0:01

Hey there Critter Podcast listeners! We

0:03

have a special new membership service

0:05

at Beacon.tv, where you get early

0:08

access to all new podcast episodes,

0:10

including Critical Role for the first

0:12

time ever. Beacon

0:14

members also get things like live

0:17

event presales, merch discounts, access to

0:19

a private community discord, and new

0:21

exclusive series like Critical Role cooldown.

0:24

Think of it as our digital Critical Role

0:26

land. Head on over to Beacon.tv

0:28

to check it out for yourself and start a

0:30

7 day free trial. Thank you

0:32

so much for your support, for being a

0:34

podcast listener, and for being part of

0:36

our community. Hey

0:43

there Critters! We are so

0:45

excited to share with you our brand

0:47

new podcast from the world of Exandria,

0:50

The Re-Slayers Take. In this

0:52

audio adventure, you'll be guided through the

0:54

wild continent of Azsura, home to some

0:56

of the most dangerous creatures. Here,

0:58

the Slayer's Take is the most notorious monster

1:00

hunting group in the realm. But,

1:03

when previously slain creatures start returning

1:06

from the grave, it's up to

1:08

six misfit mercenaries to band together

1:10

and re-slade these supernatural threats as

1:12

the Re-Slayers Take. So,

1:15

come follow along, these audio escapades,

1:17

as the second coolest monster hunters this

1:19

side of Exandria battle a growing undead

1:21

army of dangerous creatures. The

1:24

party is led by a duo

1:26

of Game Masters, George Pimavera and

1:28

Nick Williams, with the main cast

1:30

including Jasmine Bueller, Jasper William Cartwright,

1:32

Caroline Lux, and Jasmine Sheon. Listen

1:35

to new episodes every Monday anywhere you stream

1:38

podcasts, or become a Beacon member

1:40

and listen to the podcast two

1:42

weeks early and uninterrupted by ads.

1:52

Hello spellcasters, sages, and spectators.

1:54

I'm Ashley Johnson, and you're

1:56

listening to the Critical Role

1:58

Podcast Network. Tap into

2:00

our magical narrative by watching Critical Role

2:02

as it airs on Thursdays at 7

2:05

pm Pacific on Twitch.tv

2:07

slash Critical Role or

2:09

youtube.com/Critical Role. Twitch subscribers

2:12

can watch the video on demand right

2:14

away, or you can catch it

2:16

the following Monday on YouTube. As

2:18

always, Critical Role will be available right

2:20

here in podcast form on Thursdays, a

2:23

week after the initial broadcast. Now,

2:26

let's scry into the story and see

2:28

what mysteries it holds for us, shall we?

2:56

I guess. It keeps going. But

2:58

nevertheless, today we'll be playing Daggerheart

3:00

version 1.4.2, a little

3:04

light update that was released earlier this

3:06

week, but bell cells will be back

3:08

next Thursday if we don't see you

3:10

at the Greek on Saturday. But

3:12

check out the changelog and

3:14

download the new materials on

3:16

daggerheart.com, and you can also watch

3:18

the VOD of my Q&A with Spencer Stark, lead

3:20

designer of the game, for a walkthrough of the

3:22

updates and some questions that we took from the

3:24

audience and our community, so be sure to let

3:26

us know what you think via our official surveys

3:28

as you try out Daggerheart. We're

3:30

getting closer and closer to finishing this

3:32

wonderful thing, and it's already coming along so

3:35

well, and we would love you to continue

3:37

to help us shape that as

3:39

you want to play it. So that

3:41

is my click and show Travis. You have an announcement.

4:01

It's amazing. Season 3 premieres October 3rd this

4:03

fall in Prime Video. You can check out

4:05

a little sneak peek of our new

4:08

opening titles. Did I get you two? Yeah,

4:10

your first thing I was like, wait, what? What? Ashley

4:13

Johnson. We got new opening

4:16

titles. They're out there on the internet. Check them

4:18

out. It's on our Instagram. Now

4:21

or during the break or whatever you want to see. During break. It'll

4:23

be on the break too. But it's really hot. New

4:26

music from Neil A. Creed. Amazing

4:28

stuff from Studio Rev. It's awesome. Season 3 is going

4:30

to be baller. Can't wait to show you what we've

4:32

been doing. It's so good.

4:34

It's so good, y'all. Alrighty.

4:37

So, Marisha. Yeah,

4:40

as Matt, you kind of already covered

4:42

it. We're doing Menagerie tonight because we

4:45

have the Greek show on Saturday, which

4:47

is the 15th. So,

4:49

yes, Bell's Hells will return next

4:52

Thursday. So if

4:54

you can't catch it live at the Greek

4:56

this Saturday, don't worry. June 20th, 7pm Pacific

4:58

on Twitch and YouTube we will have... What?

5:01

Am I... You're

5:04

casting. I'm

5:06

getting them done tomorrow before the live

5:08

show. But it doesn't matter. Yes. And

5:12

Beacon members

5:14

will get instant access to the VOD

5:16

as well as like... We're

5:19

going to try something new. We're

5:21

doing a special live show edited

5:23

version that will be exclusive to

5:25

Beacon. So basically it won't be

5:27

in the overlay. Like you

5:29

normally see us, it'll be a more cinematic

5:31

cut with the Candelabscura live show. It's a

5:33

cinematation. So, yes, you can check out that

5:35

version. That's exclusive to Beacon members,

5:38

but the regular version

5:40

will be out as per usual,

5:42

the usual time. And also

5:45

we'll be doing a cooldown for it as

5:47

well at the live show. The Beacon members

5:49

will get as well. Hey,

5:52

Jazz hands. Good job. We're

5:55

up next. I'm

5:57

up next. Hey, guess what? What? Well,

6:02

I'll talk about this one first. I'm going

6:04

out of order, but we have this. I'm

6:06

wearing the merch. I was chilly and this

6:08

warmed me up. It's our Oracle

6:10

of the Moon Tarot crew

6:12

neck sweatshirt. Oh, there's

6:15

a great one. Featuring art by

6:17

Camille Lilliam and additional design by

6:19

Jordan Torrens. I love you, Jordan.

6:21

You're the best. In addition to that, we've

6:24

also got this Oracle, I don't

6:26

know if I'm holding it the right

6:28

way, Oracle of the Moon. Just cover

6:30

up your face. Tarot blanket. It's

6:32

featuring card art by Camille Lilliam and

6:34

Fray. Additional art designed by Aaron Monroe.

6:37

I love you, Aaron. The

6:40

back, it's so cozy. It's really soft.

6:42

Right? I'm going to order this at

6:45

break. Is that the hunger sacrifice card that you're

6:47

wearing? I'm wearing, oh yes I

6:49

am. Yeah, look at that.

6:52

Also, you guys, guess

6:54

what? What? At the Greek, if you're

6:57

there, you might

6:59

get to check out some

7:01

sneaky peaky merch that will be

7:04

available in the merch booth, including

7:06

this. Whoa.

7:11

It's Lord Nastread and Blue. I

7:13

know what you ever saw in the

7:15

first. Sorry to eat. This is going

7:17

to be available next week, but

7:19

it'll be at the Greek. It's by artist,

7:23

no that's a lie. Scroll down

7:25

a little bit. It's by artist

7:27

Natalie Hall. I love you, Natalie.

7:29

I meant in addition to

7:31

that. Wait, that is, okay. I love these.

7:33

These are our half crew socks. I love

7:35

our socks. We have more socks now. We've

7:38

got Bell's Hell socks. We got Mighty Nines

7:40

socks. We got Vox Machina socks. And we

7:42

got ZR socks. And they come in a

7:44

four pack. Are

7:46

those like a cotton blend? Feel them. They're

7:48

so comfy. They're the ones that are fat

7:50

on the bottom. Oh yeah. These are good.

7:52

They're really good socks. Elena Harris, artist. Thanks.

7:55

I love you, Elena. Wait, do we need

7:57

to keep these here? No, I'm

7:59

going to steal these. I'm going to take these ones. These

8:02

are great. Thank you, Laura. You will.

8:04

Ashley. Oh my gosh, I have an

8:06

announcement to make. Yeah, it's true. Okay,

8:09

so we are thrilled that for Pride

8:11

Month, we are, sorry, we

8:13

are donating. Sorry, sorry, sorry.

8:15

We are donating. I'm just

8:17

really excited. He's a pro-fash, he's got this. I'm

8:19

right, right, whole month. We are donating 10% of

8:23

all regular proceeds across all

8:25

our shops to outright international.

8:28

So this does not include

8:30

licensed products and products that are

8:32

already, that already support charity, but

8:34

everything else will help support this

8:36

great organization. They are so awesome.

8:39

Outright International is one of our long-standing

8:41

partners at Critical Role Foundation, which

8:44

works to protect the rights

8:46

of LGBTQIA-plus people worldwide. So

8:48

if any in the, any, oh. You

8:51

got the word. You got the word. Yeah, I know. If

8:54

anything in the shop has caught your, I know now, I'm really hot. If

8:58

anything in the shop has caught your eye, now's a great

9:00

time to check it out. Okay,

9:03

I'm all done. Wonderful. To check

9:05

it out. Like it. Thank you, actually. Like

9:07

it, good neighbor. Hey, Thomas,

9:09

do you? That being

9:11

the case, I think let's go

9:14

ahead and jump into tonight's

9:16

episode of the Menagerie? The

9:19

Menagerie? The Menagerie! It

9:21

is the Menagerie, the Menagerie. The Menagerie.

9:24

So, last we left off.

9:27

Sorry. I'm afraid. Oh, we're postrated. Oh

9:30

yeah. Fuckin' bros over here. Sorry. Yeah,

9:32

there's no other titles, y'all. We go right in. The

9:36

Menagerie, after encountering a strange

9:39

new seed of the Seep,

9:42

this strange, corrupting magical darkness

9:44

within the Emerald Sky, you

9:47

are given a hint that

9:49

the person who was responsible for planting this

9:51

within that vast verdant forest was

9:54

a figure that you recognized from your hometown, Bunny,

9:56

of Lowell Vale. You went to that

9:58

town, the Red Crystal City. of Sin,

10:00

and there within that space

10:03

of boisterous commerce and play

10:05

and debauchery, you found

10:07

this figure, this Dyson figure, who

10:10

told you under duress that

10:13

the people that hired him to do

10:15

this, no personal reason, was

10:17

the Croatona

10:19

family, who

10:22

are one of the various factions of power

10:25

within the city, who own the casino and

10:27

have other vested interests in some of the

10:29

more small recent mine

10:32

constructions. But you

10:35

and the rest of your troop went to find

10:38

out exactly who and why. You

10:40

went through the sewers of the city, busted

10:42

through the wall into the hideout of

10:45

the Croatona family, and did battle with Mortimer

10:47

himself, as well as the sister Gemma and

10:49

a number of their compatriots. At

10:53

a certain point, in the acquisition of a gem

10:55

from around his throat, you

10:57

fled back out once you came, as

10:59

it seemed that help and backup was

11:01

called by his sister Gemma.

11:04

Most of you managed to get past it. Most

11:07

of you. But unfortunately,

11:10

Bunny and Sweet Pea were unable

11:13

to traverse the Great Barricade. It's

11:15

the barricade that is of great.

11:17

I have

11:19

to specify there. And

11:21

in trying to flee up

11:24

the direction

11:27

and dazzle the

11:29

relatively angry cluster of

11:32

goons following Mortimer, you

11:35

were captured, knocked unconscious, and awoke at a

11:37

short time later, both of you tied to

11:39

chairs in that very same basement hideout where

11:41

you did battle. There is

11:44

the massive, corpulent, swollen frog

11:46

form of Mortimer Croatona. Sits

11:49

before you. The rest of you have

11:52

fled back through the sewers, worried

11:54

about what may be befalling your

11:57

friends. Let's

12:01

first jump in with you

12:04

four. We're going to go in

12:06

with Sir Dante, Jarlow,

12:08

Kex'in, and Opi. As you

12:11

have now run down the waterlogged

12:14

sewers heading back towards where you

12:17

came, you're huffing, you're running

12:19

as hard as you can, splashing through, darting into

12:21

the shadows, and as you all begin to collect

12:24

towards the ladder

12:26

that led you down here initially,

12:28

you begin to realize that your compatriots are not

12:30

with you. Shit. Whoa,

12:32

whoa, whoa, whoa. We're missing two.

12:35

What do we do? What do we do? We

12:38

leave them. Okay. No, I won't. No,

12:40

I don't. Time to cut bait. Let's go. No,

12:43

no, no, no. No. No. We

12:46

need a plan. Clearly, we're not leaving anyone

12:48

behind. Do we go back in there? I

12:53

don't think I'm even paying attention right because this

12:55

gem on a chain that I stole has sort

12:57

of got an arresting property to it. You're just

12:59

running into looking at it in front of

13:01

you. I don't know if we need a

13:03

plan. Okay, so we've got to get them out of there. We

13:05

can either go back the way we came or we could go

13:08

topside and try and find some kind of an entrance down

13:10

the way we saw the goons come

13:12

down, but that feels like a lot of backtracking. They

13:15

both feel like backtracking. Everything has to be backtracking.

13:17

You left someone behind. Of course there's going to be some backtracking.

13:20

You're right. You're right. We've got to go back. What

13:22

do you think, Zorla? I

13:25

don't know. Okay.

13:28

What are you putting that on for? Oh,

13:31

I do like it. You

13:33

put it on, and the magic pulses

13:35

through the chain and across your neck,

13:38

and the flash of history

13:42

or capability of this gem

13:44

crosses into your mind. Oh! There

13:49

are sheets. I'm

13:51

going to read it out. Above

13:54

the table. Innovation gem. When

13:56

you consume this gem, you gain the

13:58

following attributes. you choose to drop

14:01

this form on your next rest. You're

14:03

twice your size. Your strength,

14:05

agility, and finesse rolls have advantage. Your

14:07

physical attacks deal plus 1d10 damage. Whenever

14:09

you succeed, on an action roll with

14:12

hope. The gem gains a

14:14

fear when this form drops. You regurgitate

14:16

the gem and roll a 1d6. On

14:19

a 5 or 6, the gem cracks and

14:21

is no longer usable. I love it. It

14:23

was a steroids. Just a little juicin'? Right,

14:25

so the toke- You could have got so big. Froggy

14:28

was juicin'. He was juicin'. I had a backup

14:31

mini that he didn't get to use. Since you

14:33

stole it before he could eat it. We didn't

14:35

see him juicin'. No, that was pre-juiced for. That

14:37

was pre-juiced for. Wow. You have

14:39

this juice. You got the juice. That's

14:41

really good. Okay. We go back in

14:44

there and you just- you juicin'? Eat it. All

14:48

right, well. We don't know where the door is from.

