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0:34

feel like I'm always being like, why are these luminaire

0:36

and made? There's like 25 of

0:38

them. Like 30. There's

0:42

like 30 of them. And I think it's

0:44

so funny because in this show in particular,

0:46

you draw like the changeling. Like more often

0:48

than not. Yeah, I mean, yes. There's, they're

0:50

not weighted but sometimes, god damn it, they're

0:52

weighted. You're like, what the, what the? I

0:54

saw like a Tumblr post recently where somebody

0:56

was like, yeah, you know, campaign skydex has

0:59

four luminaries and like, it's

1:01

usually like the sovereign, the changeling

1:03

and like two others. And the

1:05

rest. And there's the other ones

1:07

that happened periodically, which is like

1:09

fucking cursed. I don't, yeah. It's

1:11

like, I don't understand how it

1:14

happens, but it's like- But it

1:16

does. It's pretty consistent. I

1:51

think. It

2:00

would be a really really hard

2:03

check and made even harder because your

2:05

arms are bound You can't write it

2:07

out on paper to do the math

2:09

you would need to do everything in

2:11

your head But you could

2:14

probably figure it out if you

2:16

tried that what time of day

2:19

or night um I Whoo

2:23

I can't remember what time we

2:25

were at with the other group

2:27

But like I think we're pushing

2:29

towards evening, okay? Could

2:32

we say that like there's maybe something

2:35

going on where you know it's

2:37

like this it's still Light

2:39

out yeah, but we can catch

2:42

some semblance of like the moon

2:44

and Yeah, it's

2:46

one of the things the moons in the sky when

2:48

it's during the day And I

2:50

think that's that's enough to sort of

2:52

start to get some bearings of like

2:55

oh, okay. We've We're

2:57

it's like I think if if we push

2:59

came to shove and we had to run

3:01

I think John it would know To

3:04

run right instead of left But

3:07

doesn't have a full read on where

3:09

sorrows and you would need you would

3:11

need like time and presence of mind

3:13

Yeah, run some calculations So you know

3:15

that like when I need to figure

3:17

this out I can probably figure this

3:20

out And if some stars show up

3:22

like that'll make it a thousand times easier

3:24

right now It would be

3:26

like um Like

3:28

a very hard check you'd probably go against

3:31

four dice yeah, but technically

3:33

possible okay as this

3:35

is I was gonna say John

3:38

it yanks the dart from

3:40

Bayless's neck But I think

3:42

he's going to actually leave it in there because I don't one of

3:44

these doesn't want to start a pot right

3:47

now yeah so Yeah,

3:50

I think it's like all right So

3:53

we're not gonna go for not gonna go for it. We're

3:55

not gonna go for it. We're gonna be cool all right,

3:57

okay we until

4:00

until things

4:03

hit the fan, we

4:06

go along with it. Okay, okay, okay, no

4:08

I think I can do that. And please

4:12

don't be, don't

4:14

do your first instinct. Okay, I'll do the second

4:16

one. Okay. That's what we're gonna go with. We're

4:19

gonna go with that? Okay. Alright, no, no, no.

4:21

Where are they sort of

4:24

like taking us to? So

4:26

you are kind of going

4:28

deeper into this like camp

4:31

for lack of a better term and

4:34

towards like there are places with

4:36

fires and whatnot and you move

4:38

towards a hut that doesn't look

4:41

too much different than other huts. I

4:43

think apart from the fact that more

4:46

of the grasses that have been used to

4:48

build it are dyed,

4:51

there is like a fire

4:53

nearby and you can see

4:56

an older woman who looks to be like

4:59

probably somewhere in her 60s. She's got

5:01

white hair, it's braided

5:04

up, it's shaved in like the unique

5:06

way that people from this culture shave

5:08

their hair and notably

5:11

she has no eyebrows

5:13

and tattoos in their place and

5:15

those tattoos are tattoos with the

5:18

wind pattern that you now have

5:20

on your collarbones. Like

5:22

I think there are more details to

5:24

her but you are probably gonna need

5:26

to roll to get them. I will say she

5:29

is covered in tattoos. She's

5:31

got a lot of tattoos, looks

5:34

like you know the

5:36

person who is leading you definitely

5:38

respects this person. This person has

5:41

some sort of in chargeness or

5:43

authority and everybody

5:45

around is kind of like both

5:47

watching you guys and watching her

5:51

even if there is no formal audience

5:53

at the moment. Everybody is like

5:55

kind of tense and Like

5:58

trying to pretend that they are not. Deeply

6:00

invested hang off every moment of

6:02

whatever is happening. snap her face

6:04

pretty unreadable right now. And

6:06

I z I p coming up. The.

6:12

Oh he added yeah, I

6:14

think John it sees. This

6:17

person's tattoos. Immediately

6:19

recognize is like the the

6:21

The Wind tattoo. There is

6:23

a sinking feeling in his

6:25

ah in his stomach. worth

6:28

like oh god I don't

6:30

know what I put on

6:32

my body. This

6:35

is. this is all. He's like.

6:37

This is all happening because I'd

6:39

have something on me that I

6:42

don't fully understand. Damn.

6:44

Ah and so. I

6:47

think he's gonna look the Bayless and is like do

6:49

any is. A Vip up ahead.

6:51

Money: These tattoos mean anything to you

6:54

while I mean delivery the ones you

6:56

have I know that I know but

6:58

any any the other tattoos own things

7:00

it's the the the one that I

7:02

have. I. Think it's the reason

7:04

why we're going to meet this person is a

7:07

couple of seconds will on. My

7:09

one holly friend in town has

7:11

those on over there and he

7:13

like points to somebody who's got

7:16

like got like like. Tattoo

7:18

Zoellick Oil and I love that

7:20

Bayless Know somebody who is Holly

7:22

who works in town and knows

7:24

so little. has a hard right.

7:26

They can move. Surrender your house.

