broken iron. - Do you want to describe how you do this? I mean, you go running across. - Take a step back. - I rushed forward and throw myself at the man and hold him and stop him. - Put your neck in the way. - Yeah, clearly. - Are you like pinning your arms around him, trying to hold his arms to him? - Yeah, holding his arms back. - His body so he can't-- - And away from our-- - Or whatever, the hell. - He should take those toes. - He's superb. - Just like if you get googled broken iron and dork. - And then googled, and that's what picture you get. - That's a wonderful picture. - It really is. - I hope the fans can see this in all school. - Yeah, it'll be on the Facebook. Maxwell, the vampire that you are holding attempts to break out and rolls a -3 on the fudge dice, to break your-- - He breaks your arm down. - He's superb. - Hold up the hand. - I'll figure it out. - Okay. - He was all pro in college. - He was-- - He's iron man. - The one on the right attacks Edmund and the one on the left attempts to free his friend by attacking Maxwell. - Edmund, first, you get a plus one on the roll for a superb attack. - So to be clear, two vampires are engaging Maxwell. - Yeah. - The humans. - The superb attack. - Yes. - Furl the dice. - Yeah, he's hitting back. - No, you're attempting to not be here for it. - Oh, dear lord. - Wow. - You're attempting to not be hit. You can use your Feds to fight back. - No, he can't. - Or your athletics. - So I tell you that was a sissy slab. What was the roll? - Mine's 3 again. - Oh, you are just king of mine straight. - Yeah. - Shamb, please. - Change your dice. - You rerolling it? - I'm going to do the frame dice. - E. - EZL1. - One. - We think we're using them all up in this guy. - That instead of the search for "down in the five"? - Better. - Yeah, whatever. - I got superb. - Wow. - What did you roll? - I rolled a plus one, so superb. - I believe his attack was also superb, which means you take just the claw damage. - We do it again. - Which is high. - Since your five is already taken and it rolls up to a six. - The other one attacks with a superb as well against Maxwell. - I don't even know the fudge dice, which is a superbly good manipulation. - Damn high. - So you take five damage from his claws as he rips him across your back trying to pull you off of this guy. - I'll take a mile to the frame. - Okay. What is your mile? - Backpaint. - Lower backpaint. - Claw right across the back. - Claw. - Cause he's kind of like this and kind of exposing his shoulders and back. - London is sitting still filing his finger. - Wait, is it my turn? - Yes. - I'm seeing if this is your finger. - It's a jalopy has 90.3, so the Debussy marathon is on. - Okay. - Classical music. - When you're bending down and you're tuning in and you miss the fact that two people walk past the car and head into the head. - Oh, absolutely. I have an alertness of nil, so I'm like, who has knobs on their radios anymore? - Give me an alert as well. - Me? - All right. - I rolled a minus one. I have an alertness of none. - You actually do. - Yes. - Missed the fact that two people walked by your car. - That would be poor. - Lean on your car. Smoke a cigarette for a short amount of time. And then head into the head together. - Hey, hey, hey, hey, hey. - Oh, I'm trying to take the guy out. Is this guy done any damage to Ryan yet, or does he just look like he's going to kill him? - He's trying. - No, it's not apparent that he's actually taken any. The guy had claws on his throat and then Maxwell grabbed his arms and pinned his arms to his, which kind of like pull his arms back. He's got a little red marks on his neck that I'm sure he'll complain about. - Four of Ryan's friends that he got lucky. - It's not pushing this guy again. - Let him go. - Pow. - Oh, I hit him pretty good. - Wow. - Yeah. - As far as good as it gets. - Can you get better? - I got a great plus four. - So you got a plus four on the roll? - Yes. - What's your total? - What's your total one? - Great legendary. To give me a little pop-eyed swing. - Tell him. - He's super overcut. - Like I said, let go. - All right. He attempts to get out of the way, but he's somewhat restrained by grappling him. And also his terrible role. So you smacked him a good one. - What does he... - Like this? - Plus two because you're smite. - Plus two because you're smite. - And his defense was just fair, which is two, which means you did six plus your fist for a total of eight, a legendary blow to the back of the head. - Damn. - Partful thing of this blow. - Yeah, this is impressive. Unfortunately, they seem to absorb some of it. You didn't do a full eight. - Two. - As you would hope. - They have about a armor of two. - Eh. - Eh. - It was fantastic instead of legendary. - It still was a good hit, but these guys are around the pot. - And we are then at Roberto. - Hey, again. - You're one's own away from the action. - Let's tip through that, then. - You're probably, are you walking in the right or left side? - I'm right. - The one on the right side. - You'd be coming out right where the warden is standing with two dogs next time. - Yeah, the fire. - One of them actually. - And the fire is spreading up from its corpses. It's melting into two. - Flaming. - Like kind of, you know. - Did