14:51

We don't know where the door is. We don't know where

14:53

the door is. We don't

14:55

know where the door is. That's not a plan, though. Well,

14:58

if we figured out where

15:00

the topside entrance is, we could say that we found the

15:06

gem, which clearly they think it was stolen. They don't necessarily

15:09

know it was us. And we

15:11

could try and make a trade for our people. They probably

15:13

think it's us. They do. And we don't

15:15

know where the door is. We don't. Right. We

15:18

do know where this door is. It's- yes, I suppose. Which we

15:20

just ran from. Could be. The

15:22

shortest distance between A and B is a straight line.

15:25

We could go up and look for the door down. Excuse you. But

15:28

then- but then all

15:30

the guards and stuff are gonna see us

15:32

up there. Yeah, I mean, they gotta die. Clearly,

15:36

they know where we went, so they're probably

15:38

going to be waiting for us at this secret

15:40

door that is now not so secret. Like,

15:43

right there. They know. They know where we came from.

15:45

It would- I think it would be much sneakier to-

15:48

Up top? Up top. Right.

15:51

Alright. Let's see if we can figure this out. So we're going

15:53

back to- from where we-

15:55

from where we were, do we think

15:57

that that underground room was directly below?

16:00

roughly where the casino was? MATT,

16:03

as well as some of you knew the city, you

16:06

were able to find that area and

16:09

listen for the sound and the hollowness of

16:11

that wall because it was where you assumed

16:13

the casino was. So you do think it is

16:15

directly beneath it. Also, as a

16:17

heads up, because we did level up to six

16:19

between, and this is open beta, and we're trying

16:21

things out. You

16:23

guys, technically, you wouldn't level up in the middle of

16:25

action in the middle of the story, but fuck it,

16:27

we're all level six now, and whatever your loadout is,

16:30

it's fine. So we're playing

16:32

Loosey Goosey and having fun with it.

16:34

I don't know. I'm

16:36

a pill to burn stress, to clear my stress,

16:38

but that's open up the thing. Okay,

16:41

Oppy, lead us back to the casino and charm

16:43

your way into finding the door. All right.

16:46

All right. Let's go, I got

16:48

this. You got your magics? Huh?

16:51

You got your magics. I got my

16:53

magics. Courage? Yeah. I

16:55

hear this plan, I'm very excited. We navigate

16:57

our way through the sewer back to the

17:00

entrance that we used to come down. Yeah,

17:02

you guys had reached that entrance when you

17:04

realized that your friends didn't follow suit. Follow

17:06

me. You all climb up out of the

17:08

sewer and back onto the nighttime glowing red

17:10

streaks of lull veil as

17:12

we come back to the subterranean basement

17:14

of the casino. Bunny, Sweet

17:16

Pea. The two of

17:18

you are now tied to adjacent

17:21

chairs, unable to move your hands

17:23

or legs, looking up

17:25

in the dark shadowed interior of

17:27

this basement space. There, the

17:30

horrible briny breath of Mortimer Croatona

17:36

finds its way warmly across your faces

17:39

as he skulks low and nearby, squatting

17:41

his massive toad form. Hey. Hey.

17:47

Oh. Mm. Ha ha ha ha. Mm.

17:52

Mm. Immediately

17:54

ignores you. Ha ha ha ha.

17:58

So since ya. MARY

18:00

W and MARY W. What? MARY W.

18:02

Who sent you to come and try and

18:04

kill us? MARY W. Oh,

18:07

no, no, nobody? We

18:09

didn't do that? MARY

18:11

W. Why do

18:13

you come here? You don't just

18:15

stumble through the sewers and bust

18:17

open a wall and attack me

18:19

and my family for no reason!

18:22

Why? MARY

18:25

W. Ooooooh. We were walking

18:27

through the sewer and then we saw

18:29

this door, right? And we were like,

18:37

oh, that seems really interesting. We should check it

18:40

out. And then we went in to it and

18:42

that's where you were. And then you attacked us

18:44

and we just didn't even know what was happening

18:46

and that's why we tried to run away. MATT

18:52

and TALIESIN M. Go ahead and make a

18:54

presence roll for me with disadvantage to try

18:56

and lie to him. LAURA

19:01

and TALIESIN M. With

19:03

disadvantage? MATT and TALIESIN M. Yes, because he's already been lied to

19:05

a few times. LAURA and TALIESIN M. Wait, I forget

19:07

how to do it with disadvantage. Minus

19:09

a d6? MATT and TALIESIN M.

19:11

Correct. So you roll your hope and fear

19:14

die, add it together, minus a d6. Roll

19:16

high and roll low. MATT

19:19

and LAURA and TALIESIN M. Oh.

19:22

Okay. 12, 13, 10. With

19:24

hope. MATT

19:30

and TALIESIN M. With

19:32

hope, so you get a

19:34

hope. There's a pause as the smile curls

19:36

across your fungal lips.

19:40

I say with a question mark? Yeah, yeah. LAURA and MATT

19:42

and TALIESIN M. Yeah, you do. LAURA and M.

19:45

Cutey little thin lips. MATT and

19:47

TALIESIN M. Yeah. He glares at

19:49

you, inspecting your form.

19:52

His large hand, without even staring at

19:54

me, reaches over and palms Bunny's head.

19:57

LAURA and M. Ooh! and

20:00

just gently begins to squeeze. Oh.

20:04

Hey, Mr. You

20:06

know, we was just really curious, you know, we

20:12

just really want to know more about this seep

20:15

business. Just

20:18

as, you know, Good Samaritan's doing a

20:21

Good Samaritan thing. Good

20:23

Samaritan's, that's what you

20:26

are. Just wandering in and stabbing

20:28

and lighting us on fire to

20:30

be Good Samaritans. Well, no, you

20:33

know, I just, I do really feel like,

20:35

you know, that was self-defense, you know, you

20:37

gotta, you gotta, you, you are a big

20:39

strong mister. I'm sure you know things. I

20:41

was worried in my business. Yeah,

20:44

we were too taking a nice casual

20:46

stroll in the sewers. Yeah,

20:49

we didn't even mean to find you. Cut

20:52

the bullshit, and

20:54

let's be a little honest here. Sure.

20:58

Why did you come here?

21:01

Can I ask a question, DM? Yeah.

21:04

How many people are in this room? Ah,

21:06

so now you kind of take in the

21:08

space beyond him. You can see his sister

21:10

Gemma is about 10 feet behind him, and

21:13

at a quick glance in the low, kind of

21:15

like, fire lit chamber, you can see three other

21:17

people, but your view is also only of this

21:19

longer mid-room. There are openings to each side. The

21:22

left goes into the main chamber with his big

21:24

seat where you fought a lot of the battle

21:26

before, and the right leads into a small room

21:28

with the stairs to lead up into what you

21:30

assume is the casino above. Okay, Mortimer

21:33

plus three people. And

21:35

his sister. And Gemma. Where

21:40

is my amulet? Look,

21:44

I really don't, I really don't know

21:46

what you're talking about with that part

21:48

of it, but okay, so I was

21:52

joking earlier. We were

21:54

looking for you. Oh,

21:57

see, now we're getting somewhere.

22:00

Now, and he scoots real close to you,

22:02

still holding, still palming Bunny's head, and his

22:04

hand is large enough that the fingers wrap

22:06

around it and touch the back of, curling

22:08

past the other side of his palm. You

22:10

can probably pop it. She has a show

22:12

later on tonight, so maybe just try not to

22:15

mess up her hair too much. It's true, curtain

22:17

calls in like an hour. Answer

22:21

the question. Yes, so

22:24

we were looking for you because

22:26

of this seep stuff. What

22:30

the fuck is seep? Seep is,

22:32

I'm not exactly sure. It's like oozy

22:34

and maybe like black, and sometimes it's

22:37

kind of gooey. You

22:40

know, you know, it's, that

22:42

stuff at the bottom of the canyon that's making

22:44

things all weird. It kind of releases the crib

22:46

on you for a second. Oh.

22:49

Heh, heh, heh, heh. Ah.

22:55

Okay, I think I know what you're talking about,

22:57

yeah. Yeah, you know, we're just doing our due

22:59

diligence, you know, you weren't supposed to kind of

23:01

get caught in the crossfires here. We were just

23:03

trying to figure out some stuffs about the seeps.

23:06

Crossfire? You get caught

23:08

up in this. So you're looking for this, the

23:10

seep, whatever's in there. The

23:13

down ravine mines, okay, okay.

23:16

Well, I'll tell you what. Since

23:19

you both, this

23:21

is your last night here on the world, why

23:25

don't we train? Why don't we have

23:27

a little conversation here? How about that? Oh. All

23:29

right. I like trains. All right, you give me

23:32

a little bit of information. Okay. And

23:34

I'll tell you what you're looking for. Okay. And

23:36

then I'm gonna ask you another question. So

23:39

it's kind of like Truth or Dare? Sure,

23:41

we'll call it that. Okay. Truth and Die.

23:44

I, I, I, so high stakes, I love it.

23:46

I just don't know if I'm gonna be very

23:49

good at this, because

23:51

they don't really know what

23:53

we're doing other than

23:55

there's like seep. Wait,

23:58

you've never played Truth or Die? Where's

24:08

my amulet? Yeah, that

24:10

question, right? I don't

24:12

know. Next. Ooh! You

24:16

then ran in, took it,

24:19

and disappeared. Where

24:22

is he? Where can I find

24:24

him? Oh no, no, no! Because we're here! This

24:28

feels like a very self-explanatory situation. How

24:30

are we supposed to know? I don't

24:32

have GPS

24:35

or something connected to wherever

24:37

your necklace is. Alright,

24:40

she got nothing to offer me. That means you have no

24:42

use to it. No, no, no, no, no, no,

24:44

no, no. Look, she's really sexy. It's

24:48

true! I like how

24:50

you guys have decided to be tied by your wrists

24:53

in the front and you're tied by your wrists in

24:55

the air. I love you guys, so it makes me,

24:57

I just, you know. Can

25:00

I, GM, this

25:02

whole time be trying to pull

25:09

my arms out of

25:11

their bindings? And can I

25:13

utilize Shabari expert to help

25:16

with that? Yes, you may. Alright,

25:19

so you can make

25:21

a Massabia an agility. So

25:24

go ahead and make an agility roll for me,

25:26

if you could. But you

25:28

can add, if you want to

25:30

spend a hope, you can add your Shabari

25:32

expert experience to that. I will. Alrighty.

25:36

Hang on, let me spend a

25:38

hope. Mark it up, where's

25:40

that? Yep. Wait, hang on, I

25:42

gotta do it. Wait, do we- I need to get a special card.

25:45

I got so much hope to spend. Can

25:48

I spend a hope to help her? You

25:53

are adjacent to her. And

25:56

I'm a sneaky little mushroom. You

25:59

are indeed a sneaky little mushroom. little mushroom. And me

26:01

and Oppie oftentimes tried to get out

26:03

of punishment from our elders, so I

26:06

was good at causing distractions. So

26:08

are you trying, so you're going to distract? I'm

26:11

helping her by distracting him. Okay, yeah,

26:13

well that's a go ahead and spend the hope. Water

26:16

is thicker than blood, thank you very much, and

26:18

that's for when me and Oppie are doing things

26:20

together. Yeah, go ahead and spend the hope, and then you can

26:22

add a d6 to this. I can add a d6,

26:24

that's good. Ooh!

26:29

I'm so excited! Okay, 12, 14, 16,

26:32

20, two, 30, with fear. 30

26:41

with fear? Yes. I

26:44

love that you have these now, it's so

26:46

cool! Oh, it's built me these in a

26:48

day. Oh, so cool! Shout out to you,

26:51

please. So,

26:53

you, as you

26:56

are, explain how you're distracting him, if

26:59

you don't mind. So now that you asked us

27:01

a question, do we get to ask you

27:03

a question? Because I have so many. Like,

27:06

you know your game upstairs? The one where

27:08

you roll the dice with this, is

27:12

there any way? We don't get to trade

27:14

questions until you answer mine. Oh,

27:16

that makes sense, okay. Because I

27:18

have so, okay, yeah, you go

27:20

first. Can

27:22

I just kill them? As this is happening, you

27:27

pull your wrists out, and

27:30

manage to slightly loosen around your

27:32

ankles. So you're still holding it, but you are free

27:34

of your binding. It's great, I'm still pretending like

27:37

I'm bound. Okay, looks back. I'm

27:40

sorry. You're a

27:42

little monkey friend. Yes. Where's he

27:44

staying? I don't know. Where's he sleeping?

27:46

I don't know. Don't

27:48

give me an answer, I have nothing to give you, and I'll just kill you right

27:51

now. Well, look, you know, mister,

27:53

we were supposed to be at the

27:55

curtain call, at the Lily Lockett Lounge

27:57

in an hour, so if you let

27:59

us go. you know, he

28:01

was probably going to help us in the show. He was

28:03

at least going to watch, but I was going to offer

28:05

him to see if he wanted to play the tambourine or

28:07

something. Okay, so you have him at the Lily

28:09

Lockhead now. Good to know. Yeah. All right, that's enough

28:12

for me. Your question

28:14

about this sea business? Yeah. Sure, why

28:17

not? Well, see

28:20

me and my sisters, we were approached by this

28:22

weird, eccentric, wealthy Baron out

28:24

of a champion's crown. This

28:28

fellow wanted to help

28:30

us for a trade. He

28:32

offered to help us expand our mining influence in

28:34

the town if we helped

28:36

him deliver a weird stone-like package to the

28:38

Emerald Sky. Oh. Now,

28:42

we asked him why he wouldn't do it himself, but he

28:44

said he wasn't welcome in such

28:46

natural spaces. Kind of creepy, kind of,

28:49

I don't give a shit to be honest. He wasn't

28:51

welcome in what kind of spaces? Natural spaces.

28:53

Ooh. Isn't every space a natural space? I

28:55

don't fully have. I don't fucking care. All

28:58

right, all right, keep talking. Now,

29:00

I wasn't interested in this whole business until you

29:02

showed me that necklace, the

29:04

one that your friend took.