7:29

So. I might when when high for he

7:31

has he has those are citizens that about

7:33

like. Battle

7:37

War Combat. Something like that. Ah,

7:39

so that was probably the. the

7:43

war master of the of these people

7:45

i would guess i think and what

7:47

it is what it is scary because

7:50

it's a tattoo on on the arm

7:52

or and these are done in kind

7:54

of a brown and and the desert

7:57

of accentuates like like barrett third the

7:59

darkness their skin already because they're like

8:01

sort of tan. I

8:04

think it just means that he can

8:06

lift a lot. Basically,

8:09

when you're growing up, because it's

8:11

especially if you're like semi-nomadic or

8:13

whatnot, you're lifting and carrying things

8:15

a lot. And I think when

8:17

you can carry a certain

8:19

load, you get rewarded with this tattoo. And

8:22

when people are looking around for people to

8:24

help, they go, oh, this guy's got four

8:26

marks. Like he's really good. So it is

8:28

like a mark of pride to have a

8:30

bunch of these symbols stacked together because people

8:33

go, oh shit, yeah, this guy can really

8:35

do some skylifts. So he is bragging like,

8:37

I'm really strong where I'm from. And he's trying

8:41

to convey that, but he's doing it in

8:43

a broken form of the

8:45

language that you have in common. So

8:48

you're like, oh, strong? Like war, battle.

8:50

Yeah, I got it. Message received. He's

8:52

definitely like the war master here. So

8:54

we need to make sure that there's

8:57

a lot of, you know, he'll probably

8:59

kill us in like a second if

9:01

he wanted to. So like that's really

9:03

dangerous. And I think it's

9:06

interesting because probably everybody's got like

9:08

tattoos that are compounded.

9:11

That means that like, because that's your overtime. If

9:13

you are wise, you have ones that like overtime

9:15

you get wiser,

9:20

obviously. So it's

9:23

a sequence of Bayless just making

9:25

shit up about the

9:28

tattoos. But the one thing he does

9:30

get right is the more you have,

9:33

the more you have of that

9:35

thing. Okay. Okay. Okay. Yeah. And

9:38

I think like a cool world building note, I think

9:40

the person that you are being sat down in front

9:42

of the 60 year old woman had like five

9:45

of these marks on her arms,

9:47

but like now four of them

9:49

are filled in where the guy

9:52

who's leading you has like four and they

9:55

are hollow. So like in

9:57

this, as you are stronger and

10:00

like earn like, oh yeah, I can carry more,

10:02

I can lift more, they give you more. And

10:04

as you get older and that capacity goes away,

10:06

they start to fill them in so that people

10:08

know like, can't ask to do too much because

10:10

it's going to accentuate injuries or, you know, like,

10:12

But also it's part history. I love this. Yeah,

10:14

actually. So like this

10:16

person like has a real history

10:19

and like if John is looking

10:21

at that, like you can jump

10:23

to whatever conclusions about someone having

10:25

five marks. Yeah. I

10:27

think because as, as we're going, we

10:29

see people with these tattoos, we

10:31

see a lot of like younger

10:33

looking folks with these sort

10:36

of hollowed out tattoos. And

10:39

then John, it starts to pick up that

10:41

like the older folks have similar designs, but

10:43

they're filled in and it is some sort

10:45

of mark of seniority. If you're going to

10:48

do, if you're going to jump to that

10:50

conclusion, John, which you can just spend a

10:52

point. Absolutely. So ask John it, are your

10:54

two tattoos filled in or are they hollow?

10:57

I feel like. Geez.

11:00

Yeah, right. The

11:03

problem, the worst case scenario is

11:05

that they're filled in and it's

11:07

like it was, he just liked

11:09

that design. Guess what, John? Yeah.

11:13

I don't, I don't have to make this decision

11:15

for myself. Some cards will

11:18

tell me if I fucked up

11:20

the drought. The drought. Interesting. Interesting.

11:22

Interesting. Interesting. Yeah.

11:25

I think the tattoos that you wear,

11:28

they are tattoos that would be, first of all,

11:30

they'd be on the eyebrows. They wouldn't be on

11:33

the collarbone. Like, so that's, that's one thing they're

11:36

filled in, which would, which happens

11:38

when somebody, like

11:40

when somebody who is in the position

11:42

that this person is in passes away,

11:45

they fill it in. Cause

11:47

like, you don't have the capacity to

11:49

be, you know, this trader or diplomat

11:51

anymore because you are dead. And that's

11:53

like, it might happen. Like if somebody

11:55

goes through traumatic thing and like they're

11:57

not talking anymore, Like it's very rare.

12:00

For to be on and a

12:02

live person. So basically you got

12:04

a mark of like ah oh

12:06

yeah, I'm a dead diplomats are

12:08

and so. It's. Silly,

12:10

I think they know that but like

12:12

I also feel like beneath it all

12:15

especially when you first revealed it is

12:17

like they are understood that like they're

12:19

coming to us with the intent to

12:21

speak or trade and say some. This

12:24

the teaching experience for John at. Which

12:27

goes back to I don't know when this will

12:29

come out in relation to the stuff that we

12:31

have corner earlier which is why like I feel

12:33

like john it will then. Become

12:35

the type of person are like

12:37

are right. I agree to research

12:40

the thing. I'm a tad to

12:42

her body or I'm a design

12:44

my own say like as a

12:46

side or not. Do it any

12:48

wall or shit anymore. I yeah

12:50

and there's there's something I love

12:52

about better positions, having real magic,

12:54

a big an exotic, buying western

12:56

culture and like one of the

12:58

things that were advantage by is

13:00

literally western culture. Does it bother

13:03

to understand what say. Oh.

13:07

It's a funny. Show

13:10

the set. I think the person

13:13

who is like kneeling kind of

13:15

makes a gesture that you understand

13:17

that. Yeah, that. I. Can.

13:19

Say I think John John It

13:22

immediately tries his best to get

13:24

on their level and and and.

13:27

Ah, There. It's not. It's not

13:29

like at. He. Just he just

13:31

gives like a a nod to

13:34

this person and makes like. Queer.

13:37

Eye contact way I see you and

13:39

and I'm here to receive would you

13:41

got a i don't mean to interrupt

13:43

before mr don't I asked to do

13:46

now it up but area like because

13:48

you oh oh yeah get picked know

13:50

that would a yes or no no

13:52

no you're good Thank you. I.

13:55

Think I'm also I I can't

13:57

I'm just. I'm like. Glued to

13:59

your. side a little bit. Yeah. Because

14:02

he's like trying to lead on you as you both

14:04

sit down. Yeah. And he goes, okay, I'm going to

14:06

like try to roll away. All right.

14:08

And he says, one, two, three.

