Speaker 1: Deathless is an improvised cinematic narrative with live production, including
music and dialogue. There is no script. This story contains violence,
disturbing imagery, adult themes, and a darkness which may be doubting.
For Lord, perceive at your own risk.
Speaker 2: Wagen fight shade.
Speaker 3: Watchet that you say stand up for the thing you
can't stand.
Speaker 4: Your dreams are surprising for a contact.
Speaker 5: How are you here?
Speaker 4: Since I've been sentence after many from your client. There
few some spirits and ghouls, and you should have known
it to be someone like you.
Speaker 6: Just because I'm in a clan doesn't mean I'm like them.
Speaker 7: If you are different, then.
Speaker 8: You have nothing to fear.
Speaker 5: And what do you want for me?
Speaker 7: As care taker?
Speaker 4: You are the only one with access to the crypt
I seek.
Speaker 6: You invaded my dreams without invitation.
Speaker 5: Why would I help someone like you?
Speaker 6: You are aware of what I do, Yes, of course
I am.
Speaker 5: But there are no kindred for you to punish there.
Speaker 4: Whether there are a kindred there in need of punishment
or not remains to be seen. I seek this crypt
for that information. Will you assist me?
Speaker 6: I'd heard a rumor, but I didn't think. Yes, I
will help you, But I'll require your help in return.
Speaker 9: Oh, I remember this now. This could have worked, But
you misunderstand time. You've watched a centuries, a slip through
your fingers like sand, and yet you still can't comprehend
what it means to wait, perhaps a few millennium more.
Speaker 7: Time is nothing.
Speaker 9: Time is dumb. I've been here longer than you could
ever understand.
Speaker 10: I waited for millennium.
Speaker 11: Buried in places you can't even imagine, forgotten by history itself.
Speaker 12: Time is nothing. It's something I want something by playing.
I've seen forever and it didn't even blink back. Give
up already, rattling like a beetle in a jar. It's
almost sad. You go mad.
Speaker 9: You know I watched it happen. I'm watching it now.
You're just a little thing rattling in this coffin, shaking,
shaky shake, because if you still have.
Speaker 7: The strength to move, they won't even know you're here.
Speaker 9: No, no, here, You stay locked in this moment that
stretches backward and forward and never.
Speaker 7: Rooms at all time.
Speaker 11: You wait, forever, bright, forever, and I walk.
Speaker 9: I've already seen it happen, but I'm watching it now,
and I'll.
Speaker 7: See it again. Oh, how you endure for me?
Speaker 1: The air cradless, damp, earth, and rot, a cloying heaviness
that clings to your skin. It's a still night in
the botto water, but the silence here isn't peaceful. It's waiting.
The cemetery stretches out before you like an endless sea,
forgotten names, tombs stacked high, casting long shadows in the
weak light of the half moon. You stand at the
mouth of the crypt. It's entrance, gaping like the maw
of something long dead but not quite at rest. Beside you,
your companion shifts, their breath, visible in the cool air.
They don't say anything, but you feel the tension the crypt,
or something in it calls to you. That something stops you.
Eight cymbals carved into the stone wall, just beneath the overgrowth,
hidden almost eight marks, each one sharp, deliberate, ancient. You
can feel the weight of their meaning pressing down on you,
though you don't yet understand what they signify. Your eyes
trace the symbols, jagged lines that almost seem to pulse
in the shadow. There is power here, in danger too.
You run your fingers over the stone, feeling the cold
bite of its surface. These symbols are a key, perhaps
a warning, definitely a riddle. You can't move forward without
deciphering them. But the cemetery itself feels like it's watching,
waiting for you to make the wrong move. The night
presses in around you, thick as molasses. Somewhere in the distance,
you hear the faint hum of the city life still
bustling in the streets beyond this place, but here it's different.
The air doesn't move the same way. The animals are
nowhere to be seen. The world beyond the cemetery feels
far away, as if the crypt has swallowed you already
just by standing here. The crypt looms in front of you,
but the symbols hold you in place, as though the
very ground beneath them is sacred or cursed. You feel
it in your bones. These symbols, they mean something, but what?
Speaker 5: In order to get to where we want to go,
we need to open this and it seems like we
have to identify a few of the symbols to get
to where we want to go.
Speaker 1: And my.
Speaker 5: Instinct is pointing me towards a few symbols, one of
which seems like movement based that will allow us to
get inside. But in order for both of us to
get inside, we'd have to sacrifice something. Is there something
movement based that you'd like to sacrifice or offer?
Speaker 4: I'm unsure what you want me to sacrifice? Want me
to give it my boots?
Speaker 5: It's ancient magic. We could see what happens.
Speaker 8: I'll go like we're in a crypt, I go catch
a rabbit.
Speaker 1: Okay, role. I believe that's going to be a survival role.
Role survival to try to catch a haven't difficulty difficulty three?
Speaker 8: Would I be using my dexterity? It's ooh.
Speaker 1: I will let you choose either dexterity or strength, either one. Obviously,
how you catch it is dependent on which one you choose.
Speaker 8: M And you said a difficulty of too difficulty of
three to catch?
Speaker 1: That's correct? To catch a living thing in a vampire cemetery,
absolutely nothing, Okay, I think actually that's probably the train
of thought that you might have, like why aren't there
any living, small, living creatures in this cemetery? But perhaps
after a moment or two you might realize or remember
that there are some very very powerful old vampires that
can suck the life force out of a creature if
it passes over them. So if they're maybe housing something
in here that you suspect is in here, then that
might be why there are no animals in the cemetery.
Speaker 8: Okay, I return and there's nothing being here. But do
you and I?
Speaker 5: Then what we offer must come from us. I would
suppose if we're trying to offer movement of some kind.
You mentioned your shoe, we could try that.
Speaker 8: Yeah, I unlice my boots and hand them.
Speaker 1: To our Okay, do you you set them down in
front of the thing then, Acorn? Yes? Random question. Has
he given you a name?
Speaker 5: I don't think so.
Speaker 1: Have you given her a designation by which to call you?
Or does she just call you man? Or you there?
Speaker 8: I don't sure that we've exchanged names. Okay, you didn't
really discuss that.
Speaker 1: That's why I was asking.
Speaker 9: Now.
Speaker 5: I have a feeling you would know my name, but
I wouldn't know yours.
Speaker 8: Would be easy to discover your.
Speaker 5: Name when you first contacted people call you.
Speaker 1: Yeah, so the way you first reached out to her,
she's willing to let you have her name. So okay, okay,
So Cora then sets the boots down. Do you touch
the symbol after you set the boots down.
Speaker 5: I think i'd actually touch the symbol while I had
the boots still touching my other hand.
Speaker 1: And then you set it down. Okay, the symbol will
light up and it stings when you touch it, or
when it lights up, brother, it's almost like it's burning
your skin. But you're a vampire undead, so when you
pull your hand away, it heels itself. But any mortal
doing this probably would have just burned their finger pretty badly.
