View Full Version : Zene's Alone Against the Flames IC
zingbobco000
2019-10-05, 05:42 PM
For reference this is taken from Alone Against the Flames written by Mike Mason, Paul Fricker, and Gavin Inglis, thank you!
Do You Hear the Call of Cthulhu?
“The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far.”
—H. P. Lovecraft, The Call of Cthulhu
Welcome to Call of Cthulhu, a Horror/Investigative roleplaying game of mystery wherein you, an ordinary person, shall encounter and confront the terrifying alien forces of the Cthulhu mythos. Now, to begin is quite simple, and this first introduction shall operate similar to a Choose-Your-Own-Adventure story (this is done in order to help with an easy transition between the investigation-heavy Call of Cthulhu, and most other RPGs). Nevertheless, it is time to begin... welcome, to Alone Against the Flames.
----
Plymouth NH, 2:44 PM, September 1st, 1921.
The sun is high in the sky, a merciless ball of heat. You feel scorched by the time you reach the bus halt in front of Osborn’s Drug Store. It’s a relief to put down your heavy cases and take off your hat for a moment. You fan your face. It has been a long summer here, in your hometown, and yet a curiously empty one.
You look across the street at the grubby butcher’s shop, the grocers with its faded awning, and the shabby tobacconist. Mistrustful faces glare at you as they pass, eyeing your clothes and luggage. It was your parents’ choice to live here, not yours. You were happy down south as a child, among Providence’s white-walled houses and leafy churchyards. Perhaps this new job in Arkham will supply the change you need.
Yet everybody you know in the world lives here. You know nobody in Arkham, not one soul. You ask yourself one last
time if you are doing the right thing.
The answer is here. None of your supposed friends have come to see you off. You are alone. Whatever challenges lie in Arkham, it will be a new life, and a brave one.
A small gray motor coach approaches and rattles to a stop. You put your hat back on and pick up your cases.
Two young men with sullen expressions alight from the coach. One looks you up and down before heading away. The driver also steps down, glancing at you before crossing the road to visit the tobacconist. When he returns, he is rolling a cigarette between his yellowed fingers. He gives it a final twist and examines you as he reaches for his matchbox. He is a thin man in his fifties, dressed in a stained shirt with the bus company emblem. Yet his eyes are sharp in their dark sockets.
“Where to?”
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You show him your ticket for Ossipee. From there you will connect to Rochester and Portsmouth, before the coastal line to Newburyport and, finally, Arkham. You should be able to afford a rail ticket for at least some of the way; otherwise this will be the first of many long bus trips.
“Mmm-hm.” The driver scratches the match and lights his cigarette. The end flares as he takes a draw. Then he exhales and gestures to the back of the coach. “Luggage rack’s up there.”
----
In Call of Cthulhu (somewhat like most other RPGs) there are eight characteristics Strength, Dexterity, Constitution, Appearance, Size, Power, Education, and Intelligence
Strength: This is a measure of the physical prowess of your investigator
Dexterity: This is a measure of the agility and speed of your investigator
Constitution: This is a measure of the physical toughness and stamina of your investigator
Appearance: This is a measure of the physical appeal of your investigator
Size: This is a combined measure of your investigator's height and weight, also used in determining their force behind their attacks and health
Power: This is a measure of your investigator's mental stability, force of will, or spirit
Intelligence: This is a measure of the logic and cunning of your investigator
Education: This is a measure of your investigator's tutelage, be it from formal education or the "school of hard knocks"
For the very early image you have of your character, please rank these characteristics in whatever order you choose. No need for anything else than this right now. Also, yes, I understand that this is not really your standard introduction to an In-Character Thread, but let's roll with it!
Hiya TL! This is J using my gitp account.
Those two vids got me psyched; sounds like a great system.
Ok so let’s see...for my guy, I’m going to rank them as follows, from most to least important.
Power
Intelligence
Education
Constitution
Size
Dexterity
Appearance
Strength
zingbobco000
2019-10-06, 01:08 AM
The driver smokes and watches as you drag your cases to the back of the motor coach. The rack is set inconveniently high on the vehicle. You get a grip on the heavier case.