14:11

A guest shrugs him off. As

14:14

you two sit down, we get

14:16

to talk about something

14:19

in the world building

14:21

for Skyjax that

14:23

we haven't addressed but like has been there

14:25

since the beginning. And it's

14:27

that in how somewhat universal

14:30

the luminaries are in that

14:32

like, even if people

14:34

interpret them differently in different places, even

14:36

if different cultures have different relationships with

14:39

various luminaries, some

14:43

measure of the luminaries are present

14:46

kind of everywhere and every culture

14:48

like understands them. In the

14:50

way that we understand the sky and the sea

14:52

and the sun, when

14:55

people on skyships or

14:57

traveling, what have you, encounter a

14:59

culture where they don't share a

15:01

language, the luminaries

15:03

are some kind

15:06

of language between them, which

15:08

for the world building means when a

15:11

ship like the Uhuru shows up in

15:13

a place where they don't have fuel

15:15

and they're far from a place

15:18

where people know about sky ships

15:20

or whatnot, it doesn't have to

15:22

be a hostile situation because they

15:25

have some way of indicating and

15:27

there is some kind of more

15:29

universal understanding that

15:31

would undermine a lot of like the

15:33

deep personhood that not being able to

15:36

communicate with somebody would lend to you.

15:39

This culture has conceptions

15:41

of the luminaries and they,

15:44

I think they express themselves differently than

15:46

the cards. What I want to know from you

15:48

two is how do you think they

15:52

depict the luminaries? What objects are

15:54

they on to indicate?

15:58

My initial thought is woven mass. Okay,

16:00

okay. Like big woven

16:02

tapestries, like big, like leaves of

16:05

grass, like leaves of grass

16:07

that are woven and then painted

16:09

in like almost like a

16:11

pixel art kind of way. Yeah, kind

16:13

of cool. Because you get squares out

16:15

of doing that, which means you can

16:18

paint the squares to give like a

16:20

thing like that. It

16:23

feels like maybe there could be, in moments

16:25

of like, like there is a

16:28

language barrier, it's like, all right,

16:30

get the mat. And it's like some someone

16:32

or a couple people like hold them taught,

16:34

like you can see all the

16:37

luminaries and it's like you pick what luminary you

16:39

are. I think it's more practical. I feel like

16:41

it's a scroll, you know, like they can lay

16:43

it on the ground between you too. It

16:46

feels like maybe it's like the scroll is

16:48

laid out for the people who are

16:51

new. And it's like,

16:53

you choose like your luminary that

16:56

you want to like, this is

16:58

my opening statement and my opening

17:00

statement is the forest queen and

17:02

like, there is maybe some like

17:04

value to like the luminaries

17:07

that you choose to like people of

17:09

this culture. And so it's

17:11

a little bit of if you are familiar

17:13

with the culture and their interpretations of the

17:15

luminaries, you might have an idea of like,

17:17

all right, here the forest queen, that's

17:20

actually like a good thing. That

17:22

is definitely going to be something that you're running up against is

17:25

people in different places might be interpreting

17:27

the luminaries differently. But there

17:29

is a general sense

17:31

for a lot of them to the

17:33

point where is it as easy as like they bring out

17:36

two stones like a white stone and a black

17:38

stone and one is like positive one is negative

17:40

and they push it onto really like that. You

17:44

culture has that you point at like the forest queen

17:46

and they put like a black stone on it. You

17:49

know, like, okay, this is a negative thing between

17:51

the two of us. Like the nuances we obviously

17:54

will then have like nuanced

17:56

conversation about what that means but for

17:58

the base like is Is it good?

18:01

Is it bad? I think it's a three-pronged

18:03

nuance. There is an uncertainty, so like there is

18:05

like a gray stone, there is a black stone

18:07

which is negative, there is a white stone which

18:09

is positive. And I think

18:11

as this scroll is laid out, this

18:15

woman takes a stone, the

18:18

gray stone, and places it over the river.

18:21

And for everyone playing along at home,

18:23

but more for the people who are

18:26

playing at the table, the

18:28

river represents a separation

18:31

and a trial. It is

18:33

partially the temptation to do

18:36

something dangerous, but it

18:38

is, you have the potential to do

18:40

something dangerous that is ultimately a

18:43

barrier that to

18:45

a reward. So this

18:48

is like an uncertain thing

18:51

basically saying, we're

18:55

figuring something out. It could be dangerous, it

18:57

could be a thing that kills people,

19:01

but there is also the potential prize

19:03

on the other side. This is a

19:05

trial. Yeah. And do we

19:07

have our own set of rough? Yeah,

19:10

I think stones were placed in front of

19:12

me and I think actually importantly, the guy

19:15

who is the guard has, once you were

19:18

sat down, once it's unfurled, has

19:20

undone on your specifically

19:23

the restraints on

19:25

your arm. Gotcha. Come

19:27

on. So then, Johnnett is going

19:29

to, we see there's three options,

19:31

white, black, gray. Johnnett

19:34

is going to take the white and

19:36

he's going to place it on the union

19:38

and he's going to pray that

19:41

he is doing this correctly. The

19:43

union is fulfillment, harmony, wholeness, love,

19:45

and community. Yeah. I

19:48

think you make that indication

19:50

and there's maybe a bit of

19:52

an eyebrow raise from the person

19:54

across from you and this

19:57

is all done within the awareness that there is

19:59

a language. barrier and they were trying to navigate

20:01

it. I feel like

20:03

there's no way to misinterpret what you are

20:05

trying to say. And

20:09

I think I would like a perception

20:12

check. You can either use magic

20:16

or intellect, whichever you would

20:18

prefer. One, I think 100% at

20:21

this point, like, John, it

20:23

is magic. If he

20:25

has not opened his eye yet, like

20:27

he is trying to, he is trying

20:29

to, through the pain

20:33

to like, get any kind

20:35

of clarity on this, on the situation in

20:37

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21:38

Okay. So magic and

21:41

so actually that can be, if

21:43

John it is going to try

21:45

and open his eye to understand

21:47

what is being said, you

21:49

are welcome to make a magic roll for

21:51

that. If you would like to do that,

21:54

Walk the path, spend four magic and automatically

21:56

succeed in an act, at an action you

21:58

would normally roll for. Oh.

22:01

Yeah, you could pop that and

22:03

basically be like I'm gonna get

22:05

an auto success on. Using

22:08

magic to understand? Yeah, no. I like. In.

22:11

First introductions john it would want

22:13

to their teens continue to be

22:15

as much language barrier and like

22:17

working shit out as their wants

22:19

to be. but this first one.