And you set the boots down. And what should I
call you? Because I don't want to call you orcish
And if you don't want to reveal your name, that's fine,
But what should I call you names that power? You
have to give me something?
Speaker 8: Uh? Stalker?
Speaker 1: Okay, Stalker, you will have a minus one dice pool
to any agility roll while you're in the crypt, but
your offer has been accepted.
Speaker 5: Next, okay, I think the next symbol is actually going
to be the one right above it. It's the one
that looks like too I don't know what to call
those greater than lesser than symbols, but crossed over each
other so it looks like it's stitched.
Speaker 1: Yeah, okay, And what does that represent to you?
Speaker 5: I think it represents also something progress related. Something that
is tied together or stitched together can potentially be a
stitch shitched.
Speaker 1: So I'm kind of leaning towards that idea, something that
is stitched and that's all I will say. That's the
verbiage I will use as well. Okay, and what do
you think you will offer for that?
Speaker 5: My first thought is something from the clothes that I'm wearing,
cutting off a part of it that has stitching. But
it doesn't feel personal enough.
Speaker 1: Ye old would really really well for your ritual and
occult knowledge. So I'm going to say that's not enough.
You know that, m.
Speaker 5: So I think what I'd have to do is I'd
take out a blade, just one of the kind that
flips open, and I would take some of my hair
and cut off a length.
Speaker 1: That was the only answer that would have been acceptable
for this symbol, by the way, So congratulations, that's real good.
Speaker 5: Okay.
Speaker 1: I'll let you know with your occult knowledge that you
know obviously this is a body part, it's hair, it's DNA,
it's if somebody were to get a hold of this,
it's potentially they could use it in a not great way.
But this is your cemetery that you guard, so no
one should be going through here anyway without your knowledge, right, Okay?
Speaker 5: I think though, I would still be really careful because
I don't want people to find me unless I want
to be found.
Speaker 1: Yeah, so you cut piece of your hair off and
then I'm sorry, did you say you were doing something
with it? Were you braiding it? Yep, you're braiding it,
And then you were going to touch the symbol with
it in your hand, just like you did previously. Yes, okay,
the symbol lights up and burns your skin again. It's painful,
but then it heals itself. But your offer has been accepted.
Now there is one more symbol that you must choose.
But before we do that, we're going to switch scenes,
and I want somebody merks. Do you want to roll
me a one d or? Oh my god, I would love.
Speaker 10: To do that.
Speaker 1: Oh one, that's you, my dear. I went around, I
went clockwise on my screen. So you I would like
you to describe for us the last thing that you remember, the.
Speaker 13: Last thing I remember. The last thing I remember is
having a bag thrown over my head. Yes, a group
of people came into my office in my bar. They
dashed my head against the desk, and I saw darkness.
I think I know who they were, but of course
I have no proof.
Speaker 1: What was your last emotion that you were feeling? The
very last one? Rage? Okay, roll me another one D
three now three, Greg, that is you? What is the
last thing you remember?
Speaker 10: It's hard remember it. It's all flashes and feelings and emotion.
I remember my outstretched hand reaching out.
Speaker 7: As my.
Speaker 10: As my master. Just lay there, bloody and I'm getting
dragged away and then nothing. There were screams as well,
and then darkness, echoes, dripping water, screams in silence. It
all goes together in the just four texts, just repeating endlessly.
Speaker 1: And what's the last thing that you you were feeling?
Speaker 10: Emptiness alone, it synonymous?
Speaker 1: Roll me a one D two one, Danby, what is
the last thing you remember or your character remembers?
Speaker 2: Rather best thing? I remember being jilted, awake, I can move,
I'm in pain. Something's holding my arms and there's someone
in front of me doing something to my arm and
it hurts. I thrash, but I still cannot cannot move.
Speaker 1: And what's the last emotion you were feeling?
Speaker 2: I'm scared, and not only am I scared? But I
feel like I I miss someone. I feel sad.
Speaker 1: Trench the last one. That's the last thing you remember.
Speaker 14: I remember a painting hanging on the wall in front
of me, looking up at it as I am on
my knees. The painting is Judith beheading Halo Fornes. There
are two women holding someone down as they're cutting a
man's head off. And I feel disappointed, I feel inadequacy,
and I feel angry.
Speaker 1: And is that the last emotion that you're feeling? Anger?
Speaker 14: The last emotion I feel is confusion.
Speaker 1: Okay? Can we go back through and everyone voice the
very last emotion you're feeling?
Speaker 3: Rage, alone, sadness, confusion. O.
Speaker 1: Hey, we're gonna switch back to the two at the gate.
You are choosing another symbol?
Speaker 5: Did I know about this before we came tonight? Know
about which the yes symbols here?
Speaker 8: Okay?
Speaker 1: So you were here last week and then you went, Okay,
I need to go back and I need to prepare.
Speaker 5: Okay. I think that the point I would pull out
two bones from my pocket and a bit of string,
and I wouldn't know if this was going to work,
but I would take the string and wrap it around
the two bones so that it formed across symbol, and
I'd go up to the symbols and touch the third
symbol in the second row, which is the circle with
the cross in it as I'm holding the bones and
see what happens.
Speaker 1: Okay, follow up questions, what are the bones? Where are
they from?
Speaker 5: The bones would be from a bird I had been
keeping in my apartments.
Speaker 1: Did you love this bird? Really?
Speaker 5: It was a bit of company that I had been missing.
It's not the kind of bond that I would have
had with a bird if it had been with me
for twenty years, but it was something that I found
in the previous month, and it was nice.
Speaker 1: It was.
Speaker 5: A bomb for my solitude, for my loneliness, but I
also was incredibly attached to it. But I felt like
it was just enough that I would be willing to
get rid of it and to use it for this.
Speaker 1: So you kind of knew that at some point you
would be getting rid of it. Or was it that
that hadn't crossed your mind until this came up.
Speaker 5: It hadn't crossed my mind until this came up.
Speaker 1: Okay, And were you nursing it back to health? Was
were you going to set it free at some point.
Speaker 5: No, if this didn't I wanted to keep it, Okay,
if I had, Yeah, if this hadn't come up, I
would have wanted to keep it.
Speaker 1: In the threat to the string you said, tell me
about that? Where's that from?
Speaker 15: Hm?
Speaker 9: Hm?
Speaker 5: I actually think it would be the thread from a
favorite article of clothing of mine, and I had to
dismantle it to get this string or thread.
Speaker 1: I'm gonna make an offer here, okay, because I think
your character would know this thread from clothing that you
like is good, that's fair, But an umbilical cord would
be better for what you are trying to gain access
to later as well. Okay, yeah, that sounds good.
Speaker 10: Okay.
Speaker 1: I am not going to ask you now, but at
some point I'm going to ask you how you acquired this.
So I just want you to think on that. Okay.