The driver continues to enjoy his cigarette, watching with keen interest as you struggle with the cases. You grit your teeth and heave the second one into place. Perhaps the residents of Arkham will have better manners.
The driver flicks his cigarette into the gutter and steps into the motor coach. Its engine coughs into life. You board, grateful that you will be the only passenger for the initial part of your trip at least. With mixed emotions, you watch from the window as the tired avenues of your old home slip behind you, receding into the distance. For a few minutes, you can still see the church spire over the brow of a low hill. Then the road dips and it, too, is gone.
Arkham is your new home. You will travel there, and make a new start.
----
Note that your sanity is equivalent to your Power, and your magic points are also based on your Power as well. Both of which I guess shall be quite high.
----
The coach putters through the countryside. At first, the interior is stifling and your stomach lurches with every bend in the road. However, the driver opens his window, and by switching seats you find a spot where the breeze hits your face. You soon relax into the journey, observing the quaint little hamlets that the coach serves. A heavy-set woman boards at one settlement and gives you a polite nod. She gets off at the next one.
----
Also note that your beginning Hit Points are dependent on your Size and your Constitution. You also have something called a Luck score, which is well... how lucky you are. Please roll 3d6 to help me determine it.
A reminder that a roll is formatted like 3d6, but roll, not woll.
Rolling for Luck: [roll0]
Oops, looks like those may be roll instructions for discord? I had google roll and got an 11
zingbobco000
2019-10-06, 11:04 AM
Oops, looks like those may be roll instructions for discord? I had google roll and got an 11
It might not show up on phone (I recommend clicking desktop mode at the bottom), but I received it. You rolled a 5. Nevertheless, I'll take the 11.
----
The road rises a little, passing cornfields and orchards. The leaves are turning and the trees are alive with glorious reds and golds. You have just begun to doze when the driver takes a tight bend at speed.
----
Please now give me a Dexterity roll. What this means is that you'll be rolling a d100 and comparing it to your Dexterity. For now, I hold your stats (mwahahahah), but eventually, I'll hand the character over to you once I feel like you've got a good handle on the mechanics (presumably at the end of the adventure)! So, just give me the d100 roll.
[QUOTE=zingbobco000;24187721]It might not show up on phone (I recommend clicking desktop mode at the bottom), but I received it. You rolled a 5. Nevertheless, I'll take the 11.
----
Haha thanks! Ok yeah I’m in desktop mode and the rolls show.
Dex roll: [roll0]
zingbobco000
2019-10-06, 11:13 AM
You rolled below your dexterity, which means that you have succeeded on your role. Interestingly, in Call of Cthulhu, your stats are what actually determine the difficulty of your attempt as opposed to a set DC like in D&D.
----
A desperate yell awakens you. You feel yourself slide from the seat as the driver spins the wheel and the motor-coach plunges off the road. You grab hold of the seat in front, just in time to prevent a painful fall. The coach stops with a thump.
Now you see what has happened. A Fordson tractor has stopped in the road and your driver has had to swerve to avoid this steel obstacle. He leaps from his seat into the road, unleashing a string of curses at the farmer.
You take a moment to catch your breath. Perhaps you should offer assistance? But the driver has already returned. He backs the coach up a little and threads it around the tractor, glaring at the farmer.
You resume your journey. The driver takes the curves with more caution than before. He glances over his shoulder at you a couple of times.
“Sorry about before,” he says. “That fella was dumber than a hog. I’m Silas. What’s your name?”
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The accident was at least as much Silas’s fault as the farmer’s. But it doesn’t seem shrewd to antagonize the man while he is driving you through the middle of nowhere.
----
Make up a name for your character and I'll mark it down. You should also note your age; for the purposes of this adventure your character should probably be aged between 23 and 36.
Yitzhak “Izzy” Laskov, 31
zingbobco000
2019-10-06, 01:07 PM
The coach turns onto a narrower road, which weaves uphill through woodland. Silas becomes chatty.
“Going to Arkham, eh... sir (unless ma'am, in which case ma'am) ? Can’t say I ever heard of the place. Went to Boston once. Didn’t like it. Too much hustle and bustle. You got family there? A special someone waiting?”