29:08

There was something enticing about it,

29:10

and I only wanted it.

29:12

It was a beautiful gemstone. He said it'd give it

29:14

to me as part of the deal, and he did.

29:17

So we came to an agreement, so long as

29:19

he showed us how he'd help our operations that

29:23

we'd go ahead and see that this thing was

29:25

delivered into the old sky for whatever purpose he

29:28

had for it. It was destroying

29:30

the entire ecosystem. I don't care. Ha

29:33

ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha

29:35

ha. But he

29:37

showed us this strange little black

29:39

purple gem, kind

29:44

of a rough cut thing, and he said be

29:46

patient. About a

29:48

week later, the entirety

29:50

of the Gulch bottom mine had

29:53

been shut down entirely. The

29:55

most powerful and largest competitor of

29:58

the red crystal mining here in the world. city out

30:01

of business. And it's

30:03

been Boomer ever since. So he

30:05

was good on his word, so we had to be

30:08

good on ours. We found

30:10

a schmuck who didn't have

30:13

anything to lose. Dyson, may have

30:17

him go off and do this for us. And

30:19

it seems he told on us, so we'll make

30:21

sure he's taken care of too.

30:23

But I think

30:25

that answers your question. I have

30:27

one last question. What

30:30

are your last words? And you

30:32

see him as he's reaching back for

30:35

this nasty gnarled-looking jagged

30:37

mace. And you see Gemma in the

30:39

back. And all the people

30:41

are starting to come in more and more folks are starting

30:44

to appear from the stuff. LAURA and MARISHA I want

30:46

to cast Dark Cloud! MATT

30:50

and TALIESIN and MARISHA and LAURA and TALIESIN and

30:53

MATT and TALIESIN and MATT and LAURA and MATT

31:50

and TALIESIN

31:53

and MATT and Very and

32:00

the spell begins to curl around your

32:02

hands. You could feel the energy going,

32:04

but you're unable to completely

32:06

coalesce it, and as your body moves,

32:09

as he was staring over to the side, grabbing the

32:11

mace, he sees you wiggling, and the

32:13

magic begin to apparite. The black cloud began

32:15

to, like, in this space. Oh

32:18

no, you don't. Wham! And he

32:20

hits you across the head with

32:22

the mace. Immediately, blood spatters across the

32:24

stone next to it. You take. No!

32:28

Next to me! He

32:30

doesn't give a shit. That's going

32:32

to be 16 points of physical

32:34

damage. Oh, no, the dog's still! Oh

32:37

no, I can't even. Okay,

32:39

I take some major damage there. So

32:42

he's like, pfft! See,

32:45

now, I hate to have fun! And

32:48

he's going to lift up the mace again for me. I'm going to, like, after

32:51

he hits, I'm just going to be like, oop,

32:53

that's my cue, and release myself of the binds.

32:57

And then can I take the rope and

32:59

wrap it around, whip

33:03

it around his hand, since I am technically

33:05

also a whip expert to try and disarm

33:07

him. You want to try and disarm the weapon?

33:09

Sure. All right, so go ahead and, for that, go

33:11

ahead and roll a finesse roll for me. Yeah,

33:13

I'm good at that. Can

33:17

I... Well,

33:20

that's, I guess, a damage dice thing. Okay.

33:26

Okay. Nine, 12, 14, 15, 17. 17

33:32

with hope? 17

33:34

with hope? Yeah, that'll succeed.

33:37

So you get a hope from that, and you wrap

33:40

the whip around his hands as he pulls

33:42

him upward and gets caught backwards.

33:44

He tries to tear free, and as you

33:46

withdraw the whip, you pull the mace out

33:49

of his hands, and he gets the ground

33:51

and scrapes to the floor next to you.

33:55

Argh! It's kinky. Whip

33:58

my fan attack. Okay, go for

34:01

it. Okay, okay,

34:03

okay. Okay. That's

34:09

a crit! That's a crit, okay! That's a

34:11

crit! Wait, what happens? Do

34:14

I do max damage? What happens? I

34:16

know, it's been a minute. So you

34:18

do max damage and then roll your damage dice on top

34:20

of it. So

34:22

I do, so that's 3d8 with

34:24

my proficiency. So that's 24. Plus

34:28

a roll of 1. Plus a roll of another 3d8.

34:31

Wow! I'll

34:34

leave that's correct. Okay,

34:36

okay. Wait, I wasn't prepared. Shit,

34:38

shit, here we go. I'm good. Okay,

34:42

so wait, 24 plus, that's 28. 39

34:53

points of damage. 39 points of damage. That's

34:57

well over severe. So he takes 3 hit points, march. As

35:03

you pull the mace from his hands, turn around

35:05

and then whip him. Where are

35:07

you striking him with the whip? Well,

35:09

that was where I did a whip to disarm and then I

35:11

hit with my fan. Oh, with the fans, okay, right. So

35:14

it carves across the side of his head

35:17

and he falls to his knees that snap

35:19

as he puts his whole weight on them

35:21

at the wrong direction. He yells out,

35:23

hitting the ground, looks back at you, you can see one

35:25

of his eyes is completely cut through. And there's just like

35:27

a blood streaking on his face. His massive ribbit mouth is

35:29

open. Kill him!

35:37

She's still down. Can eyeshadow bind

35:39

him? Now that he's on

35:41

his knees? Sure. And

35:43

he won't be able to stand up, right? He won't be able to

35:45

move. Okay. Yeah. Yeah,

35:48

can I try it? Yeah, go ahead and roll. Make

35:52

a spell, cast roll. And

35:55

is anything else in close range? Very close range?

35:57

In very close range to you or him? Of

36:00

me? Of you, no, it's just him. Oop!

36:05

Yay! Um,

36:07

16, 17, 18, 19, 20, with hope. To

36:11

when that succeeds. So, as you take

36:13

a hope, he falls onto the ground

36:15

after being smashed in the face by Bunny's

36:17

fans. As he's yelling at her and shouts,

36:19

Kill them, you still manage to now bring

36:21

your hand to the side a little bit

36:23

and finish the incantation. The shadow that fills

36:26

most of this chamber, the shadow that he's

36:28

casting on the wall, suddenly spreads out and

36:30

digs into the rock, like a tree taking

36:32

root in a matter of seconds. And he

36:34

like, Grr! Not

36:37

again! And he's just

36:39

kind of watching his eyes shut right now. He's like, not

36:41

again? No, it's so annoying, I kept doing that too. I'm

36:43

like, oh, that's right, you did it. Gemma on the

36:46

back is like, huh? Am I my bear? Can

36:48

I pick and pull and try to undo

36:51

my vines? Yes, you can. Okay. So,

36:53

go ahead and go ahead

36:55

and roll an agility or

36:57

finesse your choice. With

37:00

advantage. Yes, because of your pick and pull.

37:02

Yes. Okay.

37:08

19, 20, 21, 22, 23, 24, 25, with fear. With

37:12

fear, okay. So that does indeed succeed. You

37:14

manage to rip out

37:16

of your bindings and both of you are now

37:18

unbound from the chair. However,

37:21

it's now my go. So

37:24

I'm going to go ahead and spend

37:27

two of these action tokens to get a fear and

37:30

then Mortimer angrily in his space because he's a big guy

37:32

and he's still close to both of you. He's going to

37:34

go ahead and the mace is gone,

37:36

but he still has his cane sorted aside. He's

37:38

going to reach out and grab it and pull

37:41

the head of the cane off and like, I'll

37:43

almost like a katana, you know, samurai slash out

37:45

just as an arc out towards you since you're

37:47

the one who gashed him last time. That's

37:50

going to be 14 to hit. Yeah,

37:54

that hits. That hits you. Okay. So

37:56

with that, this cane hit is a beefy

37:58

one. He's

38:01

very pissed. That's going to be

38:04

17 points of physical damage. Actually,

38:07

I'm going to be using a fear off that one to

38:09

watch him fall as part of that, so it's actually against

38:11

everyone within very close range, which means he hits you both

38:13

for that. 14 hits you? Yeah.

38:21

17 points of physical damage to both of you. I

38:23

will... 17 minus 8 drops down to

38:27

9. My major threshold is 9. So

38:35

that would still be a major? It would still be major. I

38:39

have to use all my armor to drop

38:41

it down to minor. Oh, nice to have

38:43

armor to use. I'm going to use a

38:45

lot of armor to drop it from 17.

38:48

Go for it. That's what I'm there for. Do it. Yeah,

38:51

I'll use three as well to

38:53

drop it down to a minor.

38:56

Okay. A minor

38:58

or a minor? A minor.

39:00

Not a minor. I'm using a minor.

39:04

Okay. I almost got you. Love

39:07

you, Daddy. That was

39:10

his activation there. And then in

39:12

the back, the... From

39:17

the back? No, he's in the space there. He

39:20

can't move, and he's holding up the area to get to

39:22

you guys. So the rest of the crew can't get to

39:24

you right now because he's filling the area where you're held.

39:28

But in the back, his sister is going to

39:30

go ahead and fire with her scepter. So I'm going to activate

39:32

her. She's going to go ahead and roll and

39:34

attack you. That's

39:36

going to be a 12? Yeah,

39:39

it hits. That hits. Okay. You

39:41

take... That's not a great roll. 9

39:45

points of magic damage. 9

39:47

points. I...

39:51

Sorry, I meant to say this the previous

39:54

one. I want to do never upstaged. Can I

39:56

do that with this previous damage since this is

39:58

all one attack round? Sure. Yeah. Okay,

40:01

I will drop it down to

40:04

one more hit point, spinning

40:07

an armor. Never upstage when you attack, or

40:09

sorry, when you mark one or more hit

40:11

points from an attack, you may mark a

40:13

stress, which I will do, to

40:15

place a number of tokens on this card equal to the

40:17

number of hit points you marked. On your next attack, you

40:19

may increase your proficiency by plus one for each

40:22

token on this card, then clear all tokens. So

40:24

could I give two tokens from that?

40:27

Correct. Okay. Great.

40:31

I will do that and prep that for later. All

40:33

right, and now you get struck with the scepter for

40:36

nine points of magic damage from Gemma, his sister

40:38

in the back. Yes, sorry, I counted

40:40

that. You didn't? Yes. Yeah. All right,

40:42

that finishes my go. The

40:44

two of you are still in the midst of this fray

40:46

now. He's locked to the ground, and he's blocking the walkway

40:49

to where you guys are, and you can

40:51

see the rest of his thugs

40:53

are starting to rush up to try and get

40:55

to you. What are you doing? Do you want to get the

40:57

fuck out of dodge? Yeah,

41:00

we should run away. Okay, here's what I'm

41:02

going to do. I'm

41:04

going to grab Sweet Pea

41:07

and pull her in and be like, where

41:11

are you hurting us? And I'm going

41:14

to try and

41:16

do Rickant on Mortimer.

41:18

So he has to roll a reaction

41:20

roll of 15. Okay.

41:24

And I spend a hope to do that. That's

41:26

a four. That's a failure. So

41:28

he forgets the

41:30

last minute of our conversation. Okay.

41:35

Okay. That's

41:38

cool. I'm

41:40

gonna be like, what? Don't hurt

41:42

us. That's so mean. We were never

41:44

here. BAMF and teleport us out. Okay.

41:47

Okay. Do you have to roll anything for Rickant? It

41:49

just happens. He rolls the

41:52

reaction roll. Yeah, okay. That's yeah. That's awesome.

41:54

So he's on the ground. He goes like,

41:56

yeah, like I'm just like, holy. What

42:01

the fuck? Who are you? And he's

42:03

looking back at the thugs' chart to rush in their weapons

42:06

out and he's in the gym and being like, are you

42:08

okay? You okay, brother? Go

42:11

ahead and roll to see if you can teleport. Oh,

42:14

yeah, I do have to roll. I do have to

42:16

roll over. No! This is it! You

42:20

can try and help if you can think of a way to help. You

42:22

spellcaster? I'm a spellcaster. Do

42:24

you have any hope to spend? I have so much

42:26

hope to spend! This is what it's there for. How do

42:29

you help her? Because

42:32

I'm going to use my copycat skill and

42:34

I'm going to also follow

42:36

her lead and be like, why? We're

42:39

just sweet! I'm

42:41

just a sweet little mushroom. I

42:44

was a sweet little mushroom! I don't

42:47

know if you can apply the copycat skill. If you're just spending a hope

42:49

to help, she just gets the D6. And

42:51

then I'm just going to spend a hope to help. I

42:55

mean, you can say you use your copycat for it,

42:57

but usually your experience is helping roles you make. Oh,

43:00

well then shit. If you're just helping somebody, you spend

43:02

a hope to help them with the D6. I'm just

43:04

narratively asking, how do you about with that? It's all

43:06

good. I help her. Still

43:08

learning the system. I help her. I

43:12

help her. Bunny

43:14

can feel Sweet

43:17

Pea's magical essence and it helps

43:19

enhancing. I help use my shadowy

43:23

abilities and so it'll bamp a shadowy

43:25

as we teleport. There we go.

43:27

So you can call the shadows any closer. The

43:29

magical energy that you're used to calling from the shadows helps

43:31

to aid this moment. That

43:35

was so many shakes to get a role. Yeah,

43:38

that was a wild roll, but

43:40

it does succeed. I got a 12 and a 1, but that is 13,

43:43

14, 15, 16, 17, plus 3, which brings it to 20. That

43:49

is 16. I needed to roll a

43:52

16. That is a

43:54

success. With a hope! With

43:56

a hope, so you get a hope. All righty. clasp

44:00

each other, whining towards

44:02

Mortimer as he adjusts

44:05

to the weirdness around him, reaches over and grabs

44:08

for the scrapes on the stone. The rest of

44:10

the thugs rushing in, you both vanish

44:14

from the space. Where are you teleporting to?

44:16

Yeah, I realize, too. It has modifiers depending

44:18

on how well I know the place. Can

44:24

we teleport to outside of the grate? How

44:26

far can you teleport? I feel like that's

44:28

where we would go, right? Or maybe even,

44:30

I know, but we would appear up to

44:32

the tech casino. If your first thought is outside

44:34

of the grate. I think it would be not outside the grate,

44:36

but I want to be that tunnel entrance that we came in

44:44

on the cliff face where we even entered.

44:47

Oh, the very beginning. Yes, before we went

44:49

underground. We'll go there, I guess. Great, okay.