So when you set this down, so you've now bound
the bird that you cherished for the time that you
had with I'm going to assume like a small part
of an umbilical court, otherwise it wouldn't really work. And
then you're going to touch this and then while holding
this and then set it down in a row. Right,
So you've got all three offerings there in a row stalker,
you get your movement. Dice pulled back because she took
a bound creature and offered it, So you now have
your flight back. Something has happened to you for the
duration of the crypt, but I'm not going to tell you, Korra.
We'll find that out as we go, because I don't
think you know okay, whereas stock Or would immediately be
able to tell that something's off in his ability to
move around. Okay, Suddenly, now there is no wall. There
is just an entryway for you to walk through. There's
no it happens unceremoniously. There's no sound, there's no nothing.
It's just all of a sudden. There was never a
blockage here to begin with. It's just an open walkway
for you to enter inside.
Speaker 5: I would probably step through first, just in case there
was something else occult related that I would need to sense.
Speaker 1: You don't sense anything when you first step inside it
other than the fact that the air gets heavy, and
I think you just feel great power here, not necessarily
coming from any certain direction, but it's like almost like
almost like when your name is called when you're a
kid and you know you're in trouble, that moment of like,
well fuck, that's kind of the vibe of this script. Stalker,
do you follow in behind her?
Speaker 10: Yeah?
Speaker 1: Okay, Okay, So I'm going to need some roles now,
and it's your choice. We can either roll something mental
or something physical, or one of you can roll mental
and one of you can roll physical. That's obviously what
happens next or the clues that you get for what's
happening around you are dependent on what you're rolling here.
So if you both choose mental, that's fine, but you're
probably only going to get then mental or magical clues
as to things that are around you, and not necessarily
any traps physical.
Speaker 8: What are we rolling for?
Speaker 1: So I'll tell you in a second, but you need
to choose either like a physical or a mental role.
And it's like to kind of sense if there's magic
around you or any physical.
Speaker 5: Traps I would want to sense mentally. Okay, and what
about you, Stalker?
Speaker 7: Uh?
Speaker 8: Well, I guess I would be looking for physical traps.
Speaker 1: Okay, So then we'll have you roll either something like perception,
but I'll all so allow you to roll dexterity. I
know that's not technically probably how this would work, but
to me it makes sense. Oh, I will allow that
if you like. And then Acorn, oh sorry.
Speaker 8: Go ahead, I'd like to roll awareness.
Speaker 1: Oh yeah, that works.
Speaker 8: And what mainstat do you think I would use with that?
Would I use wits?
Speaker 9: No?
Speaker 1: You're going to be doing a dexterous role. So that's
what I was saying before. If you're going to be
looking for physical stuff, you're going to be using a
physical trait, and if you're looking for occult stuff, you're
going to be using a mental trait. It's not typically
how the role is done, but that's how we're doing
it for this.
Speaker 8: Do you want me to do that now or what?
Speaker 1: Yep?
Speaker 8: What's the difficulty?
Speaker 1: Three? It was four, but Acorn's final offer there was
really good. Plus the person well, hair.
Speaker 8: I got four successes okay?
Speaker 1: And then Acorn, why don't you go ahead? Or Cora sorry,
why don't you go ahead and roll your occult and
wits or resolve? Either one works. So it's the same
role as last time. You just want to click on
the occult on your sheet. Difficulty is three, no extra
bonus pool.
Speaker 5: Okay?
Speaker 1: Three? Whoa, okay, so we've got four successes for Stalker
and five successes for Cora. And the way that the
VTM works is just it's not if you have more successes,
it's better unless it's like a critical it just means
you succeed said thing. So I'm going to say that
you can walk through the crypt, and when something occurs
or when there's a trap, I will let you know,
but otherwise go ahead. You two have the floor.
Speaker 5: Okay. Probably wouldn't call you this out loud. I'd probably
say you, hey, whatever, But me the player, I'm going
to refer to you as Stalker. Would you want to
move ahead or would you let.
Speaker 1: Me go first?
Speaker 8: This is your this is your place.
Speaker 5: Okay, yeah, I would move through the crypt, probably fairly slowly,
because I want to have ample time to anticipate any
kind of danger. And along the way, I'm also just
kind of getting to feel for the place. I'm already
feeling that sense of power, that almost distant threats of
a presence, trying to clean anything else about it.
Speaker 1: H I think that you too. You've both succeeded. So
you're going to navigate through this crypt fairly. I don't
want to say easily, but studiously. I guess. So you're
moving through and you are doing everything that you feel
you should be doing. You're checking for magical traps. You know,
he's got his eye out for physical traps. You definitely
see tons of that, but you are both for whatever
reason able to point them out. You know, this successful
way to get past them or avoid them entirely, or
even disarm them, and you make your way through. Now
neither of you have been here before. How are you
navigating this space?
Speaker 5: I imagine it's probably going to be dark? So I
probably would have brought some sort of light with me,
probably something simple and portable, So maybe one of those
like camping lights that you can pull open and it
turns on automatically. Yep, battery powered.
Speaker 1: It's got ooh not battery powered. You would have learned
that from Stalker being in your apartment. Any tech you
use around him is gonna go hmmm. Okay, so you
probably using either a gas lantern or torch or something
of the lake.
Speaker 5: Okay, yeah, I think if we had discovered that before,
I would have had to get maybe a lanternard.
Speaker 1: Because your microwave, if you have anything technological, it wasn't
working when he was around.
Speaker 5: Okay, okay, yep, so I would have brought maybe a
kerosene lamp or something else that is fuel based with us,
and I'm using that to light the way.
Speaker 1: Okay, sounds good. Okay, Now I'm gonna go ahead and
move us forward. Uh I want you to roll a
one D four for me either review two. You are
here in this crypt moving around for two hours. You're
not lost. It's just that extensive. And there are different
levels to the crypt as well. So I'm also going
to say that you've moved three floors down by the
time that you get to this spot, when the dread
has been building and building and building, and then you
stand outside of a room that you're pretty sure might
be what you're looking for. Now, whether there are, I'm
going to say that there are definitely symbols on the
outside as well. I actually posted them in the discord
the other night as like a sneak peek for you guys.
So that's what you would see above the entrance entryway
into this little area. So you step inside and there
are I mean, y'all are kindred. So you recognize this
probably immediately when you step inside, should you choose to
do so. There are decorative coffin grips here, almost like
trophy coffins. And there are four of them. Oh sorry,
excuse me, five of them. There are five of them,
and they all have different symbols on them.
Speaker 8: Trophy coffins.
Speaker 1: Yeah, Like they're not just wooden coffins. They're maybe made
of gold something ridiculous. Some are probably you've got one
made made of iron. You've got one made of gold,
you've got one of silver, You've got one made out
of copper, and we'll say that the other one is
some unknown metal that you don't reckon.
Speaker 16: Nice gold, iron, copper, silver, and some unknown metal you
don't recognize.