22:22

This. Matters. And so I think

22:24

from a camera standpoint we see

22:27

John at looking down at these

22:29

are at this scroll at these

22:31

of these. Stones

22:33

and we see just like a

22:36

little we get as we get

22:38

a little sense of like the

22:40

world around John. It goes a

22:42

little bit darker and we see

22:44

underneath the bandana just a tiny

22:46

little bit of light and we

22:48

see John. it looked down, look

22:50

up, look down grab place to

22:53

that the next. Worth it. Yeah

22:55

what I think I'm gonna I'm

22:57

gonna do have a role in

22:59

magic. This is for a separate

23:01

thank gosh yes he is offensive.

23:03

Ahead. So first things first

23:05

you brought you used walk

23:08

the path you open your

23:10

eyes. And

23:12

there are a couple different ways

23:15

that I think we could go

23:17

about this. John, it could move

23:19

himself all the way into a

23:22

potential future. Where. He's learned

23:24

this language I'm I'm just raw

23:26

understands or have a skill that

23:28

is there are there is like

23:31

how how else could like walk

23:33

the path the work I think

23:35

John it could move through his

23:37

understanding of people and what not

23:40

to where he doesn't understand the

23:42

language. He can't form words and

23:44

about might even be more funny

23:47

can't form their words but he

23:49

can. Almost. perfectly read

23:51

the intent of what people are

23:53

saying as though he could hear

23:55

them talk which is kind of

23:57

cool like because walk the path

24:00

is about your connection to the

24:02

universe and understanding the

24:04

universe more than you would

24:08

without the assistance of a seer's

24:10

eye. There are different mechanical

24:12

ways this can work, but I think

24:14

at the end of the day, the

24:16

most interesting thing is you being able

24:18

to understand what they

24:20

are saying and then having to figure

24:22

out how to convey to them what

24:26

you need to do to respond.

24:28

Yeah, I feel like it's,

24:30

yeah, I think it like he zones

24:33

in and he is sort of taking in like

24:40

the this person's like what

24:43

this person is not saying by like just

24:45

how they pick up a stone and

24:47

place it or it's like is this

24:49

calm? Is this inquisitive? Is there are

24:52

you like interrogating me because like you

24:54

see me as a threat? Perfect. Yeah.

24:56

Perfect. So here's how this is going

24:58

to be from now on when she

25:00

is talking to you, she's going to

25:03

be moving things, but I

25:05

will just talk to you in dialogue as though

25:08

she is speaking. When you respond, you'll

25:10

be doing it through places of

25:12

luminaries and interpretation.

25:15

I think that is

25:17

fun. John, it is like grasping and

25:19

I think like does have this moment

25:22

where he's got to decide how

25:24

do I walk this path? Because like you

25:27

could find a branch of

25:30

the future where you leave the situation

25:32

and you grow up to be a

25:34

person who speaks this language, but

25:36

you have no idea how difficult that's going

25:38

to be, how much energy it's going to

25:40

take, how long that's going to take you.

25:42

So you're like coming back and be like,

25:44

I can just understand everything that this person

25:46

says. So it's like anything that

25:48

comes from her you'll get and anything

25:51

that comes from somebody else you won't.

25:53

But I feel like that narrow focus

25:55

is really interesting and also reflects John

25:57

at like trying to be efficient. Yeah,

26:01

I feel like this is we can do

26:04

magic it also kind of feels like deep

26:06

dive shallow recall where it's like you I'd

26:08

spend for Intellect

26:11

to instantly like what

26:14

we have like I I feel like

26:16

that would have given you the language

26:18

Great that so you would have just

26:20

temporarily known the language for the scene

26:22

This is you're gonna understand text and

26:24

subtext coming from this person that which

26:26

is great I I think

26:29

it's cool and I think it's gonna lead

26:31

to a fun weird scene the magic role

26:33

that I did there was for

26:35

you to understand the

26:38

tattoos a little bit in front of you

26:40

because you're seeing her hand as she is

26:42

moving these stones and like

26:45

there are a lot of tattoos of different symbols

26:47

and like additive things that

26:49

display like place and capability

26:52

within culture but on

26:55

her knuckle she's got a tattoo

26:58

of an eye and the

27:00

symbolism behind that to

27:02

you feels Super

27:05

clear. Yeah, so he's

27:07

got this tattoo of the eye

27:09

on her knuckle You don't know

27:12

exactly what it means but

27:15

you you place you you've placed in

27:17

front of the Union and she

27:21

responds by Moving

27:24

one of the rocks. I think it's

27:26

a black rock like she's indicating Some

27:29

doubt and it's like if you

27:31

meant us no harm Then

27:34

my community would not see harm

27:36

on a regular basis young man

27:39

So then he's going to take the

27:42

black stone and

27:45

move it over the

27:47

soldiers Okay,

27:49

death deception and memory

27:53

Yeah, okay, I Suspected

27:59

there was was confusion.

28:02

There is much fear in this place.

28:05

Tensions are very high. The

28:10

people who

28:13

took our land are doing very

28:15

dangerous things, and my

28:17

community is divided. And

28:20

she's like now flowing through a

28:22

conversation where she'll like very

28:25

fluidly move the stones between

28:27

positions and maybe even communicating

28:29

with multiple stones at the

28:32

same time, because she's watching

28:34

you watch her and kind

28:37

of understanding that you get

28:40

it. One

28:42

of our number left

28:45

our home in

28:47

attempts to aid

28:50

you, and he is now

28:52

dead. There

28:54

is confusion. There

28:57

is anger. And

29:02

the two of us sit in the middle

29:04

of it. We're

29:07

still upright, and we

29:09

still only have one dart in us between

29:13

the two of us. I

29:19

think that's good. So we're doing all right. We're doing good. Okay,

29:22

I'm just going to continue to

29:24

lay here. Yeah, yeah, yeah.

29:28

So he's going to take the white stone,

29:30

and he's going to move it over to

29:32

the Skyjack. Which the themes of the Skyjack

29:34

for the young man. Thank you. He's going

29:36

to move it over to the Skyjack, and

29:38

the themes for the Skyjack are adventure, courage,

29:40

and travel. I'm

29:44

from out of

29:46

town, man. Yeah.