44:52

So both of you appear

44:54

now. Out. In

44:57

the night air, just

44:59

within visual shot of L'oleville,

45:02

past the rope bridge that goes across

45:04

the open ravine and leading you to

45:07

the exterior, you now have

45:09

a beautiful view of the city. L'oleville. Well,

45:11

I didn't want to be out, because we went down

45:14

into the sewers, we went through the sewers, and then

45:16

there was the grate. So I wanted to

45:18

go to that entrance, which I don't think was that far outside.

45:21

That's why I said at the beginning of Last Adventure. No,

45:23

no, no, entrance to the sewers. Okay. Reloaded

45:26

too far. Later saved. Later

45:29

saved. Exactly. I'm so

45:32

dramatic. Yes, scum saved. Scum saved. So

45:36

as the standing here in the

45:38

middle of the alley side street

45:41

of L'oleville, you can hear the familiar sound of nearby music

45:43

and laughter as people are not going about their business, and

45:45

you both apparate. Still

45:48

holding her? That went so well. I

45:51

feel like they did so good. The

45:54

sewer lid pushes aside right as Zarlow's the first

45:57

figure to step up. Oh, look at that. Oh,

46:01

the fucking lot of you, they're here, they're right in front

46:03

of me. They found us already!

46:05

Ready for an attack! No, shh,

46:07

no! How

46:12

did you, we were just looking behind and

46:14

you weren't there, and then you just... But

46:16

he was miraculous, and she got out of

46:18

her ropes, and she teleported us. What

46:20

ropes? Is this light ahead of us, or? We

46:22

were in, we were tied up. You

46:25

were tied up. He

46:27

was very dramatic, and kind of romantic,

46:29

and like a romance novel kind of

46:31

way. But he was moaning a lot.

46:34

Whoa! Cool!

46:37

And Mortimer was really angry, and...

46:41

He's real mad you took his necklace. Yeah,

46:44

ooh, yeah. Uh, so

46:46

how did you get out of there then, and is

46:48

he coming to kill me? Yes. But

46:50

he might forget where we were, because everything

46:53

that you said, he's gonna forget.

46:55

Above table, do you think you wiped out

46:57

the mention of the show? Was

46:59

that a minute before that? I

47:02

feel like... Go ahead and roll a d20 for me. I'll

47:05

say on a six plus, yes. On

47:07

a six plus, yes, it wiped. It

47:10

wiped memory. Wait, what? That was

47:12

super cocked, that landed on him. Twelve!

47:17

Yeah, you just managed to wipe out the

47:19

last smidge of

47:21

memory as you mentioned that bit of

47:24

information. Yeah,

47:26

you know, we did find out some good

47:28

information though about who wanted to have all

47:32

this sea business and spread it all over the

47:34

world. That's great, let's walk and talk. Let's

47:36

walk and talk. Do

47:38

we need to get out of town so that I can live,

47:40

you know? No, I'm

47:42

sure it's fine. Well,

47:45

it's a crime of family there, so

47:47

there's many of them. Oh no, it's

47:50

totally fine. I told him. Wait

47:52

a minute. Let me

47:54

see. Angels are accessible. Plus

47:56

we have a show to get to, right? This

47:58

is a big opportunity, Scum. I can't miss it. Maybe

48:01

you get rid of the necklace. Oh my gosh,

48:03

wait, no, here, I'm gonna switch this out.

48:05

I can't do that last. I'm gonna switch this out.

48:08

Yeah, and I'm going to,

48:11

well, when we get to, I

48:13

can make it to where they won't find us. Some

48:16

costumes for us. If we

48:18

just, you know, tuck away for

48:20

a few minutes. Look, we got the

48:22

information. What does it mean? I just need

48:24

a few minutes to focus. It

48:26

takes a lot of focus. Should we

48:28

do that now? Sure. I

48:32

don't argue with my shrooms in general. Okay,

48:34

let's get a couple blocks away and try

48:36

and do a left and a right and

48:38

a left to just get some distance. Sure.

48:40

Okay. You

48:43

step into a particularly pungent alleyway that comes to an

48:45

end with a few piles of garbage and

48:47

what looks to be somebody who either passed out or

48:50

hasn't woke up in a few days, but

48:53

you pretty sure you feel under the radar and

48:55

have some time to practice. Prep

48:57

what you're prepping. Okay, everybody

49:00

gather around me in a circle. Can

49:03

you, are you touchable to me? Okay,

49:06

now everybody lick

49:09

my head. What? Lick

49:11

the top of my head. Lick the top of

49:13

your head? Lick the top of my head. It's how I cast my spells.

49:15

Just lick the top. I'm just gonna shoot my tongue out. Keep

49:19

your tongue on there. And as

49:21

your tongue, yeah, you have to touch. So

49:23

we have to go circle around you. That's what

49:25

I said, circle really close. Yeah,

49:27

yeah, yeah, touch it. You have to do it.

49:30

You have to keep your tongue on your head.

49:32

Keep your tongues on? This is gonna be, this

49:34

is gonna be clipped out so quick. It's

49:37

your fucking tongue right there. It's

49:39

your fucking tongue, right? Is everybody

49:41

licking my head? Yeah. They're

49:46

slowly from their tongue down

49:48

their body. Everybody's gonna start

49:50

transforming and they're gonna look

49:52

not like themselves. What do we look

49:54

like? What do we look like? Is

49:56

there a certain type of

49:58

people that is in... the most. Oh,

50:01

you know what we're going to look like? We're going to look like

50:03

a bunch of sexy ladies that work

50:06

at, um, yeah. MATT and LAURA

50:08

are all like, this will be even better when you

50:10

back me up at the show. LAURA

50:13

and TALIESIN and MATT and LAURA are all sexy as fuck.

50:16

MATT and LAURA are all sexy as fuck. TALIESIN

50:18

and SAM and LAURA are all sexy as fuck. LIAM and

50:20

TALIESIN and SAM and LAURA are all sexy as fuck. MATT

50:22

and LAURA and LAURA are all sexy as fuck. MATT

50:26

and TALIESIN and LAURA are all sexy as fuck. MATT

50:28

and LAURA and FELICIOUSann announcements thanks to you, F. LAURA

50:30

and MATT, keep an eye out for

50:32

me on this thing as well. Please

50:36

like, hit, hit.

50:38

MATT, hit, hit. LAUREN

50:41

and MATT and FELICIOUSann announcements thanks

50:44

to you. TALIESIN and LAURA and

50:46

FELICIOUSann announcements thanks to you. MARISHA

50:48

and FELICIOUSann analyzingashi ma-ush-kara-worm�� SAM

50:50

and LAURA Wait, what about you? LAURA

50:53

and MATT, like, my body. You

50:56

know that! What

50:59

is happening? A

51:01

leather bustier. Long,

51:04

dark hair. Stilled

51:09

blue skin, yellow eyes. Gorgeous.

51:13

So beautiful. Like

51:16

little-bloomers. A little

51:19

ruffly one? And

51:21

then thigh-high boots. All

51:23

right. Charlo. Oh, I thought

51:25

I was waiting for Travis. No, I'm holding the vest. I'm

51:28

holding the vest for last night. I also could be a

51:30

sexy lady, though. I know, I'll

51:32

get you. I'm a broad-shoulder dame, but

51:34

I'm in a zip-up, skin-tight black... That's

51:41

a pleather

51:44

full-body outfit. And I

51:46

have black hair that's pulled up tight

51:48

into a ponytail that's like swinging over

51:50

the top with very dark-off makeup. Wow.

51:55

How many tricks? Perfect.

51:58

All right, this is Arlo. Oh yeah. I'm ready.

52:00

I'm still a Simea, but I'm a tall, lanky,

52:02

look more like a Tamarin now, and I have

52:04

like a big boof of orange

52:06

fur, and I have a matching fur coat

52:09

with feathers poking out on all sides, and

52:11

there's very little under the coat. Wonderful.

52:15

Sweet pea. Oh,

52:18

I also elongate, and my

52:20

skin turns pink, and

52:23

I turn into a fairy. I sprout

52:25

wings, and I've got long,

52:28

beautiful, like hot pink hair,

52:30

and my whole outfit is

52:33

like gemstones and like dangly,

52:35

like shaky bits. Yeah, yeah,

52:38

yeah, yeah. Awesome.

52:40

How's your non-take? I'm honestly

52:43

just have to be, I have to be,

52:45

I have to be classical, so I'm going

52:47

for whatever the turtle

52:49

version of Thank

52:55

you so much. You just made me completely leave

52:58

my run off. Turtle version of

53:00

Dolly Parton in Best Little Whore House in

53:02

Texas. Big blonde

53:04

hair, just doing the whole thing, and then like

53:06

a peach negligee that sort of, you

53:08

know, just sort of sits where it's supposed to,

53:11

and then just like nice, nice

53:13

mid-calf boots. And some gloves.

53:15

Oh, mid-calf. There's a guy standing on the side

53:17

of the road. I like turtles. And

53:21

bunny. Oh, honey, I know. So

53:25

like, you know what, you gotta, how long does this

53:27

last? I know. But I

53:29

can do it again. I just keep it

53:31

going. No, this is great. It'll, you know,

53:33

it'll probably time out perfectly, so we have

53:35

this like transformation moment that's gonna blow the

53:37

crowd's mind. So with that in mind, I

53:39

kind of want to have like

53:41

a little like black flapper bob,

53:43

like very like Catherine Zeta Jones-esque.

53:45

Yeah, yeah. Nice. And

53:49

her fans turn into like

53:51

the big like feathered showgirl

53:53

fans, and then, yeah,

53:56

I'm, she's gonna be wearing like a slinky kind

53:58

of going with the flapper vibe. fringe, tiny micro

54:00

dress. She's wearing a Bob Mackie. She's having

54:03

her Mackie moment. The

54:10

fuck is a Bob Mackie? We'll

54:14

do black, glittery. I

54:22

have an addendum. My new necklace looks amazing

54:24

with my tits. My

54:28

tongue's still be

54:30

numb, by the way. It's normal. I

54:33

don't know who's walking these. He

54:35

looks so good up here. I

54:37

don't even know how my feet are fitting in these. Oh

54:40

my god. You're

54:43

holding onto the outside of

54:45

them. Walking

54:49

on the shoes. All

54:53

right, where could Carol's?

54:58

I need fan art of this immediately.

55:00

MATT and LAURA are

55:02

freshly transformed and confident that you're likely not

55:04

to be followed by any surface, or at

55:06

least not by the family

55:09

for particular reasons. You begin

55:11

to walk through the night air, heading

55:13

back towards the Lilylocket Lounge, where in

55:15

due time, within the next hour, your

55:18

time on stage will transpire. As you

55:20

step into the- Why is everyone looking

55:22

at us whistling? Because we're so hot.

55:24

Every time I walk, I'm going to

55:26

shift so my feet- Yeah, it's how

55:29

she plays. Yeah. Stepping

55:32

within the interior of

55:35

the Lilylocket Lounge, the

55:37

atmosphere has become vibrant.

55:40

People are swarmed in to pass their

55:42

tickets over and be brought into the

55:44

main chamber. You can see this is

55:46

an evening performance that many, many denizens

55:48

of the town are excited to arrive

55:50

at. As you

55:52

step within, you can see there are

55:55

the various ushers and employees and some

55:57

of the dancers who

55:59

aren't performing. tonight helping bring people to

56:01

their seats and take tickets, and you can

56:03

see the matron looking a bit

56:07

nervously, asking around, and

56:10

that says you're not being recognized at first

56:12

gate. There's a little bit of a hubbub and

56:14

a worry of where the full lineup is.

56:18

Wait,

56:20

who was the name of the doorman?

56:22

Shit! No, it's been a minute. You

56:29

want to go find the notes here? Whatever.

56:31

I go up to, um... Ogdenbrumes?

56:39

Sure! That's the assistant to

56:41

the matron. But you do see him present.

56:46

Yeah, yeah, yeah. Use that,

56:48

or command. Psst! Ogden! It's

56:50

me! It's... it's funny. I

56:53

know, right? Boa!

56:56

We found them. And

56:59

the matron turns. Oh

57:02

my goodness, look at you! I

57:04

have this one over here that's a sweet

57:06

pea to thank. It's part of the

57:08

act. People are gonna... it's gonna blow their minds because there's

57:11

gonna be like a transformation moment

57:13

in the middle. It's gonna be

57:15

incredible. It's gonna be like

57:17

a quick change, but better.

57:21

I'm excited to see it. I didn't

57:23

know you were going about and wandering

57:25

abroad to collect an entire new troupe

57:27

of performing girls. This is exquisite.

57:31

I don't know if you have time to sign

57:33

them all up on the registry

57:35

of our performers, but based on what you see

57:38

tonight, perhaps there is room here on

57:40

the docket, so... Yeah, you know, they're

57:43

just gonna jump on stage. They know

57:45

exactly what to do. We've been rehearsing.

57:47

It's gonna be fantastic. I wasn't expecting

57:49

an ensemble piece. Vafana might be a

57:51

little frustrated as her backup dancers are

57:53

part of her ensemble as well, an

57:55

ensemble intern ensemble. I'll talk

57:57

to her and make sure that everything goes smoothly.

58:04

you know, people are going to innovate. Times are going to

58:06

change. She's going to have to keep up, you know? MATT

58:09

Toolkit, the green room should be cleared. You

58:11

can take your time to prepare. We have

58:14

only eight chibles at a little pocketwatch. Only

58:17

about 40-ish minutes until the

58:20

performance begins, and you,

58:23

a little over that time before your troupe

58:25

is to get onstage. Take

58:27

the time to rest and be ready when

58:30

you are. Oh, yes.

58:33

It's been a while, then she wanders off to

58:35

say hi to some other people and begin doing

58:38

the social butterfly

58:40

thing before the performance. TALIESIN

58:42

and SAMchee are going to

58:44

be extraordinary. The rest of us are also going to

58:46

make an extraordinary

58:50

transformation that will be a

58:52

little less enticing. Does

58:54

it have to work that way? Oh,

58:57

I mean, I can up it,

59:00

I can re-up it when we

59:02

go to the dressing room. And just

59:04

bunny? And just make it. Fast arms? Yeah,

59:06

you can drop it if you want, I think. Just

59:09

make some progress as you do. You can end an

59:11

effect when you want. Yeah, but yeah, I can

59:13

end it on just you if I want. No,

59:16

you know, I think this is great, you know,

59:18

because here's my inspirations. I'm thinking that, you know,

59:20

we do a little like, kind

59:22

of like a little dance

59:24

routine about our experience together. You

59:27

know, so like, when we transform, it's

59:29

us as an adventuring

59:31

troupe. It is going

59:34

to be, you know, I think this is good because

59:36

I think it's going to be, I'm all about. I

59:38

need to be on stage for the performance.