Speaker 8: Okay, these are just coffins that are that we're in
the room.
Speaker 1: Yeah, I mean, if you don't want to have stepped
in the room, you don't have to. But should you
choose to go in, this is what's in here, and
it looks like the room looks like this here hold on,
and then you go up those steps and then kind
of beautifully positioned, adorned. Even are these coffins there are
probably there are metal chains or there are sculpted chains
into the bottom of the coffin, so they're sculpted out
of gold or copper or whatever the coffin's made out of.
But they're very intricately made.
Speaker 8: I think in this points.
Speaker 1: Yeah, there are chains on the bottom that have been
carved into whatever the metal is of the coffin, and
then intricate designs all over the coffin as well, and
they're different. Each one is different.
Speaker 8: These coffins locked.
Speaker 1: They don't look like they're locked by any outside force,
but they look sealed shut. There's no line for them
to open.
Speaker 5: I think at this point I would look to him
and ask, is this what you were looking for?
Speaker 4: Awesomely, I guess it won't. You won't be sure unless
we open them.
Speaker 5: I would say, well, I do believe I paved the way,
so feel free.
Speaker 2: Yeah.
Speaker 8: Are there any symbols on these coffins?
Speaker 1: Yeah? Lots, yep, lots of different symbols. There's also like
intricate engravings in each one. Are you looking for like
an open sesame type symbol? What kind of symbol are
you looking for?
Speaker 8: Uh? I guess I'm looking for any symbols that might
indicate what's inside or yeah, a way to open?
Speaker 11: Then?
Speaker 8: Are there just like a lot of symbols A long
time almost.
Speaker 1: Like this is tombs for kings. So yeah, I think,
And there's no real As much as I would love
to just say there's there's a depiction of you know,
some sort of scene on the coffin, there isn't. But
they were very delicately made. They took a lot of
time and effort and craftsmanship to be made. But I
think you would definitely hmmm, you would recognize that they're
from different times. Maybe maybe you were able to say, oh, okay,
that doesn't seem like, you know, it's not like you're
looking at higher glyphs all of a sudden on all
of these, right, they're very intricate, and but it does
look like they were potentially made by the same hand,
Like there are some design elements that are the same,
and I'll just give that to you. I won't make
you roll for them.
Speaker 8: I recognize that.
Speaker 1: Behind you can you can roll for that one, though,
what would you like to roll for that?
Speaker 8: Investigation? I would guess, And I guess I don't know
if this is wits or intelligence. No, I don't really
know the difference between those.
Speaker 1: It would be I would argue that this is not
an investigation as much as it is like a social rule.
Let me take a look here at your sheet. We'll
do investigations, because you've got you have it two in
an investigation, so I'll give you that one. But if
it's if you're recognizing an art, then I would say
you're going through your contacts right like you're trying to
recognize somebody's artwork. So it would be a social role,
I think maybe. So I'll give you either composure or resolve.
Either one.
Speaker 8: Okay, and what's the difficulty or.
Speaker 9: One?
Speaker 1: Soly, shit, that's incredibly difficult for those listening. Okay, you
do you do recognize the the art? I'm gonna say
it's like a lingering itch that you can't scratch, or
when you're like, I know, I know that from somewhere,
but I don't recall where. Kind of feeling. But it
does maybe unsettle you a little bit too. I don't
usually like to gm your feelings, but I feel like
this is a physical sensation that might be happening to you.
So I guess it's up to you on whether or
not you actually feel emotionally unsettled or just a little nauseous.
Speaker 8: I'd like to take am in and just to like
start reading some of the symbols or words. Yeah, on
one of these.
Speaker 1: Okay, which one? Just pick a metal?
Speaker 8: Which ever's to me?
Speaker 1: Okay, roll a one five? Yeah, I'm just having you
pick a metal because it doesn't matter if you pick
a metal or roll a one D five that's mine too.
Did we say copper was three old?
Speaker 5: Yes?
Speaker 1: Yeah, okay, so the copper one, all right, okay, So
you were investigating this for any sort of clue or
sign as to what's inside.
Speaker 8: So I would try to decipher everything that's on it, okay,
just I would just look over it and see if
there's anything that I recognize. Can I decipher any of this?
Speaker 1: Well, I'll need you to roll again. I guess now
this one. I'll let you go by the book because
this one is picky, this one's particular. So I'm assuming
you're going to want to roll WITS.
Speaker 8: Yeah. I think that's what WITS is, but I don't know.
Speaker 1: Yeah, so you're going to want to do either either
awareness or a cult m and WITS or intelligence. Either one.
WITS will be fine. That's your strongest stats. So I
would say that, but I need you to know that
if you're rolling a cult, you're going to get maybe
magical knowledge, and if you're rolling investigation, it's your eyeballs,
so too, awareness is.
Speaker 8: What you said, or doing awareness or investigation.
Speaker 1: It would be I think investigation, not awareness, but that's
your secondary set.
Speaker 8: Investigation is what I know. So that's what I do. Okay,
And what's the difficulty?
Speaker 1: Four?
Speaker 7: Okay?
Speaker 8: So I only got three successes.
Speaker 1: But that's still a success because basically in this game,
it's like you either you know, kind of pass or
fail unless you do critical or or whatever the case
may be. However, do you know.
Speaker 8: I got three of the four successes, then I need
to get four for us for it to be I
don't think.
Speaker 1: So wait for real, have I been doing that wrong
this whole time? I think so, I think, oh, yeah,
you have to have four. That's why the difficulty is. Okay,
So you are correct. Okay, so you don't pass this one.
But I noticed you don't have your hunger or your
humanity on your sheet and I missed that when I
was checking your sheet. Do you happen.
Speaker 8: I don't know anything about this, Okay.
Speaker 1: Okay, that's okay. I will I will add that to
your sheet later much I can give you a I
can give you a you can do a reroll of
one of those dice if you'd like, the one that
for a rouse check. But I don't know how hungry
you are. Let's say that you came in here fully
stated both of you, because you were pretty smart, I
would assume not to come in here hungry.
Speaker 8: Right, Okay, So I could do a roused check and then.
Speaker 1: And if you get a success.
Speaker 8: You succeed. Yeah, okay, So that means I get one hunger.
Speaker 1: One new hunger, but it did not succeed. Okay. I mean,
you're welcome to rouse as much as you like, but
keep in mind you're getting hungry and hungrier.
Speaker 8: Well, if I succeed there, do I still get the hunger?
Speaker 1: Yes, you're basically sacrificing hunger for a success.
Speaker 8: You're gambling, So you're sacrificing a hunger for a chance
at a success by rolling one Dicey it is correct?
Speaker 9: Yeah?
Speaker 8: Yeah, no think.
Speaker 1: Okay, so you did you were not able to succeed there.
So I'm just going to say that it's it's adorned
with a lot of different things, but there's like it's
not like there's a an image being depicted on here.