The afternoon is wearing on. You see no harm in confiding in Silas about your new life.
“A job, eh? What’s your line?”
----
Now it's time for your character to choose an occupation. In Call of Cthulhu an occupation provides you with several occupation skills. It's comparable to a class, but the main distinction is that it's not representative of all your characters abilities, and it does not really affect advancement.
Some common occupations for investigators include:
Antiquarian
Doctor of Medicine
Journalist
Private Investigator
Professor
Something Else... (we can discuss, there's a whole load of other options, but these are the more... "standard")?
The coach turns onto a narrower road, which weaves uphill through woodland. Silas becomes chatty.
“Going to Arkham, eh... sir (unless ma'am, in which case ma'am) ? Can’t say I ever heard of the place. Went to Boston once. Didn’t like it. Too much hustle and bustle. You got family there? A special someone waiting?”
The afternoon is wearing on. You see no harm in confiding in Silas about your new life.
“A job, eh? What’s your line?”
----
Now it's time for your character to choose an occupation. In Call of Cthulhu an occupation provides you with several occupation skills. It's comparable to a class, but the main distinction is that it's not representative of all your characters abilities, and it does not really affect advancement.
Some common occupations for investigators include:
Antiquarian
Doctor of Medicine
Journalist
Private Investigator
Professor
Something Else... (we can discuss, there's a whole load of other options, but these are the more... "standard")?
Ok so I don’t know if this is too complex, but I’m envisioning him as a trained rabbi who became disillusioned after rabbinical school; and is now working misc journalism jobs while he figures out what he wants to do with his life.
So would that be journalist? Rabbi? Student?
zingbobco000
2019-10-06, 02:14 PM
Hmmm... that could be a variety of things, but I think probably Member of the Clergy (reskinned as Rabbi), given that that's what you were trained to be. However, we can say that you're heading to Arkham for a job there as a journalist.
----
As you mention the reporter’s job, you recall how you managed to secure it at the Arkham Gazette on the strength of a few freelance pieces in your local newspaper. It will be a relief to try something new, maybe writing will help you understand your place in the world. You understand the Gazette covers everything from the breakthroughs of researchers at Miskatonic University to the most sordid exploits of local ne’er-do-wells. It should be something to get your teeth into, at any rate.
“A writer? For a newspaper?” Silas seems confused, as if he thought the stories somehow wrote themselves.
----
Your occupational skills are: Accounting, Library Use, Listen, Psychology, and History. You also gain the following choices:
Which non-English language has Izzy picked up (I presume Hebrew, but it's your choice)?
Which conversational skill was he trained in to speak to his flock?
Charm - physical attraction, seduction, flattery, or simply warmth of personality.
Fast Talk - limited to verbal trickery, deception, and misdirection, such as bamboozling a bouncer to let you inside a club, getting someone to sign a form they haven't read, making a policeman look the other way, and so on. Although sometimes it's just persuade that takes a short amount of time.
Intimidate - browbeating or making verbal threats to get your way.
Persuade - convince a person of a particular idea, concept, or belief through reasoned argument, debate, and discussion (although this does not necessarily have to employ the truth). This normally takes quite a bit of time.
.
zingbobco000
2019-10-06, 07:01 PM
You may now choose one skill from the following list that you would perceive to be related to Izzy's career as a member of the clergy. I'll also provide a short sentence description or so for each.
Accounting (you have this one) - understanding of accountancy procedures; reveals the financial functioning of a business or a person.
Anthropology - identify and understand an individual's or culture's way of life through observation
Appraise - estimate the value of a particular item, including the quality, material used, and workmanship.
Archeology - allows dating and identifying artifacts from past cultures as well as detecting fakes
Arts/Crafts - allows the creation, making, or repair of an item which could be artistic (painting, singing, etc...) or craft-related (woodworking, cookery, etc...). Each one requires its own choice.
Charm - physical attraction, seduction, flattery, or simply warmth of personality.
Climb - climb trees, walls, and other vertical surfaces with or without ropes or climbing gear.
Disguise - used whenever you wish to appear to be someone other than whom you are.
Dodge - allows one to instinctively evade blows, thrown missiles, and so forth.