59:40

I mean, we are supposed to be doing

59:42

something other than performing while we're here. This

59:45

is fucking wild. We were just running from

59:47

fucking gangsters. Yeah, there's this sort of. And

59:49

we're here as detectives, more

59:51

or less. Yeah. The

59:53

only thing is funny, if we all transform back into ourselves,

59:55

then they're going to know it's us again. Yeah,

1:00:00

you have a point. Do you think there's any

1:00:02

of that frog family here? Uh-huh. Can I

1:00:05

look around and see it? Wait, you can cast it again? Yeah.

1:00:07

Okay, so part of the show, one of the dance moves

1:00:09

is, we gotta lick your head. Yeah, and

1:00:12

then I just... You know, we all end up

1:00:14

in... Please, it might... ...something else.

1:00:16

I just need a few minutes of silence to

1:00:18

focus. So just shut up in the

1:00:20

middle of the act. And the lights

1:00:22

go down. Just a

1:00:25

couple minutes of quiet contemplation.

1:00:28

Just a few minutes of licking my head. Okay?

1:00:31

I will. I will say those.

1:00:33

You know, unless we feel... By

1:00:36

the way, can we say, as we walked in talk, we

1:00:38

filled... Sweet Pea and I filled everybody

1:00:40

in on the information that we got. We had a

1:00:43

lot of good stuff you got. You

1:00:46

know, unless we feel like we need more

1:00:48

information, then maybe my performance could be a

1:00:50

good distraction. We

1:00:53

could also get the fuck out

1:00:55

of dodge as soon as the show is over. It's

1:00:57

true, we should go down to the mines, right? Do

1:01:01

we need to? Should we split these? I

1:01:04

think we have to try

1:01:06

to finish what we started. This is good

1:01:08

for a break. That's what

1:01:11

he said. There was

1:01:13

a baron from Champion's... Oh, for

1:01:15

joke. Crown? Before

1:01:19

we get to the stage, if you guys want to, you can

1:01:21

take a short rest to... Oh! ...a little

1:01:24

bit of down-tide. Bottle service at the same time. Oh,

1:01:28

yeah, bottle service. Definitely for lead performers of

1:01:31

the night, that can be arranged here at

1:01:33

the Lily Lockwood. Choose two options below. You

1:01:37

can rearrange your loadout. You can

1:01:39

just figure out what's in your vault and what's in your loadout.

1:01:41

You have five cards max in your loadout. And

1:01:44

you can choose two of the options in there. It

1:01:46

means ten to wounds, clear

1:01:48

your stress, repair armor, or you

1:01:51

can gain two hope by preparing.

1:01:53

Oh, man. Okay, okay, okay. All right.

1:01:56

I'm gonna tend to my wounds. I'm gonna definitely

1:01:58

tend to my wounds. MATT, that's a d4 to

1:02:00

heal. TALIESIN

1:02:03

and MATT, two of them. And

1:02:06

you can attend to somebody else's wounds too, if you don't

1:02:08

need one of them. This is particularly hurt. TALIESIN and MATT,

1:02:10

can you do one twice? MATT,

1:02:13

that's an odd question. MATT, you can repeat

1:02:15

the same action twice. TALIESIN, oh excellent. Is

1:02:17

anybody really fucking hurt? LAURA, I'm really fucking

1:02:19

hurt. Are you going to heal us before I

1:02:21

heal myself? Because I suck at it. I'm pretty

1:02:24

hurt. I only have two options

1:02:26

before. MATT, I'm going to

1:02:29

heal you. If you

1:02:32

need it, I'm happy to. LAURA,

1:02:40

I'm one, two, three, four, five hit points

1:02:42

in. LIAM, come here, darling. I

1:02:46

zhuzh this out of your frill.

1:02:49

I think it just works. It does once

1:02:51

per long rest,

1:02:53

so this is mine for the day here, I'm

1:02:56

doing it. Use an action. Touch creature to clear

1:02:58

two hit points or two stress will clear the

1:03:00

hit points because you're hurt. That's two. Then do

1:03:02

for you for you. LAURA,

1:03:05

okay, then I'll still use mine and take another

1:03:07

one off. LIAM, that's done for me. LIAM,

1:03:13

when you're in a

1:03:15

roll, when

1:03:19

you tend to wounds, you roll a d4? 1d4? MATT,

1:03:21

1d4, yeah. LAURA, and the

1:03:23

only way to clear stress is through short

1:03:25

rests, or can you clear stress by spending

1:03:27

a hope and clearing a stress? MATT, no.

1:03:29

You clear stress by either this downtime action

1:03:32

during the rest, or

1:03:34

if you roll a critical on

1:03:37

any action roll, you gain a hope and clear

1:03:39

a stress. Certain abilities

1:03:41

or spells in the game that are

1:03:43

in some domain cards can also help

1:03:45

you clear stress, like the heal spell

1:03:47

that Zarlow just used. You also have

1:03:49

a stamina potion. If any of

1:03:51

you have a stamina potion in your inventory, a stamina

1:03:53

potion can help you heal 1d4 stress as well. from

1:04:00

a short rest of them, both tending to wounds and

1:04:02

repairing armor, which I'm doing

1:04:04

through my illusory fur coat

1:04:08

while we wait. Oh, and the dogs are there still,

1:04:10

too. The five. The Tricks

1:04:12

and Twicks are on either side

1:04:14

of my boobies. Is that what you're holding? All

1:04:17

right, I'm

1:04:19

repairing my armor. All

1:04:22

righty. Yes. You

1:04:25

can clear 1d4 used slots. I

1:04:27

cleared a ton of stress. One,

1:04:30

two, three. Mm.

1:04:33

Mm. Okay. Hmm. And

1:04:37

I will use some of my winnings

1:04:39

from the casino to

1:04:42

get bottle service for the lot of us. So

1:04:44

we are swimming in. What do you think they have here? Oh,

1:04:47

anything you can imagine. I can imagine a lot.

1:04:50

Imagine something. I'll have some

1:04:53

fruit and rum drinks. Ooh!

1:04:56

Yeah. Lots of little paper umbrellas. Oh,

1:04:58

yeah. A smattering of ones in the

1:05:00

drinks and on the side in case you want to pick

1:05:02

and choose. As well as some

1:05:04

curly straws as part of it. I want more drinks

1:05:06

than I can drink. And I can drink a lot.

1:05:09

They bring you three trays that have the ice buckets

1:05:11

in them for additional premixed that you can go ahead

1:05:13

and pour into your cup. It's

1:05:16

designed to probably wreck customers

1:05:18

and often aren't sent to

1:05:20

the green room for performances.

1:05:24

But you were very intent. There's

1:05:27

a bit of liquid courage for you. For

1:05:29

the noise. As

1:05:32

time passes on, you all take this rest until

1:05:34

eventually the din of the audience falls

1:05:36

to a hush and one of

1:05:38

the other dancers comes by and goes, It's

1:05:41

starting. Get yourself ready. Should

1:05:43

I re-up our disguise? Eden's

1:05:46

up first. It's Eden, the

1:05:48

new pandemic's mafana. Look,

1:05:52

you know, um. How long is Eden's act?

1:05:56

I'm going to say normally five minutes. Mmkay.

1:06:00

Do you all stay in here or watch? I, uh,

1:06:02

what, look, you know, we do need

1:06:04

to find out some stuff about this,

1:06:06

this wealthy baron, so, um, you know,

1:06:10

maybe I can just take like a sweepie and,

1:06:14

Kex'un, as my

1:06:16

backup dancers, and

1:06:18

then the rest of you can do crowd works. That's

1:06:20

great. I think it's a brilliant idea. I

1:06:23

do. That's, that's... It

1:06:25

doesn't have to be you, Kex'un. It's really anyone

1:06:27

who's feeling inspired. Yeah, but I feel like, look

1:06:29

how beautiful. Does

1:06:31

anybody have a really good presence? I do.

1:06:34

You do have all of them. I would be happy

1:06:36

to be a backup dancer, if that's the same. Although,

1:06:38

presence might be good for talking to people, too. It

1:06:40

would. That's probably the most important. Yes. I'm

1:06:45

at your disposal, as always. Right

1:06:48

before we go on, while

1:06:51

Eden's doing her number, everybody's

1:06:54

gotta lick me. I

1:06:57

did this intentionally. I don't think

1:06:59

I know that. This

1:07:06

is just you bullshit, I can imagine. So,

1:07:08

all of you quietly gather around

1:07:11

sweepie, and for

1:07:14

a few moments of silence, all extend your tongues

1:07:18

against the cap of the mushroom.

1:07:20

Yeah, my disguised form

1:07:22

also has a big hat on,

1:07:24

so they can just lick my hat. Licking

1:07:27

time for me. Yeah, a few moments of them do it, the door

1:07:29

comes open. All right, you're on

1:07:31

deck. Shh.

1:07:33

I need silence. I'm

1:07:43

very stressed. So you're marked

1:07:45

as stressed, and all of you reclaim your performance

1:07:47

forms for those who need it, unless others are

1:07:49

planning to take a different form. Everybody

1:07:53

happy with the way they look? I'm gonna keep the same form. I'm

1:07:56

very happy. Oh, this is great. All

1:07:59

righty. TALIESIN and

1:08:01

LAURA and ONYTH TALIESIN

1:08:28

and TRAVIS and TALIESIN and TALIESIN and

1:08:31

LAURA and TALIESIN and TALIESIN and

1:08:33

TALIESIN and TALIESIN

1:08:39

and ASHLEY and LAURA and TALIESIN and

1:08:41

TALIESIN and TALIESIN and TALIESIN Call

1:09:20

for this. TALIESIN

1:09:22

and ASHLEY and ASHLEY and LAUREN and TALIESIN and TALIESIN and

1:09:24

TALIESIN and ASHLEY and TALIESIN and TALIESIN and

1:09:26

TALIESIN and TALIESIN and IVAN and IVAN. MATT

1:09:31

and LAURA and A Zo Howie. MATT

1:09:34

and TALIESIN and LAUREN's men are saved. Before

1:09:36

we go on, I will

1:09:42

use Telepathy to

1:09:44

open a line of mental communication with

1:09:46

Kex'un in case shit hits the fan.

1:09:48

We need to be asked to be

1:09:50

gay. MATT and TALIESIN and MATT and TALIESIN

1:09:52

and TALIESIN and MATT and TALIESIN and TALIESIN

1:09:54

and TALIESIN and LAUREN. All right, so while

1:09:57

the two of you exit the chamber to

1:09:59

head into the room, crowd space, which,

1:10:01

I mean, the seats are all sold, so you'll be having to nestle in. They're

1:10:03

not individual

1:10:06

seats, they're long benches. They're really nice benches,

1:10:08

but their people are sitting across them, and

1:10:10

there are three main sections of it that

1:10:12

spread out into the theater. There

1:10:15

was a bar in the

1:10:17

main entryway to the

1:10:19

theater, but nothing in the actual

1:10:21

room. Before we leave

1:10:24

the dressing room, I'm

1:10:26

going to cast, I'm going to spend a

1:10:28

hope to activate a phantom retreat. Just

1:10:31

in case he's here. MATT, you got to run. You got to. All

1:10:34

right, so you mark the space in the green room.

1:10:37

Little glyph appears on the ground and then fades

1:10:40

as it hides itself. The

1:10:43

troupe, the four of you head to

1:10:45

the backstage wings. There's a centralized

1:10:48

wing chamber on each side of the stage.

1:10:50

As you step out, you can already hear

1:10:52

the music playing and this grinding sound that's

1:10:54

like, pffft!

1:11:00

As you four get to the side,

1:11:02

you can see the audience is cheering and clapping,

1:11:04

and Eden, this

1:11:07

amazing katari dancer's latest performance, is coming

1:11:09

to a close. You see her wearing

1:11:11

this beautiful set of

1:11:13

leather and metallic armor on

1:11:15

the shoulders, incredible

1:11:18

dark-looking makeup, and

1:11:20

has a metal pair of underwear

1:11:22

on, and has a mystical grinder,

1:11:24

shooting sparks off the front into

1:11:26

the front row of the audience, showering everyone to

1:11:29

the front with an arc of glowing metal embers.

1:11:33

People are catching them in the front

1:11:35

row, and she's just laughing, going, phhah!

1:11:39

Eden's a great

1:11:41

warm-up, but it's definitely going for

1:11:43

being the memorable show of the

1:11:45

night, so it's already starting off

1:11:47

strong. we're

1:12:00

going to start off by being sensuals, right?

1:12:02

I'm going to use my big feather fans.

1:12:04

We're going to be soft and

1:12:07

girly. Do whatever magic stuff you want to,

1:12:09

like, oops the whole thing. And

1:12:11

then I'm going to transform, and I'm going

1:12:14

to go into my famous whip routine. Okay.

1:12:17

Then just go along with it. I trust you. All

1:12:19

right. Zarnell just starts stretching, and

1:12:21

one leg is just up against his face,

1:12:24

standing one legged. All

1:12:26

right. When we come on.

1:12:28

You're going to be amazing. Come

1:12:31

and stand behind me, like hide behind me. Wait, where

1:12:33

are you going to do the crowd work? Oh,

1:12:36

not you. That's all right. You all

1:12:39

line up behind me, and then I'll

1:12:42

peel off and reveal that you're behind me.