For you to understand what's in here. It's almost like you're.
Speaker 15: Reading a poem where you can maybe get a vague
concept of what the feeling or the emotion was when
they wrote the poem, but you're not getting you know,
it's not going to be spelled out for you unfortunately.
Speaker 1: As to what's inside, I mean, I think you can
feel there's a lot of power in this room, undead power,
So I would assume it's potentially what you're looking for,
but I don't know if it's this specific one.
Speaker 8: Well, if that's that end, then I would start looking
around the room and see if there's anything there.
Speaker 1: Okay. The room is barren for the most part other
than the stairways up to each of the five offense,
and it's dimly lit. It's magic. I would say there's
a lot of magic in this room as well, but
I don't know if you know any which way.
Speaker 8: Okay, And there's no scene or anything like that. There's
no lid, there's no there's no.
Speaker 1: Seal line no.
Speaker 8: Okay, So I'm assuming that there's some sort of magical
seal here, but I have no ability with that, so
I yes, uh, you know what these symbols are.
Speaker 5: How much more would I be able to make out
with my occult? Now that's just glancing at it.
Speaker 1: I can go ahead and and have you roll again
occult one last time.
Speaker 5: Either what's you resolve another option difficulty for.
Speaker 1: Four or four? So you recognize you definitely recognize some
occult symbols here. But what's interesting to you is that
it doesn't seem to follow one particular belief system. So
you might have some hermetic, you might have some alchemical,
you might have, but they're all blended together on each
coffin as well, So it's they're not here for any
other reason except a decorative reason. You could maybe study
this for a decade and then have the theory as
to what it all means. But this is essentially kindred
poetry that has been written over time on these coffins.
Speaker 5: That was going to be my next question. If it
was decorative or it seemed intentional. Yeah, so probably the
way it was laid out in the mixture of different
time periods and different cultures would tell me that it's decorative.
Speaker 1: It's decorative, but it's intentional decoration. But it's not necessarily ritualistic.
It's more like, you know, I think the best way
for me to describe it is that it's a poem
or a love letter on the outside of these coffins.
It was done with care. It doesn't have to be here, Okay.
Speaker 5: Interesting.
Speaker 1: The only other thing is the symbols outside the entryway
when you guys walked inside. That's the only other thing
that you would find.
Speaker 8: Stalker, I were, oh, all the way out in the
front of the yep, well.
Speaker 1: Just in the front of this little entryway.
Speaker 8: Yeah, from the front of this room, so different set
of symbols.
Speaker 1: So in the front of this room there was the
set of symbols that I posted in the discord the
other night for you guys. So that's above the entryway
when you walk into this section of the room.
Speaker 5: Okay, I would inspecre the chains. The chains seem to
have any significance to the coffin's being closed.
Speaker 1: No, they're only they're kind of like carved in the
outside of the coffin, like into the material, like the
gold and the copper and the iron and the silver.
Speaker 5: Okay. I would turn to him and ask if he's
ever seen anything like this before?
Speaker 1: Have I?
Speaker 5: So you shake your head.
Speaker 8: I have no idea if I've scenes.
Speaker 1: No, I said, no. I shook my head.
Speaker 8: No, nope, yeah, he would shake his head.
Speaker 5: Okay, So I think at this point I would think, okay, well,
out of the two of us, I might have to
be the one to inspect this more and see if
there's a way to open them. I would wonder if
there was another sacrifice required to open the coffins because
of some if this was placed intentionally and in such
a intentional, loving way with the decorated coffins, I would
assume it wouldn't be easy to open them, just lift
up the lid. So what else can I sense about
these coffins? Can I like place my hand on them
and get a sense for what's inside, or see if
there's a place to smear blood or pick something.
Speaker 1: You're going to touch one, pick a mat? Okay, which one?
Do you touch?
Speaker 3: Us?
Speaker 5: Iron?
Speaker 1: Okay? You are going to experience the last or one
of the last things that happened to the person inside
this coffin before they were put inside of it. However,
I will let the person inside the coffin describe what
this memory is to be clear, this is your personal
experience that they are now re experiencing. As she touches
the coffin and iron would be Zambie's character.
Speaker 2: And this is a memory that is from roughly when.
Speaker 1: I would love to let you decide it's coming directly
from you, So I'll give you these kind of clarifying
this information. It's coming from you, and it's so that
means it's probably something that you would think about or
that would haunt you, but it doesn't have to be
the most recent one.
Speaker 10: Okay.
Speaker 2: When you touch the iron, you see a flash of
a dimly lit room and what looks to be uh
sort of huddle on the bed, and there's flashes of
thrashing and blood and some of its splatters on the wall.
The memory isn't clear. The huddle is unclear as well,
but you can make out around three figures involved. They
seem to be dipping in and out of violence and
either hurting each other or loving each other. The next
moment and you see a shadow or a silhouette of
someone very large sort of rays from the huddle and
they plunge down back into the massive bloodiness and bodies
and then.
Speaker 10: And then the in wool.
Speaker 2: Abruptly and.
Speaker 1: Okay, Zambi, do you cause her physical pain? Or mental anguish.
Speaker 2: Do you think I feel like the image would shock
you at first glance, like you don't know what you
see until it's kind of abruptly over. May not shock
you because you've seen maybe similar things, but just the
intensity and the you know, the violence of it all
and quick succession will cause you to kind of jolt
back and have some sort of physical reaction to a
mental picture.
Speaker 1: You wouldn't be in pain, Okay, So then you are
going to take mental damage from this acorn and not
physical damage. You feel strangely no pain, but you are.
You are going to suddenly, for lack of a better,
more eloquent term, you're going to download hundreds of years
worth of anguish right now into your mind. And that's
essentially and it's over in a second. But that's what
happens to you. So I'm gonna we're gonna take some
damage here. Let me just yeah, So you're going to
lose a will power. So I'm gonna mark this here
on your sheet. I believe you start with five yeap,
So there you go. You now have the four and
a half. So the slash is the half. I think
it's technically average aggravated damage. But for right now, we're
using it for this purpose, and when you run out,
you're done so for the sake of this dungeon. So
just keep an eye on that one too, and your
health is the same, but it's reverse. You mark it
when you take damage, Okay, okay, And there you have it.
Speaker 5: So in that moment, that overwhelming moments of the memory,
I will know the person inside suffered something great before
they were put in the coffin, Right.
Speaker 1: I think that's I'm just going to leave that up
to deciphering what you decipher from the vision he gave you.
But if that's the conclusion you come to, then that's
the conclusion you come to.
Speaker 5: Well, I think the way he described it, I feel
like it could be almost like a dual memory, Like
it is violent and painful, but it is also exhilarating
and loving is a word that he used, So I
feel like it could be either or, and it might
be based on the perspective of one of the people
in the memory. Does what I see link to opening
the coffin at all? Like, do I get a sense
of what is needed to open it or how the
person was put into the coffin? After that memory?