Drive Auto - drive a car or light truck, make ordinary maneuvers, and cope with ordinary vehicle problems.
Electrical Repair - repair or reconfigure electrical equipment, such as auto ignitions, electric motors, fuse boxes, and burglar alarms.
Fast Talk - specifically limited to verbal trickery, deception, and misdirection, such as bamboozling a bouncer to let you inside a club, getting someone to sign a form they haven't read, making a policeman look the other way, and so on.
Fighting - one's skill in melee combat. There are also different specializations such as Sword, Axe, Spear, or Whip, which each require their own choice.
Firearms - covers all manner of firearms, as well as bows and crossbows. There are different specializations including Handguns, Rifles/Shotguns, Bows, and Crossbows
First Aid - emergency medical care, not for diseases (see Medicine).
History (you have this one) - recall a historical detail or event, the significance of a country, city, region, or person, as pertinent.
Intimidate - browbeating or making verbal threats to get your way.
Other Language (you have this one, but you may pick it again for a different language) - Knowledge (ability to understand, speak, read, and write) of a language that's not your own. Each language is its own choice.
Own Language - Knowledge of your own language (presumably English)
Law - represents the chance of knowing pertinent law, precedent, legal maneuvers, or court procedure.
Library Use (you have this one) - Find a piece of information, such as a certain book, newspaper, reference in a library, or a collection of documents (assuming there's information to be found).
Listen (you have this one) - interpret and understand sound, including overheard conversations, mutters behind a closed door, and whispered words in a cafe.
Locksmith - open car doors, hotwire autos, jimmy library windows, figure out Chinese puzzle boxes, and penetrate ordinary alarm systems.
Mechanical Repair - repair a broken machine or create a new one.
Medicine - diagnose and treat accidents, injuries, diseases, poisonings, etc...
Natural World - represents the traditional (unscientific) knowledge and personal observation of farmers, fishermen, inspired amateurs, and hobbyists.
Navigate - take the correct path to a destination, whether in a strange city or the wilderness.
Occult - recognize occult paraphernalia, words, and concepts, as well as folk traditions; can also identify grimoires of magic and occult codes.
Operate Heavy Machinery - required to drive and operate a train, steam engine, bulldozer, or other large-scale land machines. Persuade (you have this one) - convince a person of a particular idea, concept, or belief through reasoned argument, debate, and discussion (although this does not necessarily have to employ the truth).
Pilot - allows the safe operation of a boat, aircraft, or dirigible. Each one is its own skill.
Psychoanalysis - refers to the range of emotional therapies.
Psychology (you have this one) - perception, common to all humans, to form an idea of another person's motives and character, and detect if a person is lying.
Ride - applies to saddle horses, donkeys, and mules, granting knowledge of basic care of the riding animal, riding gear, and how to handle the steed at a gallop or on difficult terrain.
Science - practical and theoretical ability with a science specialty gained from some degree of formalized education and training, although a well-read amateur scientist may also be a possibility. These specializations include: Astronomy, Biology, Botany, Chemistry, Cryptography, Geology, Pharmacy, Physics, Zoology, etc... Each one is its own skill.
Sleight of Hand - allows the visual covering-up, secreting, or masking of an object or objects, perhaps with debris, cloth, or other illusion-promoting materials.
Spot Hidden - find a secret door or compartment, notice a hidden intruder, see an inconspicuous clue, recognize a repainted automobile, become aware of ambushers, etc. - an important skill in the armory of an investigator.
Stealth - when attempting to avoid detection, moving quietly, and hiding without alerting those who might hear or see.
Survival - expertise required to survive in extreme conditions, such as in desert or arctic conditions, as well as on the sea or in wilderness terrain. Each environment is its own skill.
Swim - the ability to float and to move through water or other liquid in times of crisis or danger.
Throw - hit a target with an object.
Track - follow a person, vehicle, or animal over earth, and through plants.
Oh boy, that was long. I listed all of them for later reference, as well as to let you know that as long as it makes sense, any of these can be involved in your occupation. So, with all that out of the way, choose one!