29:49

This one is from here, though. She

29:51

like points to Bayless, and I think she uses

29:54

the soldiers. with

30:00

a black stone, it's like their word

30:02

for them is, this is one of

30:05

the poor fools who lives in this

30:07

terrible place. Mm-hmm. And the

30:09

way she does it, she's just like, indicating

30:11

to you, like, so you're not from here, but

30:13

he is, right? I don't think

30:15

there's any way, there's no reason or way

30:17

to like hide this, but John it turns

30:20

to Bayless and, yo,

30:23

take that white stone and put

30:25

it over the drought. Oh, why?

30:28

What does it mean? Just do it, all

30:30

right? You got us in

30:32

here with this, with the hug. Okay,

30:35

okay. All right, I get one. Okay, okay, okay.

30:38

With his teeth, picks it up, drops

30:41

it over. And

30:43

so the drought is misfortune,

30:45

scarcity, and desperation. Yeah,

30:49

perfect. If you

30:52

are not from here, and he

30:54

is, my suspicion is that

30:56

you are after different things. What

31:00

are you here for? And

31:02

there are a lot of ways that

31:04

you can decide to answer the question,

31:06

but I do think there is kind

31:08

of an obvious answer. Well,

31:10

that's never stopped me from making a

31:12

wrong choice. You're looking for the cleaver

31:15

of the butcher. Ah,

31:17

yeah, yeah. So

31:21

then, so then we

31:23

are, yeah, he's gonna take the white stone

31:26

and put it over the butcher. And

31:28

an interesting note about the butcher,

31:30

the butcher is located

31:32

on this grass mat in

31:35

a place that is different

31:37

from the others. Like

31:39

all of them are kind of like

31:41

within this section. And then like you're

31:43

looking, cause you're looking at symbols from

31:46

a different culture. And like a lot

31:48

of them, they're abstract, but

31:50

they are images. So like you can figure

31:52

them out after a time and you like

31:54

look through for, where's the goddamn butcher? And

31:56

you can see it, it's like over

31:59

here, like on the end. of the mat and you're like,

32:01

oh yeah, yeah, dip here. You put it

32:03

down and there is

32:05

like the people

32:07

who are watching like look

32:10

concerned and her eyebrows

32:14

furrow. She keeps her calm

32:18

and continues moving stones across the mat

32:20

and goes, that

32:24

light has no home here. It

32:28

was driven away long ago. It

32:31

cannot be here. John,

32:34

it takes the stone that's placed over

32:36

the butcher, picks it up, puts

32:39

it right back on the butcher, puts his finger

32:41

down on it and pushes that into the ground.

32:43

And like it's closer than

32:45

you think. There is

32:48

like kind of a chatter. There are

32:50

concerned sounds of people speaking this language.

32:53

She holds up her hand and

32:55

like you get everybody just chill

32:57

out. You read that attention very

33:01

clearly. Way to go on.

33:03

Yeah. She is like a

33:05

diplomat with you, but she

33:07

is a tired parental figure

33:09

to this community. She

33:12

turns back to you and

33:15

goes, Rupda,

33:19

he was killed by the butcher then. John,

33:25

he nods. She

33:27

sighs and like the

33:31

people who live here, his

33:34

people are in danger, deep

33:36

danger. They do not know

33:39

what they do. The

33:41

Grosova is sacred.

33:44

It is important and

33:47

they do not understand it.

33:49

They place themselves at risk

33:51

every day from it. Rupda

33:55

knew this and understood this. And

33:57

unlike some in this community, he-

34:00

He felt it was his obligation

34:02

to protect them from themselves. Some

34:05

of our number, it is complicated,

34:07

but they have mixed in. There

34:09

are loved ones and known

34:11

ones in that group. If

34:13

the situation is to become worse, it could be

34:15

very dangerous for everyone. Uh,

34:18

John, did she

34:20

say Grasova? She I

34:22

think like is saying

34:24

words to you, but like the thing is

34:27

you are kind of reading her mind through

34:29

this and her movements are a lot more

34:31

complex. It's almost like she's typing on a

34:33

keyboard kind of with all

34:35

of the intentions she is moving between.

34:37

John, I feel like picks

34:39

up what it makes, what it makes us

34:42

that he would pick up Grasova because I

34:44

think he just wants to like do a

34:46

clarifying question of like, like the

34:48

stuff is in that in those blow darts,

34:50

is that Grasova the, the,

34:53

the, the fungus? Yeah,

34:55

what she, what she does is

34:57

like moves through an indication, like,

34:59

uh, the, the dart, she points

35:01

to the dart, she points to

35:03

your injury, she points to red

35:05

dyeing her skirt, the brown and

35:07

her tattoos, like, and

35:09

then she'll produce like this

35:12

village's distillation of like some

35:15

byproduct of Grasova. Uh, so

35:17

yeah, you definitely gather that.

35:19

Yeah, it's, it's the fungus.

35:22

Grasova is, is part of

35:24

their culture. Yeah. It

35:26

is what they call it. I'm, I

35:28

must also ask

35:31

when you say the butcher,

35:34

do you mean there

35:37

is specific violence that is being

35:39

planned? She is

35:41

like asking a clarifying question. There

35:44

were two, one of theirs and one

35:46

of ours. So it was

35:49

another guess basically. And

35:51

you know, subtext wise, like that's what

35:53

she says. Subtext wise,

35:55

she is like, are you telling me that

35:58

you bring up the butcher and and

36:00

the violence associated with the butcher

36:02

because they're planning an attack

36:05

on us that doesn't quite track

36:07

with the fact that like two

36:10

people are dead. So

36:14

what do you mean when you say the butcher? What

36:16

do you look into express? The

36:19

butcher has inserted themselves into this

36:21

trying to stir up shit. Yeah.

36:24

And I'm like, it's the actual butcher. Yeah.

36:26

Like is there a, like a, cause the

36:28

cleaver is the symbol. Is

36:30

there like a knife nearby that we can like point

36:33

to? I think if you grab a knife, that's going to

36:35

be a bad situation for everybody. I don't like to point

36:37

to it. Sure. I'd be like

36:39

this. Oh shit. Speaker. Oh

36:42

no. Yeah. I mean, there

36:44

are a lot of ways that like, if you

36:46

want to indicate that like, I mean the luminary

36:49

itself, like we can figure

36:51

out an abstract way of

36:54

indicating because there's still

36:56

confusion around that. I

36:58

think, I think John is, is

37:00

just going to not eat, not

37:02

stand up, but he's going to lean

37:05

over to like that removed section of

37:07

parchment that the butcher is on. And

37:09

he's just going to emphatically just like

37:11

point like, yeah, the butcher

37:13

him. That is

37:16

impossible. And then I think he's

37:18

going to sort of

37:21

pantomime the shape of

37:23

the cleaver and like hold the,

37:26

like point to the butcher or John

37:28

is going to assume that people know

37:30

that the butcher has a cleaver. And

37:32

I think he's going to point to

37:34

the butcher and then like swing

37:37

the pantomimed cleaver

37:41

and like place it in his hand and

37:43

then point back to the butcher. Reshoa

37:46

guarded our community, warded

37:49

the butcher is not here.