Speaker 1: What is the first thing that comes to mind to
you if you were to try to open this magically,
because you nailed those spells outside the.
Speaker 5: Door, right, the first thing comes to me is maybe
putting pressure or heat of my hand or something on
a certain place of the coffin, almost like a trick opening.
Speaker 1: You see, there is none of that. Okay?
Speaker 5: Does it seem like it needs an offering of some
kind to open?
Speaker 1: An offering or a trade?
Speaker 5: If I were to look or inspect the others, not
putting my hand on them the way I did here,
because I do now that I've taken that damage, I
want to be a little more careful. Do I get
a sense of there being different kinds offering based on
the types of coffins?
Speaker 1: Yes?
Speaker 5: Okay, So if I'm looking at an iron coffin, I
would wonder if the way to open it is based
on the type of metal.
Speaker 1: And what makes you what do you think of when
you think of magical versus iron? You are correct. I'm
just waiting for you to get to the end of
this train of thought, and I'm floored by your brain
as usual.
Speaker 5: Well, I'm wondering if it's like a like a matching
thing like if there's maybe in order to open it,
you have to introduce the same kind of metal to
the coffin. So if I'm looking at an iron one,
maybe I would pull out my blade again and see
if there's something about bringing these two pieces of iron
together that will do something.
Speaker 1: That's an interesting theory. I think it's more that iron
is keeping something inside. These are not people that have
been laid to rest. These are people who are imprisoned.
And that's probably strange for you to think about because
the coffins are so beautifully made. Somebody made them with
love and care and obsession. But whoever's in here is
bound by iron. So what does that tell you? What
type of creature would be bound by iron?
Speaker 5: My first thought is faye of some kind?
Speaker 1: Where did the fakem come from? Where do we hear
about that lore? Ireland's Ireland scandin Scotlands.
Speaker 5: Yeah, yeah, that's correct, which makes me wonder if it
needs salt.
Speaker 1: Like sea salt?
Speaker 8: Yes?
Speaker 1: Interesting, Okay, some way to conjure some sea salt?
Speaker 5: I mean sea salt? I don't know. Uh, do tears work?
Speaker 1: You can try it? Ooh shit?
Speaker 5: Okay, well I'm gonna be having quite a moment here
because I'm probably bringing all of this together in my
head while Stalker is standing there, probably staring. And when
I realized that I need something to open this, and
that salt is probably the best way, I'm gonna think
either well, we need a sweat pretty quickly, or we
need tears.
Speaker 1: And I will tell you this because this is just
something that I think you know, This entire game will
be rule of threes always, even if I'm telling you
it's not okay, that goes for all of you. It
will always be three. Even if in the scene I
say you only need two, okay, rule of the three
supplies no matter what. So you're gonna need three things
here to unlock this if you want to get him out.
Speaker 5: Not just three tiers, but three.
Speaker 1: It could be three tiers, it could be three sources,
it could be three different things that you think will
get him out of here. But you will need three, Okay.
Speaker 5: I will try for three tiers then, because I think
since I have been undead for some time for the
most part, huh yeah, crying is hard for the undead
YEP And the most painful memory that I have is
one that I've tried to distance myself from it will
to your.
Speaker 1: Own personal memory right now. For this to get you
to cry, that's fine. I'm just clarifying. I'm impressed. I
thought you were going to say. Oh, yeah, the anguish
that I just downloaded in my brain is enough to cry.
But if you're then sitting here and recalling something traumatic,
to then cry tears to then get him out is
a lot more powerful then just oh, I just happened
to cry from touching the coffin.
Speaker 5: So I think I think having it a background in
occult stuff. Yea, what I experienced is just another experience.
Like I wouldn't It wouldn't be personal to me. It
would just be something that I would psychically take and
then move on from.
Speaker 1: Yeah, you might like cry out of reaction, but exactly, yeah, okay, yep,
that makes total sense.
Speaker 5: Yeah, and actually I think if I could do this,
maybe one of the tears comes from that, just the reactionary.
Speaker 1: Yeah, like your impact of it, body is trembling, your
breath is intense, and you're crying just out of reaction,
and while you're doing that, you're pulling out a vial
and you're just collecting your tears.
Speaker 8: Yeah, urse, like what.
Speaker 1: The fuck is she doing? But yeah, o, yeah, okay.
Speaker 5: Yeah, I would probably intentionally turn my back to him too,
because I'd be like, I don't want to deal with
you right now as I'm like facing this. Okay, yeah,
so the other tiers, other two tears, I would I
would tap into that place again and remember.
Speaker 1: You do not have to share this right now. I
know you do, Okay, I would. I would remember that night, okay,
and you collect two tears from that night. Mm hmm, okay,
what do you do with the tears?
Speaker 5: I have a feeling I just keep random stuff on me, okay, yeah,
random stuff in bag coats in a bag and in
pockets and everything. So I probably would have a vile.
Speaker 1: Candies messenger bags absolutely, yes, mm hm yeah, okay, all right.
Speaker 5: So I'd collect those and then look to see if
there was a logical place to put the tears or
if I just like put them anywhere on the coffin.
Speaker 1: I don't think there's a logical place to put the
tears per se. It's not like there's like a little
spot for you to put anything. But I think your
instinct says the chains even though they're not actually chaining anything,
they're just a symbol. But you know, magic is based
on symbols and metaphor, so salt might be enough to
wither and break down into grade iron. Okay.
Speaker 5: I put them on the chains then.
Speaker 1: Okay, and they immediately begin to rust, and then a
rust line splits around the coffin slowly. Now you may
open this coffin if you like. But the second the
line appears, a lot of things happen all once in
your body. You feel insatiable hunger, the desire to feed.
You've been starved for a very very long time, and
you feel an overwhelming amount of sadness. I don't think
I would be ready for this, Okay, Yeah, I don't
think so either. This is a very old one that
you happen to pick first, So this is probably you know,
I don't want to give away age here, but I'm
not going to say it's very, very, very old. You've
not experienced anything like this like this would be It's
definitely a kindred, you know that, but it is probably
an immense amount of power that you have never stood before.
Like this is what's the antediluvian level, you know, Like
this is a council member that is in here. Basically
I'm not saying it actually is a council member, but
it's that level of power you'd expect an elder to
be having, This level of power that is just now
slowly seeping out of this coffin. Whereas before you kind
of you felt this impending doom when you walked into
this room. You knew there was power in this room.
But I think in this moment, you realize the power
in the room was actually whoever put them here. That's
what you were feeling incredibly powerful. But now you are
directly experiencing the power from inside this coffin that you
had been unable to experience prior to this point. And
I am going to need you to roll a rouse check. Okay,
I think that's how we do hunger right or sorry,
it's a resist frenzy button.
Speaker 5: Okay, resist frenzy no pool.
Speaker 1: It's underneath your I just do the no pool first.
Let me see what happens. Okay, difficulty or I'm so sorry.