Occult —Izzy’s studies touched on the Zohar (Kabbalah and gematria); and he’s leafed through some odd mystical books when he’s happened upon them. Even picked up a strange old Russian tarot deck when he found it in a novelty bookstore. It’s all interesting stuff, though he doesn’t put much stock in it.
zingbobco000
2019-10-06, 07:31 PM
You soon realize Silas hasn’t made a stop since the incident with the tractor. The motor coach winds its way uphill. However, your thoughts are interrupted as the road crests a ridge and you are treated to a magnificent view of the vista below.
A creek snakes through the valley, breaking the rich autumn palette of the tree line. In the distance the White Mountains rise into hazy cloud. There is no settlement, not even a cabin, as far as the eye can see. Birds drift through the treetops, and you can just make out what might be two white-tailed deer lingering by the water.
Perhaps you are making a mistake by moving to the city. Could you maybe survive on your own in this lush wilderness?
----
I'm just going to note that just because a skill is not from your occupation or personal interest, you can always attempt it (i.e. you can roll non-proficient skills). That's not to say that you'll have a large chance of success but there is (almost) always a chance. Now, speaking of personal interest skills, please choose four more skills that you did not choose from your occupation that are your personal interests. You may swap out Occult for a personal interest skill if you think another skill makes more sense to be from your occupation.
Other language —Yiddish (can swap this out with occult on the profession skills if that matters)
Diverse interests and skills:
Anthropology
Science (physics)
Spot Hidden
zingbobco000
2019-10-06, 08:56 PM
can swap this out with occult on the profession skills if that matters
It's more just which one would you view would be used in your profession versus something your character would treat as a hobby.
Now that you've chosen your occupation and your personal interest skills, please rank your occupational skills just like you did with your characteristics - from best to worst. For reference, your occupational skills are: Accounting, History, Library Use, Listen, Other Language (Hebrew), Persuade, Psychology, and either Other Language (Yiddish) or Occult.
It's more just which one would you view would be used in your profession versus something your character would treat as a hobby.
Now that you've chosen your occupation and your personal interest skills, please rank your occupational skills just like you did with your characteristics - from best to worst. For reference, your occupational skills are: Accounting, History, Library Use, Listen, Other Language (Hebrew), Persuade, Psychology, and either Other Language (Yiddish) or Occult.
Library use, History, Persuade, OL Hebrew, Listen, Psychology, Occult, Accounting
zingbobco000
2019-10-06, 09:11 PM
The motor coach rattles on through the hills and Silas lapses into silence. The sky darkens behind you, pinks tinting the clouds as the sun descends. Finally, a welcome sight comes into view: a settlement on the crest of a hill. This doesn’t look like the pictures you’ve seen of Ossipee. But perhaps you can persuade Silas to stop while you stretch your legs.
Minutes later, a harsh stuttering from the engine interrupts your reverie. Silas frowns and rattles the gear stick. The motor coach falters in its ascent. Silas utters a curse you don’t recognize and grinds his teeth, struggling at the wheel. You seem to inch up the hill until you reach the first buildings, low dwellings constructed from a rough red stone. Silas wrestles the coach into a small bay off the road. He scrambles from his seat and makes for the engine compartment.
----
Now it is time to make our first skill check! However, I'm going to offer you the choice between two, but you could arguably think of doing something else and I'll rule what it would be for now. If you want to try both at the same time, you can try, but it would be much harder (inform me if you want to do this and I will detail what you would have to do). Do you think your character would go out and check on the car, if so, please give me a Drive Auto roll (a d100 which I will compare to your drive auto skill [you consider yourself an amateur in this field]), or would you like to gauge Silas's reactions to the breakdown, if so, please give me a hard Psychology roll (a d100 which I will compare to half your Psychology skill [you consider yourself a professional in this field]). Either way, roll a d100 and tell me which one you'd rather compare it to.
zingbobco000
2019-10-06, 11:19 PM
You sense a falseness to Silas’s actions. He is acting. Either he is not as aggravated about the breakdown as his behavior suggests, or perhaps the breakdown itself is an act.
If this is a ruse to make you spend your time and money in a local shop, he will be sadly disappointed in your purchasing power...