37:52

She indicates now to the

37:54

luminaries and How

37:57

the butcher has been separated from

37:59

this. The art were technically exists

38:01

is an idea but it is

38:04

not within the place and you

38:06

are now seeing more of like

38:08

the almost pixel detail of this

38:10

Matt. it is a Ross. Map

38:13

of the region Almost like this

38:15

is our place and this is

38:17

what exists in our place. And

38:20

the butcher is depicted as

38:22

existing somewhere else. I. Mean.

38:25

Like. And see she points

38:27

to her knuckle. Rochelle Rochelle.

38:30

Bets. I think at that

38:32

we're going to play. We're going

38:34

to use words of a seer

38:37

if I've of breath for presidents

38:39

invoked status as a seer and

38:41

I think we're going to do

38:43

that in the way of life.

38:45

She's pointing to an ice. we

38:48

all got eyes. He's going to

38:50

take the bandana off, open his

38:52

eyes and then as slowly as

38:54

he can is is going to

38:56

take the parchment that has the

38:59

end of parchment. Remove parchment. That

39:01

has the butcher on it's and he's

39:03

going to just like bring it closer

39:05

to the rest of. The. At

39:08

that the map of luminaries cause

39:10

is is closer than you think.

39:13

There is as you reveal the

39:15

I like. It is

39:18

a step grader. Them when you

39:20

revealed the had to see would

39:22

kind of inadvertently indicated earlier that

39:24

you are some kind of a

39:26

diplomat but now you hold the

39:29

i have a sphere. I'm.

39:31

Everybody in the community like

39:33

there's a lot of chatter

39:36

under pretenses Dawn people are

39:38

now like coming surrounding there

39:40

There are people like shouting,

39:42

not in fear, boring and

39:44

excitement. I you can see

39:46

men, women and children like

39:48

now kind of gathered around

39:50

to see you and your

39:52

I drew. Yeah. Bayless,

39:55

Dell and Spills has checked

39:58

out of this conversation. Basically

40:00

at like not understand your word of

40:03

we're going on as a bill to

40:05

tell Kelo. Literally has like

40:07

laid themselves on the ground at this

40:09

point like looking to the side trying

40:12

to be a small and like innocuous

40:14

as possible. As the moment that like

40:16

everything becomes a commotion Bayless brings himself

40:19

up to like look around and see

40:21

what's going on and it's obvious that

40:23

all focuses down on John. It and

40:25

John it's third eye as Painless looks

40:28

at it of an issue Little dry,

40:30

Younger Elementary I went around him as

40:32

real as few about about luminaries Star

40:35

Washer. For a

40:37

man, man oh man, I

40:39

know curse as the curse.

40:41

Cursed as hell on wheels

40:43

His Death Star Watcher. and

40:47

would tell he was stories

40:49

of star watching. ah

40:51

I don't think they'll says that was ever

40:53

like I was on a Corsair ship or

40:56

second a merchant vessel. like a transport vessel

40:58

you can be like tsar Watchers even are

41:00

like could just lot like the weather

41:02

against our favorite in their home town he

41:05

was there weatherman as a young man he

41:07

did he like went out and then as

41:09

an adult he was just or whether dude

41:11

and one of the things if you

41:13

tell stories about were stories of like. Fears.

41:17

And like how star watching

41:20

in a way is like.

41:23

It's like us as mere people taking

41:25

the power of a seer in some

41:28

small way and bring it to a

41:30

lot of different people. And

41:33

so I think for all of

41:35

Bayless his life. When. He was

41:37

a kid. He was always like i'm a seer like

41:39

one day I'm going to be one. And

41:42

like his dad would catch him

41:44

my eyes on himself in different

41:46

places and things like that and

41:48

us. So to see a seer

41:51

in real life. Is

41:53

has completely shifted businesses

41:55

concept of what this

41:57

was on. I think.

42:00

There's a radicalization I think area

42:02

I think the reserve radicalisation role

42:04

because now everything you've said has

42:06

different meanings. term give it to

42:08

get that seems checks that said

42:10

yeah, that's a juncture with the

42:12

star water like okay oh no

42:14

Oh yeah I think I think

42:16

this is it's a definite radicalization

42:18

moment because like I was saying

42:20

this weekend, sexualizes everything that John

42:22

As Says said to him. In.

42:24

The past. This might even

42:27

be like I might just

42:29

want to roll the like

42:31

to to low stakes dice

42:34

and against this without any

42:36

positive vibes against it because

42:38

kind of what I think.

42:41

Might. Happen is no matter

42:43

what we check off radicalization me.

42:46

but it's the the sort of

42:48

dark cloud the hangs over John

42:50

it in that people. Are

42:53

being radicalized off of his words. It's

42:55

more his status and what yeah means

42:57

And so it's like this you know,

42:59

thread of like I got a deal

43:01

with more people trying to turn me

43:03

into some stupid messiah. He had a

43:05

sickly listening the practical shit when I

43:08

tell you in a bad situation yeah

43:10

and instead being like well it's that

43:12

like you follow the charismatic leader, not

43:14

the charismatic leader says type thing. And

43:17

Bayless I think is the type of person

43:19

that would just follow that cloud. Atlas

43:22

sucks. So

43:54

one of you notices the

43:57

other the luminary that I

43:59

drew the for this is

44:01

toil, obligation and sacrifice. The

44:04

room. So

44:06

the divination says something dear to you

44:08

will ask you to pay a price

44:10

you have to give of yourself to

44:13

save what you love. I don't know.

44:15

Who. Or what situation might be

44:17

causing that about. But whatever it

44:19

is brings you to together where

44:22

you would meet somehow. This.