This is like we're starting you guys in the crazies. Z.
It won't always be this hard, I promise. Oh okay,
so resist Frenzy failed. I need somebody that can google
or like, look this up in our PDF for real quick,
while I am also looking up something else. We need
to see what happens when you fail a frenzy check. Great, awesome,
I'm pretty sure that you don't immediately nom somebody. I
will say, however that I think, let me just double
check this real quick, and then I will frenzy. Also,
just to refamiliarize yourself with your rituals or your magic spells,
because you might have something that can help you here.
Speaker 5: Oh where do I find those?
Speaker 1: Uh? Oh geez, did I put them on your I
did not put them on your things, so they're in
our DMS. I'm so sorry. I will add that. Oh
those yes, yes, yes, yeah, yeah, those? Would I say
two seventeen?
Speaker 10: Oh pb yeah.
Speaker 9: The role is.
Speaker 14: To resist a frenzy. The vampire must make a willpower
test against a difficulty except by the storyteller. The poll
is the pool is composed of their unspent willpower and
one third of their humanity rounded down holy versus the difficulty.
So it's whatever powers left pool.
Speaker 1: Okay, all right, so that's amazing, so reroll that again.
But your pool needs to be your willpower. It also
needs to be your humanity. But I didn't put that
here on the sheet, and I don't see it now
that i'm looking.
Speaker 14: Yeah, one third of the humanity.
Speaker 1: Yeah, so we'll skip the humanity for now.
Speaker 14: I think when they get stars, but when we I
think most people start at seven.
Speaker 10: Yes, if you're making a character.
Speaker 1: Well, okay, so we'll say that then, Acorn, sorry, Cora,
and Stalker, you guys have seven because you're awake right now.
The rest of you do not have that much, so
we'll figure that out in a second. Also, I did
just double check this too, Orcish, Your rouse check doesn't
mean you fail, it's just how much you hunger you take,
and then you get to reroll your die so you
can technically, just so we know for future, we're not
going to go all the way back obviously, but.
Speaker 8: You can do a rouse check, and then if you
do a rouse check, you can reroll whether you fail
or not.
Speaker 1: Yes, whether you fail is just like how much.
Speaker 8: If you get hunger?
Speaker 1: Yeah, exactly, So you have the chance to not gain
hunger while still rerolling your dice.
Speaker 14: So okay, So it would be her willpower plus two
versus the four.
Speaker 1: Right, so you've got four, so six would be your
dice pool then for that role, right, Okay, resist frenzy
it only goes up to five apparently. Okay, we'll do
five then.
Speaker 5: Then difficulty for again.
Speaker 1: Yep, I'm sorry you're starting in like max dungeon zone
and then you guys, it won't always be this hard,
I promise. Huh resist frenzy failed? Okay, So what does
that mean?
Speaker 10: Uh?
Speaker 1: Means you have to eat something? Right.
Speaker 8: A vampire and frenzy loses all capacity for rational thought.
Driven solely by rage, starvation, or panic, they do whatever
it takes to rip their provocation to pieces. It's like
their hunger or escape the perceived threat, usually violently and
with plenty of collateral damage. Unlike many other impulses of
the blood, a frenzy is never subtle. To resist frenzy,
the vampire blah blah, we've done that.
Speaker 1: Yep.
Speaker 8: Oh sorry, did you not want me to read that?
Speaker 9: No?
Speaker 1: Yeah, if there's more, there's more. But I was just
going to make an amendment to this because we're doing
this narratively.
Speaker 8: Called riding the wave. The vampire can choose to ride
the wave, intentionally succumbing to the frenzy without making a test.
This act follows the usual frenzy rules, though the storyteller
could let the player play out the frenzy themselves, such
as choosing who they feed on.
Speaker 1: We'll always do that. I'm not going to ever tell
you what you do a period. I'm just not that
kind of jam. But what I will say is that
the amendment to this is that it's sorrow, not rage,
and you don't necessarily have to be violence, but you will.
I mean, you are feeling in a crazy amount of it.
So whatever it is that you feel that you would
do now is the time. But you do need blood
must be spilt. That's I think the thing that is
happening in your head right now, whether that's a voice
that you're hearing, whether that's a drive that you're feeling,
I'll leave that up to you. Why don't you go
ahead and describe what the audience sees, or you can
describe what Cora experiences if you want to do first person,
that's fine too.
Speaker 9: Well.
Speaker 5: I'm a little concerned because if blood needs to be spilt,
there's only two people in this room who have blood
to be spilled.
Speaker 8: There are different types of frenzies, apparently, ooh, there's fury
frenzy hunger frenzy and terror frenzy.
Speaker 1: Yes, that's what they were saying, either, you're but we're
going to go with sorrow for the sake of this,
and we're going to go with each emotion actually for
the sake of these as I'm sure you all have
gathered by this point.
Speaker 5: So I'm feeling immense sorrow, yes, and blood needs to
be spilled, yes, Okay. I think after the same appearing
on the coffin and me getting hit by this not
expecting it because I had already been hit psychically by
something from this coffin, so this is overwhelming, I probably
stagger back and try to hold onto something, which at
that point I don't want to touch the coffin anymore.
So I'm probably holding onto myself and my arms, and
I try to ride it as much as I can,
try to make sense of it. But it's probably a
lot like getting caught in a crashing wave and just
rolling and rolling and not being able to find up
or down. I probably am not even aware of myself
in this, which makes me think I would in order
to lessen the pressure, lessen the pain or something, I'd
probably be dragging my nails across my skin, opening my
skin and blood coming out to try to relieve the
pressure in some kind of way, or the sadness and
the suffering some kind of way. How long would I
be caught in this?
Speaker 1: We're about to find out inside the coffin. I'm not
going to use your name because it hasn't been revealed yet.
But you're fully awake, and now that there is an
opening in the coffin, and I don't know what you're expecting,
but it probably isn't this. It doesn't feel the same
as it's felt previously. And you can hear everything now
that the seal has been broken, So you hear the
voice of a woman in anguish and pain, but it
doesn't feel it doesn't feel the same as it's felt before.
You are also starved, and and you smell blood.
Speaker 2: Is the coffin? Is the lid open? At this time?
Speaker 1: It is unsealed. And the most tragic thing about this
entire coffin is that once it's unsealed, you can open
it yourself. There's no other there's nothing else holding you
in there. It's just this knowledge that you've got one
magical seal and then you could be free.
Speaker 2: Is there anything holding me? No, inside the coffin. No,
I think that the lid would sort of slide off slowly.
It hasn't been opened in a long time. Is the
coffin laying horizontally.
Speaker 1: No, you are propped up, almost on a pedestal. Actually,
it's really fucked up. It's kind of like.
Speaker 2: The lid slides off and a body sort of slumps
out towards you. It's a body of a very tall person.
They appear to be almost skeletal. They're wearing what looks
to be tattered rags, but with further inspection could maybe
make out a a tunic of sort.