----
I will mark down that you have succeeded in a Psychology roll, this means that at the end of this scenario, you may have the opportunity to improve your abilities in this skill and learn from your time with Silas.
----
Silas opens the engine compartment open and sticks his head inside. The hot metal pops and sizzles. He pokes at various components, then withdraws and wipes his brow, smearing it with dark grease.
“I ain’t sure what’s wrong. Might be the oil pressure. Might be something knocked off kilter when we took that spill. Can’t do much until the engine cools neither. And with the light failing… I reckon we’ll be here through the night.” He wipes his hands on a rag.
The shadows from your surroundings are already long, and the air is chilly. You feel stiff from the journey and a night in the rickety coach sounds unappealing. Silas sees your dismay.
“This here’s Emberhead. Miles from anyplace. I only come through twice a week. But the folks here are good people. May Ledbetter keeps a spare room. She’ll look after you. Up that alley, turn right, first house on the left.”
He scratches his cheek, looks again into the engine compartment, and spits on the ground.
“Meet me back here at eight in the morning and we’ll see how’s we stand.”
----
Now we're entering the more freeform part of the adventure. Nevertheless, given that this is still an introductory scenario. I'll be providing little prompts at the bottom of example things your character could attempt so that you can formulate a post in-line with general Call of Cthulhu ideas. In this instance, I have three possibilities (as like any roleplaying game, feel free to formulate whatever kind of post you wish).
1. Head out and look for this May Ledbetter's house
2. Ask Silas where he's going to stay the night
3. Challenge Silas about the breakdown
A little nervous, I give him what I try to make a warm, but knowing smile.
“Silas, my friend; I may not be an automobile mechanic, but I wasn’t born yesterday. I don’t get the sense we need to stay the night here. What’s going on?”
zingbobco000
2019-10-07, 12:21 AM
His brow darkens as you confront him with your suspicions and he shows a mouthful of twisted teeth.
“Ain’t that just like you city types,” he spits. “Thinking the worst of a man after he’s gone out his way to attend to your comfort!” He stalks around to the back of the coach and hauls your bags from the rack, dumping them on the ground at your feet. “Take them! Otherwise, I guess you’ll be accusing me of thievery in the morning!”
He marches off into the darkness, raging. That could have gone better. Having no other recourse except what was mentioned prior, and feeling utterly exhausted you trek off towards May Ledbetter's boarding house.
You drag your cases between the sullen buildings. You feel surprisingly weary, considering you have spent all day sitting down. Silas’ directions lead you to a modest dwelling with a slate roof. A nameplate reads LEDBETTER, and underneath, a sign in neat copperplate reads, LODGING ROOM. The lane around you is gloomy, but a lamp flickers in the window. You quickly realize it's around the only active light source in the entire village.
A breeze chills your face. You’re not about to begin your new life by sleeping in the street. You rap on the weatherbeaten door.
After a moment, you hear footsteps inside the house. A bolt is drawn back and the wooden door swings open. A figure with loose curls and a rough-looking housedress peers at you. Her gaze takes in your traveling suit and your cases. Her voice has a slight Irish lilt.
“Hello. Should I take it as you’re looking for a room for the night?”
You enquire as to her rates, suppressing a grimace. As far as you’ve seen, the village does not offer you many alternatives.
“Oh, you’ll find them very reasonable,” she says. “You look tired. I’m May. Come inside and we’ll talk over a cup of tea.”
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The Ledbetter house feels cramped, with a low ceiling and simple fittings. But it is well kept and a cheerful fire crackles in the grate. The aroma of the tea is soothing and the cup warms your fingers.
“Have you come to Emberhead for the festival?” asks May.
----
Again, just simple prompting, you do not have to follow these ideas at all.
1. Do you want to explain what happened with Silas and his coach?
2. Would you rather ask about what this festival she mentioned is?
I explain what happened with Silas; watching her reaction carefully.
zingbobco000
2019-10-07, 12:28 AM
May shakes her head and you glimpse a moment of deep-seated anger in her green eyes.
“He always drives too fast. Thinks the road is made for him and him alone. He hit a mare some years back, that was a terrible thing. You should have seen the state of the coach. You’d be surprised at the damage done.”