1:12:44

That's how we'll open and then do something cool. So you're the

1:12:47

starter, and you are going to introduce

1:12:49

us to the crowd, or reveal us, right? Okay, I can't

1:12:51

hear you. Left, right. The stage

1:12:53

manager, who's there off to the side, she looks over

1:12:55

and goes, Bunny, what's the name

1:12:57

of your ensemble? The

1:12:59

menage-a-tois. Good

1:13:02

name. Goes over to the

1:13:04

matron who's off to the side waiting,

1:13:06

whispers in matron, boa, adra's ear, she

1:13:08

nods. Good name. As

1:13:11

Aiden finishes the performance, the grinder comes

1:13:14

to a close, see the magical spinning

1:13:16

metal rotary tool goes

1:13:19

and flips and goes into the side pocket, almost

1:13:21

like she's spinning a revolver into the side, gives

1:13:23

a wink to the front row, everyone erupts into

1:13:25

applause and cheers as she

1:13:27

gives a bow and then walks offstage

1:13:30

with a wink to the front, a

1:13:32

couple of shadow-dressed stagehands rush out

1:13:34

and pull her supplies and the table that she had

1:13:36

off, and begin to set up for the next performance

1:13:38

by changing the background as the curtain comes to a

1:13:40

close. The matron, adra, steps

1:13:43

out. Ah, one

1:13:45

final round of applause for Aiden

1:13:47

and her robust love

1:13:50

of grinding. For

1:13:54

our wondrous

1:13:56

next act, we have a

1:13:59

long story. performing of our

1:14:03

esteemed dancing populace.

1:14:08

A majestic traveler who

1:14:10

has only recently returned our

1:14:13

second returning dance from

1:14:15

abroad. At this

1:14:17

point, you hear a clunk,

1:14:20

and you look off to the side and you can see all

1:14:22

the four of you can glance over and in

1:14:25

a big pink

1:14:27

robe with a massive fluff boa around

1:14:29

the edges, like a full-on,

1:14:31

like, ditavantese, long-set

1:14:34

robe. You see this

1:14:36

mature, gorgeous

1:14:41

fawn with this short blonde bob,

1:14:43

these ears that curl up high,

1:14:45

these horns that curl outward,

1:14:48

and you see her holding half of a cheese

1:14:50

sandwich in one hand. It's just like, Caleb

1:14:54

like, a ledoni. LAURA

1:14:58

and LAURA check our presents.

1:15:04

She's an honor to be in your presence. I hope you like what

1:15:06

I have planned. I

1:15:08

look forward to all of you, wowingly,

1:15:11

and my performers. LAURA

1:15:14

and MATT and MARISHA and LAURA and MATT

1:15:16

and MATT and MATT and MATT

1:15:18

and MATT and MATT and MATT and she walks

1:15:21

offstage as the matron

1:15:23

walks back. Okay,

1:15:30

so I line up and I bring

1:15:33

out my, currently, my

1:15:35

fans are big, fluffy, pink fans. Big, fluffy,

1:15:44

pink ostrich feathers. And my Bob

1:15:46

Mackey situation is also pink. And

1:15:48

my black hair Bob. And then we're

1:15:51

going to do, it's going to be

1:15:53

a thing. So I open the fans

1:15:55

and I hit a pose and I

1:15:58

have them lined up perfectly hidden. behind

1:16:00

me. LAURA and MARISHA and LAURA do the pose exactly

1:16:02

like you? Okay. MATT

1:16:04

and MARISHA that's

1:16:07

you, too. Like

1:16:09

her. LAURA and MARISHA and

1:16:12

SAM and TALIESIN are in the mind palace.

1:16:14

Seeing it. MATT

1:16:18

and MARISHA the white lights kick

1:16:20

on as the curtain rolls open

1:16:22

and the music swells in immediately.

1:16:26

What do you do, bunny? So

1:16:29

you hear a

1:16:33

jazzy horn start to play, and

1:16:37

it's like, you're pretty good!

1:16:39

MATT and MARISHA and LAURA and MARISHA and TALIESIN and

1:16:41

MATT and MARISHA and LAURA and MARISHA and MATT

1:16:45

and it's this slow,

1:16:47

sultry horn. And bunny,

1:16:50

yeah, you need a little bit of a tent,

1:16:54

and then she peeks her

1:16:56

face through the feathers, and

1:16:59

then as she does a jaz walk

1:17:01

forward, you see the other

1:17:05

performers, as you all,

1:17:07

you got to do left, then right, then

1:17:09

left, then right. And

1:17:12

it starts off as this little

1:17:14

sexy fan number, right, that's

1:17:17

very showgirl, very sultry. MARYM

1:17:38

by his tail to allow

1:17:40

his thighs to swing around and take

1:17:42

different poses and go upside down so

1:17:45

that you guys have more room down

1:17:47

below to dance. MARYMARY MATT as

1:17:50

you climb up the silk, you

1:17:53

glance up and see the rope is

1:17:56

mostly frayed halfway and it's only

1:17:58

hanging by two threads. what

1:18:01

do you do? LIAM and LAURA, as you're spinning

1:18:03

legs out, Kimbo, you feel

1:18:05

a rope go, there

1:18:14

are two other silts that

1:18:17

aren't descended, there's just essential

1:18:19

stuff at the moment, the

1:18:24

others don't have a cue yet to

1:18:26

descend, so they're out of the actual

1:18:28

stage framing, but there's nothing you could do

1:18:30

about it that isn't right, because they're up. CH

1:18:36

buzzing noises. I

1:18:42

bAME. I'm

1:18:47

not the only one, but they're

1:18:49

up. I'm

1:18:57

not the only one, but they're up. I'm

1:19:09

not the only one, but they're up. 16

1:19:16

with fear. All

1:19:18

right. Pull

1:19:21

back, and as you leap off, it

1:19:24

detaches, but as you

1:19:26

begin to, the momentum you pull puts you outward in

1:19:28

your tail, catches the

1:19:30

silk above you as you

1:19:32

dangle the whole audience, gives

1:19:35

a giant collective gasp, and

1:19:37

then there's some light clapping down

1:19:39

below. Split open my thighs and

1:19:41

then hold the dogs. You're all right. She's

1:19:44

got puppies, too! Oh,

1:19:49

these dogs? So the silk fell onto the

1:19:51

stage. It

1:19:55

took a gasp, but then everyone said, oh, it's part of the show. grab

1:20:00

one side of the silks. And run to the other and do a

1:20:02

floaty thing. And are starting

1:20:04

to do a thing together with them. As

1:20:06

you both go skittering off to the side, you realize

1:20:08

too late that there is a small oil slick on

1:20:10

the edge of the stage. Guys, what the

1:20:13

fuck? Oh my god. 100% that bitch.

1:20:15

What the fuck? Yes. Oil

1:20:17

slick? Is it a oil slick? Yeah, a little

1:20:19

bit of like. A Mario Kart show. Yeah, 600.

1:20:21

It's a Atari Toyota. Some

1:20:24

sort of a viscous fluid that's

1:20:26

clear is along the wood stage.

1:20:29

And the light just catches it as you are

1:20:31

like scooting towards it. Oh no.

1:20:33

So I need you to make either an agility

1:20:36

or a finesse roll. Okay.

1:20:39

Your choice. I will do a finesse

1:20:41

roll. Um,

1:20:44

that's an Anna. And I'm gonna use

1:20:46

one of my Seaborn abilities and I'm gonna

1:20:48

add a fear thing that

1:20:50

I got to add a extra

1:20:52

thing to that. Okay. A plus

1:20:55

one. Oh! Oh!

1:20:58

Oh! That's a crit! Yes! Double

1:21:01

nines, baby! Hell yeah. You rolled with

1:21:03

a fear earlier, right? Yes. So

1:21:05

I get to add a hope and lose a stress. I

1:21:08

just did so well. Yeah. And

1:21:11

that's slick. So as it comes

1:21:13

towards you, you kind of describe how

1:21:15

you avoid this like slippery part of

1:21:17

the stage. I don't avoid

1:21:19

it. I go with it. And

1:21:22

having watched the splits up

1:21:25

above, I drop into a

1:21:27

death drop and... So

1:21:29

as you hit, you slide. I

1:21:31

slide and... It sends you towards the front and the

1:21:33

lip end of the stage and you actually go off

1:21:35

the front of the stage, but you're holding one end

1:21:38

of the silk, which Sredanté is holding the

1:21:40

other, and what first is a scare of you but to

1:21:42

slide off, instead you

1:21:44

get spun around across and

1:21:46

over the front row as

1:21:49

Sredanté swings you. Here

1:21:52

on the front row, all you see is just a collection

1:21:55

of barely-lit faces going, as

1:21:58

you scoot by and then back onto the stage. catch

1:22:00

her and both spin around and get back to your feet.

1:22:02

Well, I really want to be at this burlesque show. Yes.

1:22:06

Seeing this, you know, because I'm in tune with my

1:22:08

performers, we're all in the same wavelength. Seeing

1:22:11

this as

1:22:13

Sweet Pea flies out, I do a

1:22:16

big flying jeté leap as I

1:22:18

leap over the ribbon and Sweet

1:22:24

Pea, and then land on the other

1:22:26

side, working in sync

1:22:28

with everybody. Fantastic. Go ahead and make an agility

1:22:30

roll for me. All right, I can do that.

1:22:32

This is great. You got it. I

1:22:35

got this. Oh my god!

1:22:37

Curious donut drop. Darn

1:22:40

danger. I love you! Why

1:22:44

come? Can

1:22:47

I use my leap ability? I can easily

1:22:49

leap up to close range

1:22:52

across gaps or chasms without making an

1:22:54

agility roll. Yeah, then yeah, do it or

1:22:56

make a roll then. I don't make a

1:22:58

roll because I'm a bunny and I do a

1:23:00

little... I'm a fawn that looks like

1:23:02

a bunny. A fawn pony. Not

1:23:06

even have to roll. Just make

1:23:08

the leap, land, amazing pose. It

1:23:11

feels, it feels, just like

1:23:13

the jazzy intro, a lot of this performance

1:23:15

feels very avant-garde and improvised, but

1:23:18

then the moments of slickness, the audience goes,

1:23:20

oh no, this is all

1:23:22

deeply rehearsed to look improvised, which

1:23:25

is an incredible skill. Fully rehearsed.

1:23:27

Totally. Opie, what are you contributing to this

1:23:29

performance? Oh, I'm not

1:23:31

in it. No, sorry. I'm not in the crowd.

1:23:34

That's right. Then you finish it.

1:23:36

I see each of you has gone and done some

1:23:38

bit of this. So, Donta, you made an assist to

1:23:40

the sweet pea. What's your personal? I'm

1:23:44

now attempting to take the silk and

1:23:46

use it as sort of, since you've finished

1:23:48

up your flare move, I'm then pulling it in and are

1:23:50

you... I'll spin

1:23:52

out and pull it. You're spinning out through it

1:23:54

and then I'm doing just some wonderful ribbon work

1:23:56

with it and just moving and sort

1:23:58

of accentuating. everything

1:24:00

that Bunny's doing in the back, just moving it

1:24:02

like a wonderful- You're putting it like between your

1:24:04

legs? Yeah, occasionally. You know the flaws? Okay.

1:24:08

I was going to make a presence roll for

1:24:11

me to pull off the maneuver with this silk

1:24:13

in a way that both draws

1:24:15

in the group's maneuvers as a whole and feels like

1:24:17

it's a cohesive unit as opposed to you just showboating

1:24:19

with this piece. A presence roll, yeah, of course. I

1:24:21

was going to say, because I would use- I have

1:24:23

a skill for this, but an

1:24:25

experience for this, but it might be too much.

1:24:27

Flossing. Which is Hottie and a Half Shell. Oh,

1:24:30

a Hottie and a Half Shell would definitely contribute to

1:24:32

this. Yeah. This

1:24:35

is what you're made for, bro. Yes, so

1:24:37

true. So, Spend

1:24:39

a Hope, and you can add your proficiency bonus to this. All

1:24:41

right. Spend

1:24:44

a Hope and your experience bonus. Sorry, yeah.

1:24:48

All right. This always makes me nervous. That's-

1:24:52

Other than fear, it's pretty good. That's

1:24:55

a 25 with fear.

1:24:59

25 with fear, okay. So you managed

1:25:01

to pull off this fantastic display with

1:25:04

the silk, almost like wrapping

1:25:06

it around you like a boa constrictor. It almost seems

1:25:08

to have a flare of its own, and as you

1:25:11

tether it around each of your friends

1:25:14

on stage with you, it almost seems

1:25:17

to work like a needle

1:25:19

and thread, tying all

1:25:21

of their individual little perfunctory performances

1:25:23

into one solid, odd, but

1:25:26

enticing piece. As

1:25:30

you come around the other side, and as your dance

1:25:32

begins to come to Crescendo, you hear this

1:25:37

dozens, dozens, maybe

1:25:39

hundreds of tiny little clacks. This,

1:25:45

like, saint-buzzing sound. As

1:25:47

you're all maneuvering, and you

1:25:49

see a whole cluster of ball

1:25:51

bearings just pour onto stage from underneath

1:25:55

the back curtain. I

1:25:58

need all of you to make a- group

1:26:00

action agility

1:26:03

roll to avoid this. So

1:26:05

who wants to be the leader of this action? LAURA

1:26:07

and ASHLEY. Can I ask a question? MATT and

1:26:09

ASHLEY. I'll get your fear. MATT and ASHLEY. Oh no. I can take a fear if

1:26:12

I want to. This action here is

1:26:14

resulting from the fear roll, but thank

1:26:16

you. LAURA and ASHLEY. Is there any kind

1:26:18

of shadow on stage? MATT and

1:26:20

ASHLEY. Any kind of shadow. I mean, this

1:26:22

is the shadows you cast, but the bright lights on you.

1:26:25

Primarily, outside of anything that you cast, there's

1:26:28

nothing behind you, nothing around you. But

1:26:32

there are shadows. LAURA and ASHLEY. There are shadows? MATT and TALIESIN.