44:24

Is. My. Be a step

44:26

to attitudes far to the left or

44:29

something like that. The. Venice

44:31

vibes. Has me thinking

44:33

like or in Venice like the water

44:35

is bad for you soon and if

44:38

you've fallen you're going to the hospital

44:40

Sure yeah that of also kind of

44:42

tracks with like. That. the

44:45

water that the see being bad

44:47

for you and if like to

44:50

see has like made it's way

44:52

into this bike the town it's

44:54

like if you fall in the

44:56

year going to the hospital can

44:59

giant fall in and her her

45:01

that I like that a lot

45:03

and here's why almost no one.

45:06

In the world of spear knows

45:08

how to swim and like this

45:10

is a place that infrastructure is

45:13

not made to have this many

45:15

people. Now it is crumbling because

45:17

of this flooding and whatnot. So

45:19

yes, these channels are like deeper

45:22

than you know people might expect

45:24

even if they're places rican walk

45:26

along the bottom it's muddy, it's

45:28

unstable. I think it's a situation

45:31

where John it especially like being

45:33

as young as he is and

45:35

what not. something happens

45:37

maybe start old maybe someone

45:39

carelessly like ms moving a

45:41

cart and brushes him in

45:43

but he falls into the

45:46

water i feel like there's

45:48

maybe he's he's like he's

45:50

like trailing a subtly a

45:52

gondola operator and just china

45:54

like just ask him about

45:56

his life and i think

45:58

in doing that He's distracted,

46:00

someone kind of like makes

46:03

a move on land and

46:06

like basically like pushes John

46:08

in accidentally. And

46:10

so he kind of falls in and is

46:13

flailing about and he also does not know

46:15

how to swim. I also think that like

46:17

that happens and people here are like, when

46:19

that's a dead kid. I

46:24

think like, yeah, there are

46:26

enough people around that there

46:28

is a shout. I

46:30

think whatever current in these

46:33

thoroughfares, like in the water,

46:35

like it's intense and like

46:37

people are afraid of water in the

46:39

first place. No one knows how to

46:41

swim. The gondola that John was

46:43

trailing is like far down and you

46:45

can't really paddle against the current. So

46:48

there is just a shout and

46:50

most people around are like, is

46:53

there rope? Everyone

46:55

is like so terrified of the situation

46:57

that they're frozen because a lot of

47:00

the people here, like I said, are

47:02

refugees of the sea coming inland. So

47:04

they have probably some trauma around water

47:06

in the first place. So there is

47:09

a lot of people frozen in fear.

47:11

And I think of course the only one

47:13

who isn't is Denison. We see Denison turn.

47:15

I think it's almost like he's on like

47:17

a bridge that we see him like walking

47:19

across the bridge and then we see John

47:22

it like splashing in the water over there

47:24

and people are like, is there like a

47:26

get an aura or rope or people going

47:28

like, oh man, that's real sad. Oh

47:32

man, we do this. This happens more often

47:35

than you think. It happens a lot here.

47:37

Yeah, I'll bet. I'll bet. And

47:40

I think it's Denison seeing

47:42

that and before even

47:45

thinking about it, he's already got his

47:47

coat off. He's handed the coat off

47:49

to someone. His cat like lands on

47:51

that person. So the person is stealing anything out of his

47:53

coat. And He

47:55

dives in and we can see that

47:58

moment where like, John is like. Now.

48:00

Under the water slowly. like going

48:02

down. and there's that. As

48:05

doesn't ties in after him, picks

48:08

it like wraps him up and

48:10

brings him out of the water

48:12

before anyone can can do anything

48:14

else to. Very very quick like

48:16

In and out. Yeah, I think

48:19

this is actually a cool opportunity

48:21

to talk about. Like we've said

48:23

that water is cursed and we

48:25

know that rivers present a problem

48:28

because of the result guy and

48:30

that. The sea is a problem because

48:32

of the mariner but people are obviously

48:34

using water like the people still depend

48:36

on water to live and and drinking

48:38

water especially in situations where they can

48:41

boil it or carbonated or whatever. like

48:43

to distance it from the curse when

48:45

I talks about how like lakes are

48:47

difficult or why like any water something

48:49

the be careful about. So I think

48:51

from John it's perspective for a second

48:53

like you realize that you're in the

48:56

water, you don't know how to swim

48:58

and you go under for the first

49:00

time. And. When you go

49:02

under. It. Is almost as

49:04

if you are a hundred feet

49:06

underwater. You feel even though like

49:09

you are just inches beneath the

49:11

surface, as though there is a

49:13

black. Avoid every direction you don't

49:16

know which way is up and

49:18

which way is down. You

49:21

kind of bob to the surface for

49:23

a second and like your perception is

49:25

restored and that's where the fear set.

49:27

Sin is like oh shit. I've been

49:30

told my whole life that water is

49:32

so dangerous and this. Is why

49:34

I and then like you

49:36

bob beneath again and like

49:38

there's the one where you

49:40

don't surface and there's this

49:43

moment of abyss for John

49:45

It and then. Your

49:48

I. Opens. Up.

49:50

And. it opens up just

49:52

enough you are now seeing

49:55

exclusively through the i ah

49:57

and the i is stretching

49:59

out in a way that shows you

50:02

in a strange way this space that you're in

50:04

is real. Even though you're only

50:07

a couple inches underwater, when you are under the

50:09

water it is a hundred

50:11

feet underwater. But also

50:13

like you can see the outline

50:15

of a hand. It is not

50:17

there, but it will be there.

50:20

I think that allows you to reach

50:22

for it and you are

50:24

pulled up by Denison. I feel

50:27

like there is that

50:29

moment when he

50:32

drops his head underwater and is now a hundred

50:34

feet underwater. We see sort

50:36

of like white see-through outline of

50:39

a hand and like

50:41

Johnnett swipes for it

50:43

once. Johnnett's real hand passes

50:45

through the fake hand, but

50:47

then essentially starts like

50:49

clawing for it. The

50:52

desperation starts to build in him

50:54

as the only thing that he

50:56

can really perceive as a way

50:58

out or like a next step

51:00

is this hand that is not yet

51:03

there. So he's swiping,

51:05

swiping, swiping, swiping, swiping until finally

51:07

like the 20th

51:09

time there's just like a and like

51:12

but you know underwater. And

51:14

I definitely think that there's

51:16

you know Denison grabs

51:18

that hand pulls it pulls him

51:21

like close and I think another

51:23

part of the curse is that Denison goes

51:25

to the surface and it's not easy

51:27

to get. Oh that's how. Oh yeah.

51:30

Like it's it's almost it's not like

51:32

ice. It's not like that sort of

51:34

like you can't get out, but there's

51:36

definitely like a almost like a viscous.