She sips her tea and gazes past you, into the corner of the room.
“With living here, though, we can’t afford to antagonize the man. He’s about the only link we have to the world at large. And he’s not a bad soul at heart. I suppose that going the same route for fifteen years makes a man careless. You have to forgive him.”
May goes silent for a long moment. Then her eyes flick back to you.
“But you didn’t come here to listen to me blather, and you must be hungry. I can rustle you up a bit of stew. How would that be?”
You ask again about her rates, and May names a price so low you accept it without hesitation. The room is small but comfortable, and the stew dark and hearty. After dinner, you have a couple of hours before your usual bedtime.
----
If you're trying to gauge her reaction, that would be another Psychology (you consider yourself a professional in this field) roll. In addition, now that you have a couple of hours, you could talk with May some more, walk around and get your bearings, or maybe just turn in for an early night?
Trying to gauge her reaction w/ Psychology: [roll0]
Since I have some time, I’ll ask her about the festival.
zingbobco000
2019-10-07, 12:34 AM
To be honest, after the meal, the food, and everything, you're a tad too weary to find out what makes May tick. Maybe another day...
Emberhead, 8:18 PM, September 1st, 1921
You ask about the festival, and May takes it upon herself to talk about life in Emberhead as a whole. “In her letters my sister always asks if I’m not bored, living in such a small place. She lives in New York. Then she writes about how frightened she is to walk home at night! I ask you.”
You mention your hopes for a new life in Arkham, hoping to take control of the conversation. May doesn’t seem to hear you.
“It’s a small place here, yes, but that means we have real community. Everybody’s face is known. Everybody works together. Nobody is excluded. Except those who choose to exclude themselves, of course. I couldn’t live anywhere else now.”
As May's going on and on, you do your best to try and amicably change the topic of the conversation.
----
Please give me a Charm (you consider yourself a neophyte in this field) roll.
Chaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaar m:
[roll0]
zingbobco000
2019-10-07, 12:41 AM
Sadly your attempts go awry and as the hour wears on, despite your failure, you are amused to hear May transform into a sort of tired tourist guide.
“Of course the views from here are spectacular on a good day. A clear view all the way round. If you’re a painter you’ll be right at home. If your tastes run more to the artisan, there are workshops on Silbury Street. Just at the end here and turn right. They’re not set up for visitors, you understand? But you’ll see the real craftsmen at work. The genuine article. Now, if you’re looking for freshly baked bread...”
It seems a shame to point out that you intend to be on the road again shortly. You let May continue until she begins to yawn.
“Would you listen to me yapping? Time to turn in. When would you like your breakfast?”
You recall that Silas (upset as he may be, he still has a job to do) said you would leave around eight.
“6:30 would be ideal, if you don’t mind. “
zingbobco000
2019-10-07, 12:56 AM
May looks a bit surprised at the early morning request, but simply shrugs and begins to put the plates away. As May stands, you hear a clunk behind you. You look over your shoulder, but all you can see is a wooden door, securely closed.
May tuts. “The young lady of the house. She’ll have been listening to us. Ruth! Come and greet our guest.”
There is a short pause, then the door creaks open. Two wide eyes peer at you from the gap, between tousled hair and a rough nightgown.
“What do you say?”
The eyes blink. “Pleased to meet you.”
“Now get back to bed.”
The door closes again.
“My daughter Ruth. Ten years this summer. She’s a delight and a torment all in one. Don’t worry, she sleeps in with me. She’ll not disturb you. Good night now.”
You retire to your room. It is a little chilly, but you are too tired to worry about lighting the fire. The sheets are clean and the bed soon warms up. The silence outside is strange after living in a town for so long, but you soon drop off.
You dream of fire in the grate; coruscating colors shimmering through the dancing tongues of flame. At first they are tiny, almost microscopic, but they grow, and grow, until a kaleidoscopic inferno spills from the fireplace, spreading across the floor, up the sheets…
You wake with a start. Daylight glints through the curtains. You get up and examine the grate, blinking the sleep from your eyes. It is quite cold.
----
If you have taken any damage, you may heal 1 hit point back for your night’s sleep. Yes, long rests heal 1 HP.