1:26:34

And technically, a bunch of really tiny ones. LAURA

1:26:36

and ASHLEY. Is it possible

1:26:38

to, as I see that start

1:26:41

to happen, to spin

1:26:44

around and hit the shadow

1:26:46

of Bunny and disappear into the

1:26:48

shadow? MATT and ASHLEY. Yeah, I don't have that. LAURA

1:26:50

and ASHLEY. Okay. I'm going to try to integrate it into the show. I'll

1:26:53

disappear into Bunny's shadow, and then

1:26:55

I'm going to reappear under a

1:26:57

table in front of the

1:27:00

stage. MATT and ASHLEY. Okay. So

1:27:02

you go behind her, right as

1:27:04

all these ballbangs scoot out, roll

1:27:07

behind, and then just disappear from view. It's

1:27:09

almost like you just wiped camera and then

1:27:12

vanished. And everyone's like, oh! Then you plot, there's no

1:27:14

table, but there are the long benches, and you kind of appear

1:27:16

underneath one of the front row long benches, and the people sit

1:27:18

in there and go, whoa! LAURA

1:27:21

and ASHLEY. And I get

1:27:23

up and stand on the bench and make

1:27:25

a show. In case anybody trips and falls,

1:27:27

I'll try to distract from them. LIAM

1:27:29

and TALIESIN. You got it. All right. LIAM and

1:27:31

TALIESIN. Zylos Tamarin form, which is upside down, and

1:27:33

has been for most of this time, seems to

1:27:35

almost plummet down the length of this silt, but

1:27:37

then stops short, held by tail and legs, and

1:27:40

I reach out in my hands and I grab

1:27:42

Bunny's hands and pull up with a tail just

1:27:44

a few inches so that she can flex,

1:27:46

floating in midair, holding her there, and

1:27:49

we start to twirl. Spin

1:27:51

the circle. MATT and TALIESIN. Great. So

1:27:53

the only person who is left to

1:27:55

make a roll is you. I

1:27:58

was going to say, unless, of course, you are a allow

1:28:00

me to do a complex

1:28:02

dance move where I go and

1:28:04

backspin on my shell. MARY

1:28:06

and SAM and MARY You're going to shell on ball bearings! TALIESIN

1:28:09

and MARY Let the ball bearings pass. MATT and MARY Yeah. MATT

1:28:11

and MARY I'll allow that be the flavor for the agility roll.

1:28:13

You have to avoid it because this is from the fear that

1:28:16

you rolled. TALIESIN and MARY Go ahead and roll, and if you

1:28:18

succeed in this, then indeed, you are able to do just that.

1:28:21

TALIESIN and MARY Yay!

1:28:23

MARY 13 with hope. MATT

1:28:28

and MARY 13 with hope. You

1:28:32

do manage to slide on them with your

1:28:34

shell. The momentum that you carry

1:28:38

makes it challenging to control the direction you

1:28:41

go once your shell hits the momentum. You

1:28:43

do full-on, and

1:28:46

you go careening and spinning, like an arc

1:28:48

around the stage. Roll a d20 for me.

1:28:51

LIAM and MARY That's a hockey puck. TALIESIN

1:28:53

and MARY Go, let's look

1:28:55

at that woman in her cams! MATT

1:28:58

and MARY Eight. MATT and MARY

1:29:00

You go offstage, beyond the

1:29:02

curtain, and out of view,

1:29:04

and while you are all striking a finale

1:29:06

pose as the music crescendos, you hear, bing,

1:29:10

bing, bing! MATT

1:29:12

and TALIESIN and MARY It's all fine.

1:29:20

SAM and MARY It's all fine. LIAM and TALIESIN

1:29:22

It's not fine. SAM and MARY Does the audience

1:29:24

hear it? Does the jazzy music cover it up? MATT and TALIESIN

1:29:26

I know. MARISHA and MARY I end with

1:29:28

a big enrapture moment, and

1:29:31

that's when you see the

1:29:33

pink slowly dissolve

1:29:36

to black to my

1:29:39

black leathery dominatrix-y outfit,

1:29:43

using enrapture and my magic to hopefully distract.

1:29:46

MATT and TALIESIN Okay. So when you cast enrapture,

1:29:48

it's a reaction roll, or are you rolling against

1:29:50

the targets? MARISHA and MARY I roll against

1:29:52

the targets. MATT and TALIESIN Okay. I'll say, go ahead

1:29:54

and make a roll against the audience as a collective

1:29:56

entity. MARISHA and MARY Okay, it's a spell cast

1:29:58

roll. plus

1:30:01

four for my presence. Okay,

1:30:04

13. MATT

1:30:07

and MARISHA and LAURA, with hope. MATT and MARISHA, with

1:30:09

hope. The audience has already been

1:30:12

pretty enthralled by this. I'd say

1:30:15

you managed to keep a lot of them enraptured.

1:30:19

What could have been a majestic ending

1:30:21

is now a very good one. You

1:30:23

mitigated some of it. But

1:30:29

the audience still cheers, there's still claps.

1:30:32

The finale is glorious and well

1:30:35

appreciated. Everyone

1:30:37

starts really getting into the energy and

1:30:40

vibe of this. A number of people give small

1:30:43

standing ovations off to the side. Immediately,

1:30:45

the stagehands rush off and start setting up for

1:30:47

the next performance as the curtains come to a

1:30:50

close. In the interim, the

1:30:52

two of you. All of us. All

1:30:55

right, I'm going to grab a

1:30:57

tray before leaving, before we

1:30:59

left out of the

1:31:02

backstage. From all the drinks I

1:31:04

have. Uh-huh, uh-huh. So I'm just going to

1:31:06

walk around and pretend I'm a waiter

1:31:09

here at this fine establishment and

1:31:11

try to just listen in and

1:31:13

see if I can find anybody that looks like a rich baron.

1:31:20

Or just listen in. Yeah.

1:31:23

Go ahead and make an

1:31:25

instinct roll for me, if you don't mind.

1:31:28

Okay. I'll make

1:31:30

an instinct roll. Okay.

1:31:34

So we've got 19 with hope. 19

1:31:46

with the hope. So you take a

1:31:48

hope. I mean,

1:31:50

listening in and keeping an eye out, there's a lot of people

1:31:52

that are dressed very well here. There could be a number of

1:31:54

people that are maybe barons. You

1:31:56

haven't really met any barons in your time. You don't really

1:31:58

know what a baron would look like. MATT,

1:34:02

okay, go ahead and make

1:34:05

an instinct roll first to pick

1:34:08

up any wayward conversation.

1:34:13

SAM, that's a 15 with hope. MATT,

1:34:15

15 with hope, okay, go ahead and take a hope.

1:34:19

Listening around and saying what you're saying, you

1:34:22

do catch up with someone muttering nearby as

1:34:24

you bump into them and be like, why

1:34:27

is she talking about Champion's Crounge?

1:34:30

Obviously, it looks like she's not even from there. TRAVIS,

1:34:34

go ahead. MATT, that's what I need. That's

1:34:37

exactly what I need. I start looking for

1:34:39

Opie. Opie? I'll

1:34:46

try and find Opie near the back. LAURA,

1:34:48

you got anything? MATT,

1:34:50

no. LAURA, you're doing

1:34:53

a whole voice. MATT,

1:34:55

are you not doing a voice? No, I was

1:34:57

just doing this, but you're really committing to the bit. I'm

1:35:00

still a voice, well! Did

1:35:02

you find out anything? No! Well,

1:35:05

yes, I did.

1:35:07

I did. Yes, I did. There were some

1:35:10

of these gentlemen over here to the side. We're

1:35:12

talking about these big huge ones. LAURA,

1:35:15

go! We're

1:35:19

saying that it's really hard to buck in the

1:35:21

mines, that they can't go down there because,

1:35:24

you know, the seep? Yeah,

1:35:26

what was the name of the mine? It was

1:35:29

the Gulch Mine. The Gulch Bottom Mine?

1:35:31

Yeah. Oh, good. That was the

1:35:34

one. That was the one we were talking about. We should

1:35:36

go tell the others. Well, they're in the middle of a show!

1:35:39

Is it going on, or is it finished? This is

1:35:41

happening while they're performing, and you're wandering around

1:35:43

listening to the second person. How good are

1:35:46

they? They are so good. You're

1:35:48

not watching, you are. No,

1:35:50

I'm not. Skills!

1:35:54

Skills! In

1:35:59

listening back in. to those

1:36:02

individuals that we're talking about, the mind,

1:36:04

as the performance comes to a close.

1:36:06

You also pick up one

1:36:08

of them referring to, well,

1:36:12

I'll check in with Foreman Clive. We'll

1:36:15

see if the professor has

1:36:17

what he needs and perhaps can notify

1:36:19

us on how soon we can get back in there. And

1:36:26

the professor?

1:36:28

That sounds like a

1:36:32

show from the 70s. Foreman Clive

1:36:34

and the professor? Probably grew

1:36:36

up watching that on Nick at night.

1:36:38

That's my prog rock band. I forgot

1:36:40

a name. Foreman

1:36:43

Clive. And the professor. Do you

1:36:45

want to go sit with him

1:36:48

and talk? Do you want to

1:36:50

do a little

1:36:52

flirting? Is that their names? I

1:36:55

don't know. Yeah, let's go over.

1:36:57

Where are they? Point them out. Follow

1:37:00

me. Okay. I

1:37:04

don't know. I'm doing the walk where instead of

1:37:06

opposite arms with legs, it's the same. It's

1:37:08

amazing. I've

1:37:13

decided I also have a cat of nine tails for no

1:37:15

reason. Now

1:37:20

that you've approached them directly, as opposed to just

1:37:22

overshitting, you can see one of them is a

1:37:24

squat-looking dwarf gentleman with this massive handlebar mustache that

1:37:26

curls almost back to his ears, his

1:37:28

hair parted in the middle. It looks like

1:37:31

a more muscular Pringles guy

1:37:34

sitting down

1:37:37

with his little button-up vest

1:37:40

and overcoat with his chain

1:37:42

on it. To the right, you see this

1:37:45

scrawny, older, health

1:37:50

humanoid with

1:37:52

a bit of a razor-thin

1:37:55

grey goaty, like

1:37:57

John Waters couldn't stop him. went

1:38:00

around the entire front. His

1:38:03

hair is quaffed back into a

1:38:05

lazy wolverine flare. It comes up

1:38:07

on the sides. It's

1:38:09

got all the small little spectacles at the

1:38:11

end of his nose. He's dressed like a

1:38:13

golden green suit, and they're both sitting next

1:38:15

to each other. LAURA

1:38:18

and TALIESIN, and SAM, and LAURA, and SAM, and LAURA, and

1:38:20

SAM, and LAURA, and SAM, and LAURA, and LAURA, and SAM,

1:38:22

and LAURA, and SAM, and LAURA, and SAM, and LAURA, and

1:38:24

SAM, and LAURA, and LAURA, and LAURA, and LAURA, and get

1:38:26

you to drink. MATT, usually they come with a drink, but

1:38:28

the napkins are very, a lot of forethought. I appreciate that.

1:38:30

Yes, some

1:38:33

people are messy, and

1:38:35

you look like you would be

1:38:38

messy. Mm, cheers. That's

1:38:40

bold, I don't get that very often. I

1:38:42

appreciate that. I like a bold woman. What

1:38:45

would you like? If the bold woman, I

1:38:47

take the cat of nine tails and I go, psh! Ow!

1:38:52

Oh! Excuse!

1:38:58

And if I might ask, darling,

1:39:01

what's your name? T'a-ta. T'a-ta?

1:39:06

T'a-ta? T'a-ta? T'a-ta?

1:39:09

T'a-ta? T'a-ta? Well,

1:39:11

are you busy

1:39:14

this evening? Excuse!

1:39:18

Right. That

1:39:25

could be arranged if

1:39:33

you would like to also have a private

1:39:35

moment with T'a-ta. Is

1:39:39

good news? Mm,

1:39:41

excuse. I

1:39:46

don't recognize that accent. Where are you from, T'a-ta?

1:39:49

Mm! Mck!

1:39:53

Do you hear him

1:39:56

again? Tada!

1:50:01

There's a

1:50:03

couple of

1:50:06

claps. She

1:50:08

gets back up and gives a big bow. And

1:50:13

she does the bow. I'll go,

1:50:17

and I'll cast Time Lock and she's bent over

1:50:19

on her. As you begin to name

1:50:21

an object, what do you cast on? Oh, it

1:50:24

has to be an animate object. Never mind, I

1:50:26

won't do it. The hoarding boostie? The

1:50:29

hoarding boostie? Sure. Well,

1:50:31

she took off the hoarding boostie. Oh,

1:50:33

man. But she

1:50:36

has bracelets on. I will

1:50:39

say because she's a little disheveled, you

1:50:41

do see the wigline. Yes.

1:50:44

The wigline's good. You've been bent

1:50:46

over. She goes into a bow. Way

1:50:48

worse. And stays there. Oh,

1:50:53

that's hilarious. Why is she

1:50:55

not getting up? What

1:50:58

is going on? Help

1:51:02

me! Help me! She's

1:51:07

shouting out at the back of dancers that come over and they all

1:51:10

try and lift her up. The

1:51:12

audience is getting up and looking strange over

1:51:14

there. They're

1:51:17

trying to roll against your... If they make

1:51:19

a move against them, they have to make a spell cast roll against

1:51:21

them to retain the spell. Make a spell cast roll for me. They're

1:51:24

going to try and pull her free. Oh,

1:51:26

that's not very

1:51:28

good. Nine with hope. No,

1:51:30

they rolled a 12. So they do pull her

1:51:33

free. The wig comes up

1:51:35

and is off, kills her now at this point.

1:51:40

She goes and huffs off stage rapidly.

1:51:42

And as she gets to the edge,

1:51:44

a hand stops her as it's the

1:51:46

matron oddra. It goes, quite

1:51:49

the performance, Dea. Time for curtain

1:51:52

call. Performers, please, to the stage.

1:51:55

You watch as Eden steps out, the rest

1:51:57

of the backup dancers gather around. join

1:52:00

as well? LAURA and MARY-ANN MARY-ANN

1:52:17

I'll wander out and

1:52:19

see that curtain call's happening. MATT and MARY-ANN

1:52:21

As everyone scoots out there, the

1:52:23

performance troops and Eden all

1:52:26

gather, and then a moment later, this little slightly

1:52:28

lagging figure arrives. Thank

1:52:34

you all so much for coming to this quite

1:52:37

memorable and

1:52:39

unexpected display of

1:52:42

pratfalls and follies mixed

1:52:45

with some fantastic, worldly

1:52:47

experimental dance routines. The

1:52:50

athleticism on display tonight has been quite

1:52:55

unforeseen. Anyway,

1:52:58

Eden, our fantastic grinding

1:53:01

katari, as she gives

1:53:03

a big bow, the audience cheers and claps.

1:53:07

Two, Bunny and the Menager

1:53:09

Toi, the audience loudly claps

1:53:11

and cheers. Our

1:53:16

main performance is from a

1:53:19

broad Mafana! Mafana, like, gets the

1:53:21

wig right, looks out, and

1:53:23

the audience is cheering a little

1:53:25

bit. You see people starting to get up a

1:53:27

little bit and grumble. LAURA and MARY-ANN

1:53:29

They cheer for me more. MATT and

1:53:31

MARY-ANN The matron walks offstage. Thank you all so much

1:53:34

for coming. Good night, as she steps off. TALIESIN

1:53:37

and MARY-ANN Do you?