I bring the fire? - The moustache. - Would you leave your hammer behind? Of course you brought your hammer. - Okay. - It's usually in the trunk of the pickup, but I can't remember if we drove that here or not. So you do it anyway. - I... - Okay. - And L4. - I'm in the cab. - All right. Swing away at the dog. This is supplemental, right? - Holy shit. - Yes. - I rolled a poor fudge dice, but my weapons is great. So that's only good. - Its defense was fantastic as it jumps out of the way of crawling at you. - That was pretty lame. - That was a relatively unimpressive entrance into the fighting arena. - The other two dogs come charging in as well. - Another... - Another two. So it's a total of three because one is fire. The one that just got swung at by Roberto is not happy about that. So it attacks him, but he's here on you. And that is a superb attack on Roberto and just a good one on Alan as well as a great. - All right. - That's a good one, a fudge of plus one, so that makes it a fantastic defense. - All right. Which is enough for us to attack. - Okay. Which I will angle again to help me defend against a great attack. - Yeah. That was great. So it comes down to a bit. - All right. So I defend against the now good attack, the second dog, and that's a wash. So I have a superb attack on defense against the dog. - Okay. So you've got to spin against that one and you follow up with an attack on that dog. Imagine what you do, Roberto, on your attack. - Was attacked with a good superb? - Yes. - I rolled a good defense, two damage cut through. - Well, plus the weapons, huh? - Yes. - I'm not sure flaming me. - It's only weapons of one teeth. - Oh. - So it does two plus the one is three or one. - Am I in the same zone as the vampire attacking it? - No. They're all the way up stage. - Yeah. - They're in the-- - Draw a little circle around them. - Make an orchestra pit. - All right. - That's where they're at. - That's where Edmond-- that's Ryan and Maxwell. - Ryan Maxwell. - And the other-- - And actually Edmond wouldn't be there as well because he just punched the guy in the back of the head. - And you are farther up in the audience and you have-- - Okay. - One of the dogs. There are two dogs back to you. And I can't really do a spell with an area effect here that would-- - Well, bring the fire, baby. - But they would put him in it as well. - Yes, it would. - So, see, I'm thinking ahead this time. - I'm not going to burn you just to take out the three dogs and see me. - I will continue with my butchery of Hell's animals, the Hell Bishan. - I have a big shell. - I strike the-- - The one you have plus one, the last one. - That's right. - I have plus one to this. Oh, another wash. So that is a fantastic attack. - You have plus one because of the spin. - Yes. - Fantastic attack. - Bad role on there. It's average defense, so-- - That's plus five. - Plus five plus your weapon. - Five plus your weapon. - Is plus three. - All right, we'll face one out as well as it bursts into flames as you throw power. - Okay, great. - So, I'm going to try to show you two halves of flying into the curtains and go. - That's so great. Okay, spend a date point to attack the other dog or-- - No. - No, okay. - Sorry. - So, I'm done. - Yes. - Can I move them? - Yes. - I'm going to move down towards the stage so I can get closer to-- - Leaving Roberto with two dogs. - Roberto can I do so? - Roberto, yeah. He's got a big hammer. - Okay. - In fact, I'm just telling you, you know, you're leaving a guy, mortal, as far as you know. With two firemen. - I know. - Oh, well, I'm trying to protect Al-- - Shh. - Shh. - He's a mortal. He probably needs help. - Shh. - Just ask why. Hold his hand like a little baby. - No. - He's just ignoring me. - No. - Okay, I will stay and protect him and hopefully that Edmond and Max will be able to fight off the two. There's just vampires. - Free. - Hey, mama, are you guys done here? - Not really. - Not really. - Hey. - For you, it was quite. - I guarantee you it was back up. - You walk into the Hana lobby as Meghan Donovan. - I thought the Sunday was bad for these people. - They are for Black Fork Empire, just all the stuff. - All right, so that's part of the mystery of how he can be walking in from the lobby anywhere. - In Donovan and another individual, in trench coats, come walking into the Hana theater. You see the right-handed door just closing, but inside of it, you see fire. There's a door on the left as well. - And for the door without fire, probably a safer option. I'll enter through that door and assess what's going on inside. - Okay. - Thanks for listening to the Knights of the Night at 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 podcasts or business, please visit Zenaudiosmith.com and please join us next episode for more mystery and adventure. You're in the car and hiding like a fucking child. I mean, I'm not hiding. I should have tackled. Oh, you are? I'm filing my nails. Make sure I have a nice sheet. I rolled a minus one. I have an alertness of none. You actually do. Yes. Miss the fact that two people walked by your car. That would be poor. Lean on your car. Smoke a cigarette for a short amount of time. And then head into the handbag. I'm going to go get a little bit of a little bit of a mess.