Speaker 1: Their hair.
Speaker 2: Covers her face. It's stringy and looks to be wet.
This person falls towards you, and suddenly they stop and
tense up and use what seems to be the last
strength they could muster in that moment to stop himself
from falling out completely. You can see the vascularity, you
can see something pumping through them. As weak as they look,
they also would be recognized for the strength that they
are currently containing. He braces himself at the entrance of
the coffin with his head draped down. What sounds like
a growl coming from him sounds like a a beast
tool sort of moan. You know it's coming from him,
but but there's a much deeper, deeper tone behind that growl.
They shake, propping themselves up against the coffin. Their head
tilts up towards the person who opened it, and barely
make out their eyes from under their hair. They stare
at you. Well, what it looks like they are staring
at you. You think that it might pounce out at you,
But it could look like he's about to pounce, but
would be surprising with how decrepit they look at the
moment as well, and continues to stare.
Speaker 1: That was incredible. Can you roll me a frenzy? Resist frenzy.
You have not been fed in a very long time.
It's going to take everything in you a critical success
not to eat one of these two people here. I'm
not saying you need to drain them to death, but
you need to feed your starving So unless Stalker or
Cora thought to bring a blood bag with them, which
might actually be.
Speaker 8: Possible, maybe I don't. I don't want to say yes.
Speaker 1: Wohilch I mean I trust you would you have done that?
Is that something that you think your character would have
thought to bring along. I wasn't actually referring to you
as referring to Cora, because she might have done it.
It might be I mean, she uses blood for rituals,
so it makes sense that she might have some in
her bag.
Speaker 5: I'll give that to her, also from bloods.
Speaker 1: I didn't want to reveal that. I didn't want to
reveal that. But yeah, so if you want, you can
roll a one D five and that's how many bags
you have with you. They are from your personal stash,
so you're going to have to figure out how to
get more for yourself. Leader.
Speaker 8: I'd also like to say that the moment often started opening,
I would have you skated.
Speaker 1: Okay, so you are invisible. Okay, wow, so he only
has one option to feed from.
Speaker 5: Them, Thanks Stocker. How do I do that?
Speaker 1: Roll? Sorry, I can do it here. We'll just slash
R one D five. Do you have four blood bags
on you?
Speaker 5: Okay?
Speaker 1: Okay, Now we need zombie to do resist Frenzy. So
on your character sheet you scroll down, there is a
right underneath willpower. There is the resist Frenzy button. Okay,
will size modifier should be your willpower that you have left.
I'll give you one, unless you can argue me that
you think, after however long you've been in there, you
have more willpower than.
Speaker 2: That, say that my willpower would be not non existent,
but yeah, just the weakness would cause the willpower to
be low.
Speaker 10: I believe, go back.
Speaker 1: Yeah, yeah, it's been a long time.
Speaker 2: Difficulty four.
Speaker 1: I'm so sorry again we're starting an ultimate dungeon. Oh
my god, how does this happen? Can you explain to
them how you're able to not eat her face? Off
the control? I can't, so I.
Speaker 2: Can't actually see what I'm rolling here.
Speaker 1: But oh, it's narrative. You can describe whatever, makeup whatever
you want. Yeah, you don't need the sheet. Now, just
tell us why you think you're able to resist.
Speaker 2: Think that.
Speaker 9: You would.
Speaker 2: Be able to meet his eye at this point, and
he would be giving you sort of a familial look,
and you don't know him, and he doesn't know you,
but it's almost like a friend is looking at you.
Speaker 1: So I will also say, Cora that as you meet
his gaze, you need to know the level of power
that he must have to be able to not consume
you is a critical success. That's the only way that
like you're looking at somebody who's been kept alive. He
doesn't have a stake in him. So normally when kindred
are are punished, sometimes they are staked and they go
into an unsleep and then they are put away. This
individual has not been put into an unsleep, So however
long they've been in here, they've been awake the whole time.
And that's awful to do, first of all, but also
he's hungry. He's very, very hungry, and so the level
of restraint that he's showing is colossal. Heroica, I would say.
Speaker 5: Yeah, and I think at that time, when I'm meeting
his gaze, I'd probably be coming back to myself at
the same time, right from being in that experience. Okay, well,
I think it's safe to say Cora would be really
impacted by this. She would she would feel intimately aware
of part of him from experiencing the memory and then
also the feeling of the rest of him when the
coffin opened, and then to be basically drowning herself and
then looking at him and watching him hold himself in check.
She would be odd by that. It would be very
impactful for her.
Speaker 1: Do you go for a blood bag or not do
anything or do you offer your own neck because this
thing needs to eat.
Speaker 5: I would offer a blood bag and see what his
reaction was.
Speaker 1: Okay, I'm gonna say you're probably doubled over. You're just
now recovering. You reach into your bag, your hands are trembling,
your breath uneasy. You manage to fumble with a blood bag,
you probably drop it. You don't see stalker anywhere around anymore.
And I think you're too trembling to pick the bag
back up. I think you probably just push it across
the floor to him. You're both on your hands and
knees now looking at each other, and he's looking at
you with an expression that is saying I'm kindred, I'm friend,
but it's strained. He's trying really hard to maintain this.
And I think probably in this moment, too, you realize
just how strong and big he used to be, because
you can see that in his frame, and you slide
the blood bag over.
Speaker 5: It would feel like the least I can do for
him holding himself back from me.
Speaker 1: Yeah, do you slack zombie. If he's still here, I'm
still he's got a hard out at six, I'm so sorry.
Speaker 2: I think he would grab the bag and slump off.
He looks at it, sort of cradles it in his lap.
He turns us back to you. He continues to sit
there and cradle the bag.
Speaker 1: M you are in danger the longer he chooses not
to feed here. And I think you know that, and Stalker,
you know that as well. You just you know what
it's like to be a vampire that's hungry. Well, this
is centuries of hunger.
Speaker 5: If not longer, I would be willing to offer multiple
blood bags. But I think at this moment, after experiencing this,
I'm also realizing we might need the others if this
were to happen again, I would be a little I'd
be shaken by.
Speaker 1: This, Stalker. Do you do anything or are you just watching?
Speaker 8: I'm going to do this aroused check. I can use
one of my abilities, but I'm not going to say
what it is. Okay, without making any sound, I move
into a position and I un sling from my back
a crossbow with a wooden bolt and point it directly
at this busk of a vampire's heart, waiting to see
what happens next.
Speaker 1: That's it, That's what we'll.
Speaker 8: Good, so.
Speaker 2: Very very cool.
Speaker 8: I loved it.
Speaker 1: I loved it. I loved it. Acorn, You're I'm so
glad you're playing a Magic user because holy shit, you
just you nailed that stuff, the tears, the salt that
that was such a cool I'm really happy too. Yeah,
you've been listening to Deathless, an actual play produced live
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Speaker 9: Belie