1:53:40

MATT and TALIESIN Do you? MATT and MARY-ANN She

1:53:42

looks back. She sees you moving something behind your

1:53:44

head. MATT

1:53:53

and TALIESIN I am done with this! Looks

1:53:58

at her backup dancers. Get

1:54:01

them! And you

1:54:04

watch the backup dancers all kind of, all

1:54:07

right, and then begin to circle around

1:54:09

her, and an audience was about to leave, all of

1:54:11

a sudden turned back and begin to get back to

1:54:13

their seat as the major from

1:54:15

offstage goes, what's going on? And

1:54:18

now you just have... LAURA and MARISHA,

1:54:20

LAURA, and MARISHA, and MARISHA, and MARISHA,

1:54:22

and MARISHA, and MARISHA, and MARISHA, and

1:54:26

the five backup dancers in their fauna, now

1:54:29

squaring off here in center stage.

1:54:35

All of the other members

1:54:37

of the audience were all

1:54:39

going to be like, oh

1:54:42

my god! This is so

1:54:44

good! Oh

1:54:48

my god. I

1:54:51

knew there was a chance you guys

1:54:53

were going to be little shits. Oh

1:55:00

my god. And

1:55:07

so we'll come back after break and

1:55:10

see how this unfolds. Oh

1:55:12

no, let me take my earrings

1:55:14

off! See

1:55:17

you in a few minutes. Hi,

1:55:20

hello there. This is Critical Role's resident

1:55:22

art dad, also known as Liam O'Brien.

1:55:25

We are continuously amazed at

1:55:27

the artwork this community creates.

1:55:30

That's why each Thursday at 8am

1:55:32

Pacific, we share a curated gallery

1:55:34

of submitted fan art over on

1:55:36

critrole.com. If you'd like

1:55:38

to submit your art for consideration,

1:55:40

visit critrole.com/submit. And thank you to

1:55:43

all of the incredible artists who

1:55:45

share their talents with us week

1:55:47

after week. And

1:55:51

welcome back! So as

1:55:53

we left off here, as

1:55:55

we had the stage performance here with the audience before

1:55:57

us, over here we have...

1:56:01

It's still in their general forms. We

1:56:03

have Kex'in

1:56:06

slash Tata, and

1:56:09

Oppy over here, and there's shows. I'm using

1:56:11

this fern mini to represent Mafana, because it

1:56:13

seems like fitting. This is

1:56:15

her backup dance troupe over here

1:56:17

after taking a bow. The rest

1:56:19

of you are scattered here in this bit. But

1:56:23

in this aggressive point where the audience has

1:56:25

stopped and looked forward, I'm going to use

1:56:28

one fear to get two action tokens,

1:56:30

and I'm going to go ahead and spend

1:56:32

those two action tokens, and that fear to

1:56:34

have Mafana be like, catch

1:56:37

them, please! And point

1:56:39

over. The backup dancers are going to go

1:56:41

ahead and use choreographed ensemble. They

1:56:44

can choose a target and activate all of them within a

1:56:48

close range of you, which

1:56:50

I think is all of them. How are they

1:56:52

getting serious to these dancers' look as a physical

1:56:55

threat? You'll find out in a minute.

1:56:58

We're fucked. They all charge

1:57:00

you, Bunny? They all move in on Bunny.

1:57:05

They make one shared attack roll. That

1:57:08

is going to be a 14. Does

1:57:11

that beat your evasion? Yeah. All

1:57:13

right. So on a success, they deal

1:57:15

six physical damage each. That's five of them together,

1:57:18

so you take 30 points of physical damage. What?

1:57:22

Okay. Is 30? Yeah. They

1:57:25

all rush towards you and do a

1:57:27

giant spinning maneuver like a wonderful ensemble

1:57:29

piece, and as they do, you get

1:57:32

pummeled as they turn. From all sides.

1:57:34

And as they all come to a

1:57:36

landing flourish, you've fallen to your knees,

1:57:38

feeling this whirlwind of impacts

1:57:41

that immediately bloodies your face. Yep.

1:57:44

Fantastic. Fucking

1:57:46

here for it. It's great. Let's fucking go. I'm

1:57:48

going to take two armor to drop

1:57:51

it down to major

1:57:54

damage. Boom. Boom.

1:57:57

Because my severe. Okay,

1:58:00

when you manage to replace the number two, I'm gonna get on

1:58:02

your next thing, make sure you put your memory on the

1:58:04

card, and then clear all tokens. If

1:58:07

you have any token, you're making a list for when you take a long clue, I'm

1:58:09

gonna have my stress. Okay, so it's the

1:58:11

next attack, which I don't think I've done an

1:58:13

attack since I did, anyway, whatever, I take

1:58:16

two hit points. You do. All

1:58:18

righty. Who wants to go? Uh,

1:58:21

I, oh wait. Are

1:58:25

there, are there any shadows

1:58:27

next to me? I

1:58:29

mean, the curtain's cast shadows, behind

1:58:33

here cast shadow. Yes, I'm gonna run over to the

1:58:35

shadow next to me, and behind that curtain, and

1:58:38

I'm gonna bamf out, and I'm

1:58:40

gonna bamf out behind Mafana, and

1:58:42

move forward, shoom,

1:58:44

shoom. Over here? Yeah, I'm marking a stress,

1:58:46

I'm almost out of my stress. All righty.

1:58:48

Shoom, shoom, move forward, and I'm

1:58:51

going to, I'm coming from hidden, because when

1:58:53

you come out of the shadow, you're hidden.

1:58:55

Correct. So, I successfully

1:58:57

position myself, oh god,

1:59:00

another stress, jeez Louise.

1:59:03

You go fast. It's fine, vroom, vroom,

1:59:05

I'm gonna put her in a choke hold.

1:59:07

Okay. I'm gonna use my staff, and like,

1:59:09

put it over, and like, pull her into

1:59:11

me. All righty, so go ahead and roll for

1:59:13

that choke hold. Do I have to roll for her? What

1:59:15

does it say? Mm, mm. You

1:59:18

can use an action to mark a stress, and pull them

1:59:20

into a choke hold. Oh, so you just pulled them into a video. I

1:59:22

just do it. You do it, so. And now she's

1:59:24

vulnerable. All righty, so as

1:59:26

she's like, pointing the troop, kind of grinning

1:59:28

at the beat down that she watched Bunny

1:59:30

get out of nowhere, emerging from the shadows,

1:59:32

the tiny little sneaky mushroom. Except I'm not

1:59:35

a sneaky mushroom, I'm a sexy pink fairy. A

1:59:37

switch. Sneaky little sexy pink

1:59:39

fairy is now pulling her back and holding her by the throat.

1:59:42

Ah, ah, ah, ah.

1:59:44

Fantastic. If that's what's happening, I'm going

1:59:46

to rush forward to

1:59:48

what I see happening. Get

1:59:51

a nice, I'm gonna use Deadly Focus

1:59:54

to apply all my focus towards this

1:59:56

target. Towards Mafana? Towards

1:59:58

Mafana. So that

2:00:01

just adds plus one to my proficiency. You got

2:00:03

it. So I am going to

2:00:06

call off the Brute Squat, and I'm

2:00:08

going to, as only Dolly Parton can,

2:00:13

just give a sma- like just

2:00:16

a full smack hard across the

2:00:18

base. Sure. All right, so go

2:00:20

ahead and roll for that attack. I'm

2:00:23

just gonna use my, I think, Grappler

2:00:25

since I would just be using that as a, just

2:00:27

a, go for it. Now, she

2:00:30

is vulnerable. Yes. She's

2:00:32

vulnerable. So you get to go ahead and add

2:00:34

a D6 to it. Okay, so that's- Is it temporarily

2:00:36

vulnerable or just vulnerable? As long as

2:00:38

I have her in the choke hold. How do

2:00:40

you get out of the choke hold? That's a good

2:00:42

question, Matt. Let me

2:00:44

see. Every

2:00:47

attack roll against them while they're vulnerable from

2:00:49

your choke hold adds 2d6 to the damage

2:00:51

roll. Which is pretty

2:00:53

cool. You add 2d6 to the damage roll. Okay, so

2:00:55

that'll be- 1d6 to the actual attack in the 2d6.

2:00:57

Okay, 1d6 for the actual attack. And

2:01:01

I'm just gonna use- Temporarily vulnerable, but I don't know- Okay,

2:01:03

temporarily means I can, okay. I know how to get rid

2:01:05

of it. Okay. All right. I can spend a fear too

2:01:07

and a condition. Got

2:01:10

it. That was all over the place and it was

2:01:12

a terrible roll. That's 16

2:01:14

with fear. 16

2:01:16

to- Oh wait, plus, I'm

2:01:19

using my lower thing, so the finesse.

2:01:21

17 with fear. 17 just hits.

2:01:26

All right. 17 just hits. 17

2:01:30

just hits. One, two, three. She's got

2:01:32

a lot of evasion. One, two, three, four. She's a dancer.

2:01:35

I'm a renowned celebrity dancer. And then you add a d6

2:01:37

to- 2d6. Okay, so

2:01:39

that'll be three more d6 after these rolls.

2:01:41

Go for it. All

2:01:44

right. Now, before

2:01:49

you do that- Okay. So

2:01:52

I just remembered something. Before you roll

2:01:54

that, roll a d6 for me. Four.

2:02:00

She has a reaction ability called Distracting

2:02:02

Beauty. When a creature makes an

2:02:04

attack roll within close range of Mafana, they have disadvantage

2:02:06

on their attack. So,

2:02:09

technically that extra D6 you rolled earlier, technically it would

2:02:11

have canceled out the D6. So I wouldn't have hit.

2:02:13

So your attack missed. Oh my god. You

2:02:16

just missed that. So as you're rearing up to

2:02:18

strike in the choke hold, you go to strike

2:02:20

towards her, and she catches you with that look.

2:02:23

Like the perfect cheekbones, and you just go

2:02:25

wide like, how could I possibly

2:02:27

hit? Not in the face. Oh, god damn it. She

2:02:30

also weaponizes the male gaze. Or

2:02:34

really the, any gaze. Weaponizes

2:02:37

the gaze. She weaponizes

2:02:39

the gaze. So

2:02:41

that does bring it to a failure, which

2:02:44

then brings it to me. Yes. I'm going to go ahead

2:02:46

and- Happy Pride. Happy Pride.

2:02:51

All right. I'm going to go ahead

2:02:53

and activate Mafana, and one of the, actually I'm

2:02:55

going to hold on to one of the other

2:02:57

reaction tokens there. I'm going to activate

2:02:59

Mafana. She's going to go ahead and use

2:03:02

Kiss of Confusion. So while she's still hold

2:03:04

there, she's going to glance over

2:03:06

at, let's

2:03:15

see. No,

2:03:21

actually, she's going to hold off on that. Instead,

2:03:24

I'm going to use those two things to activate

2:03:26

the backup dancers again for a Kory Groft on-

2:03:29

ensemble again on Bunny. Okay.

2:03:32

Yeah. I haven't done anything. You were

2:03:34

too hot. That's

2:03:37

going to be a 13 to hit. Yes. I'm

2:03:39

going to use my prayer die to, my

2:03:43

prayers and my holy presence to subtract four

2:03:45

from their attack. That brings it to a

2:03:47

nine. Does that beat your- Miss! So

2:03:51

that's rad. So as you

2:03:53

concentrate in a moment and call upon

2:03:55

the holy divine guidance of your goddess.

2:03:58

Find religion. The

2:04:02

ensemble goes into a spin and as they

2:04:04

all bring their hands up

2:04:06

into a lifted three-point swirl, you duck

2:04:08

down and they all scrape their knuckles

2:04:10

against each other and ouch! Landing? Don't

2:04:13

do that. But

2:04:16

miss you entirely. LIAM and on the tail

2:04:18

end of that, if I may, I'll use

2:04:20

my divine wielder ability, spirit weapon, whenever melee

2:04:22

weapon equipped, which I do, I can send

2:04:24

it out flying, right? And I'm

2:04:26

going to throw it towards this mini

2:04:29

here without the shirt on. Right there.

2:04:31

I'm going to simultaneously run the opposite

2:04:33

side of the circle, grab a silk

2:04:36

and spin around, and I'm going

2:04:38

to spend a stress

2:04:40

to target an additional target so the axe is

2:04:42

going to hit the first two in that circle,

2:04:44

careening around Bunny's head, hitting those first two people,

2:04:47

and then I will meet my axe at the

2:04:49

other side of the circle and catch it after

2:04:51

it goes. MATT You got it! So

2:04:53

you go ahead and mark that stress and then go

2:04:55

ahead and lob that forward. Roll the

2:04:57

attack. LIAM and I add

2:05:00

four crystals to that. Here

2:05:02

we go. 16 with hope! MATT

2:05:06

and TALIESIN go ahead and roll damage. LIAM

2:05:08

and TALIESIN that's a two of them.

2:05:10

So that's 3d10. Where's my tens? I

2:05:12

do it three points. Oh, that's

2:05:17

a low roll. That's a low roll. 12. MATT

2:05:19

and TALIESIN both of them knocked

2:05:22

on the ground immediately. They

2:05:25

only have one hit point. They're minions.

2:05:27

So they both fall on

2:05:29

the ground unconscious. Fantastic.

2:05:33

That finishes your go. ASHLEY

2:05:36

and TALIESIN all right. I'm

2:05:38

going to step forward and

2:05:41

I'm going to see Mufauna and put my hand out, and

2:05:43

I'm going to unleash chaos. MATT

2:05:45

and TALIESIN what's the range on that?

2:05:47

ASHLEY and TALIESIN that is far

2:05:50

range. Yeah,

2:05:56

she's in range from there. You can move forward if you want, or you

2:05:58

can stay put. You're call. ASHLEY and TALIESIN. If

2:06:01

there's a way to even back up so nobody can

2:06:03

see that it's coming from me? Excuse me. No.

2:06:05

I mean, unleashing chaos is pretty obvious.

2:06:07

I mean, unleashing chaos is pretty outwardly

2:06:10

aggressive. I

2:06:14

have three tokens that are equal to my spell

2:06:16

cast trait for the card, so I'm going to

2:06:18

use all three of those to roll 3d10s. We'll

2:06:21

roll to see if you hit first. Oh yeah, you're right. That's kind

2:06:23

of an important thing. I believe

2:06:25

that's what it says, right? Spell cast roll against the target. You