51:39

Yep. Yeah. The water clings to you

51:41

to keep you in it. Cool.

51:43

And it has to be that like Denison

51:45

finally like breaks out of it and that's

51:47

when people like are there with

51:49

like oars to like bring them in. Yeah,

51:51

finally the ropes are ready. So is in

51:53

practice being in

51:56

the water but Above the water.

51:58

that's like you're not. You're not.

52:00

Bad. But like will soon as

52:03

like you're under like your sketchy

52:05

that's that's that's spicy. Yeah that's

52:07

the whole I viral or sessler

52:09

phobia. People out into her car

52:11

Enthusiasts on I Like are like

52:13

that it's scary and like use

52:15

a thing if the water has

52:17

some kind of treatment to despite

52:19

like people can go and Babs

52:21

and way I like brawl water

52:23

who you gotta be careful go

52:25

on. but the two of you

52:27

are pulled the surface and I

52:29

think john it you become. Aware

52:31

as Denison licenses move

52:34

on the grounds. Are

52:36

you alright boys Stance:

52:38

First Spree. Who does

52:40

Breeze? Yeah, you're right.

52:42

John, it is has

52:44

not let go of

52:46

Denison's like arm hand.

52:50

Thank. You a mortuary against the spaces

52:52

backup mega says or as it went

52:54

over there is a meditation or own.

52:57

I. Would like mean the boyd said goat

52:59

was that than the oh we you

53:01

see like Dennis and space like as

53:03

the water, ten of clears and of

53:05

from your your eyes sees like you

53:07

said like in his fifties he's got

53:09

a big like beard, salt and pepper

53:11

ten all the way through it. She's

53:14

got a lot of light like weathered

53:16

lines on his faces. Sees a big

53:18

man, big broad. yeah you look at

53:20

him and you can almost feel even

53:22

without your third eye it's dislike wheat

53:24

that just holds him down but he's

53:26

got. Very. Clear. Like.

53:29

Intense eyes and and so those eyes

53:31

are like not leading your face in

53:33

this moment Denison looks at you and

53:36

says that's that's water ah ah of

53:38

how how to how he was that

53:40

bow deep as his leg ah affects

53:43

how they is is why we will

53:45

to seats deficit like a bring him

53:47

like to bring him to his feet

53:50

and he goes to very deep it

53:52

very very deep and he like leads

53:54

you away and I think the camera

53:57

looks over and we can. See the

53:59

bottom. Yeah, 100%. And

54:02

John is like, John is

54:04

essentially like, bullshit! How deep is this now?

54:07

You lying ass, like? Thank

54:11

you. Of course, of course. Come with

54:13

me. If you don't mind, I'd like

54:15

to take us to a metaphysician. They'll check us out

54:17

and make sure everything's all right. That John is like,

54:20

how much does a metaphysician cause? You don't

54:22

have to worry about that. Because I don't,

54:25

I don't really. No, it's fine. I'll take

54:27

care of it. John, why does your, I

54:29

think this is a good time for their

54:31

first interaction to break, so it's like, why

54:34

does your suspicion overcome

54:37

your trust? Campaign

54:44

Skyjax is a one-shot network production. For

54:46

more information, be sure to follow us

54:48

on Twitter over at campaignpod for updates

54:51

about live shows and other events we

54:53

might be doing. You can find more

54:55

great gaming shows over at oneshotpodcast.com. In

54:59

the universe of Starwall Odyssey, space

55:01

is made out of the collective

55:04

imaginations of all the thinking beings

55:06

who live on various planets. These

55:08

worlds are connected to each other

55:11

through imagination. Common themes and ideas

55:13

are strings between universes. And

55:15

to get between them, people fly wooden ships that

55:17

look like animals, which are powered

55:20

by emotions. Also, people communicate

55:22

with each other by contemplating orbs. The only

55:24

way you can take pictures is getting stared

55:26

at by a big psychic bug. And people

55:28

have already declared victory in a war over

55:30

the very concept of evil. But

55:32

I'm getting ahead of myself. Starwall Odyssey

55:34

follows the adventures of the hapless

55:37

inhabitants of the Lucky Finn Tenement

55:39

Building, who suddenly find that their

55:41

apartment is actually a spaceship, and

55:43

that they're lost in a sea

55:45

of boundless imaginations. It's an

55:47

actual play starring me, James DeMato, Mel

55:49

DeMato, Ally Grower, and Drew Merzieski.

55:51

As we playtest the No King

55:53

system, which will hopefully one day

55:56

be the Skyjax roleplaying system, it

55:58

tells you how to play. the

56:00

line between weird and wonderful slice

56:02

of life and high-flying space fantasy.

56:04

You can sample the first five

56:06

episodes by searching for Starwall Odyssey

56:08

on your favorite podcast app, or

56:10

get the whole thing by heading

56:12

to patreon.com/one-shotpodcast and signing up for

56:14

five dollars a month or more.

56:19

Johnett Kessler was played by Tyler

56:21

Davis, who can be found on

56:24

Twitter and Instagram at Tyler A.

56:26

Dave. Gable was played by Liz

56:28

Anderson, who can be found on

56:30

Twitter at Liz Anderson underscore underscore

56:32

underscore, or on her podcast Paired.

56:35

Captain Oramar Vail was played by

56:37

Nathan Blades, who can

56:40

be found on Twitter

56:42

at PhantomArtsENT, or streaming

56:44

at Twitch.tv slash TheNeonCaster.

56:47

I am James Damato, your host and

56:49

game master. You can find me

56:51

on Twitter at OneShotRPG, or

56:54

on my podcast, OneShot. The original

56:56

music featured in this podcast was

56:58

written, composed and performed by Arnie

57:00

Parrott. You can find him over

57:02

on Twitter at Arnie Parrott, or

57:05

on his website ATPtoons. This

57:08

episode was edited by Ally Growler, who

57:10

can be found on Twitter at Dreams

57:12

to Become, or on

57:14

her podcast Skyjack's Currier's Call.

57:17

Our logo was designed by Fiona Shea,

57:19

who can be found on Twitter at

57:21

Lunarum. The World of Sphere was inspired

57:24

in part by the music of The

57:26

Decemberists and Illimat, produced by Together Studios.

57:28

This show was made in part by

57:30

using a modified version of the Genesis

57:33

role-playing system, designed by Sam

57:35

Stewart and a team of talented professionals.

57:37

There are new... you