----
May seems to have no running water, but has supplied some in a ceramic jug. You freshen up at the washstand and go in. She cooks a hearty breakfast and leaves you in peace to eat. At about seven-thirty, you are paid up, packed, and ready to go. You bid May goodbye and she wishes you the best for your new career in Arkham.
https://s3.amazonaws.com/files.d20.io/images/89719975/HaOSBF1K2QsfOompXQJAJw/med.png?1566314827
You are already tired of your heavy bags. Hopefully, Silas has repaired the motor coach and you can resume your long journey. A sourpuss he might be, but the old driver seemed to understand his vehicle well enough. You pause to check your watch—still twenty minutes early—and round the final corner.
The motor coach is gone.
You put your bags down and search the area, trekking up and down slopes and around corners. At the edge of the village, you trace the long road back as it winds across the hills. Eight o’clock comes and goes. There is no coach to be seen.
A passing villager notices your bags.
“Looking for the bus? I heard him take off at first light. He’s due back in three or four days. If you need a place to stay, May Ledbetter rents a room.” The man raises his hat to you and strolls on into the village.
You curse Silas under your breath. Perhaps he went for parts. But you wonder if the old goat has stranded you here on purpose.
May is doing laundry, and looks surprised to see you again. “Forgot something?” When you explain the situation, she offers to store your bags while you try to arrange alternative transport. You are grateful to relinquish the load.
“Nobody here has anything like a car.” She strokes her chin and narrows her eyes. “Maybe you could find somebody with a horse and a cart for your bags. I could ask around later. Try Mr. Winters at the village hall, he’ll know if anyone will. Or ask among the artisans. Their workshops are first left on Silbury Street.” She reaches over and squeezes your wrist. “Don’t worry, I won’t see you sleeping in the street, money or no money.”
You thank May, and turn to face the village.
You wander the streets of Emberhead without any particular destination in mind. The village is built on a relatively flat upland with splendid views. To the north, the hazy tips of the White Mountains reach for the heavens; to the south, the sparkling waters of Lake Winnipesaukee touch the horizon.
The village itself takes less than five minutes to cross from edge to edge. However, it is literally edge to edge, as with the exception of the two roads out of town, all that's there is a massive drop-off. You arrived on the winding road to the west. The only other road leaves to the south, following a lower ridge of land as it turns east. In the northernmost part of town, you see the courtyard mentioned by May home to several artisans. Next to that is the town's largest building (which isn't saying too much) - presumably the village hall. Meanwhile, in the southwest of the village, an open grassy space borders a ruined church, its graveyard cresting the cliffs. To the northeast, the three main thoroughfares, with a general store being one of the only real businesses open, meet at a raised black metal structure. It looms, stark against the blue sky.
----
Oh boy, that was long, I hope you got all of that, but basically... where do you want to head now to find transport out of here? Some places of interest that I listed were: The lower ridge of land that heads eastward, the artisan's courtyard, the village hall, the church, the general store, or the raised black metal structure?
I’ll head over to the courtyard to speak with the artisans.
zingbobco000
2019-10-07, 01:30 AM
Emberhead, 8:23 AM, September 2nd, 1921
Not far from the Ledbetter house, on the north side of Silbury Street, there is an open courtyard. The rhythmic tattoo of a hammer seems to announce your approach.
The courtyard is the busiest location you have yet seen in Emberhead. It is bordered by a ring of workshops. Some are brick buildings, some only rough huts. A blacksmith ceases to hammer, thrusting something red and glowing into a bucket of cold water. A weaver looks up from his loom, blinking at you for a moment before returning to his shuttle. A potter, engraver, and carpenter each work in their own space, exchanging friendly banter.
You move among the artisans, chatting about their work. Eventually you bring up the question of export. Some of them send occasional packages with Silas. Some restrict their custom entirely to villagers. You receive no suggestions about alternative transport.
----
As you're walking around, please give me a Psychology (you consider yourself to be a professional in this field) to get a feel of the village.
Psychology to get a feel for the village: [roll0]
zingbobco000
2019-10-07, 01:34 AM
Wow, Izzy is really insightful.
----
One of the workshops is shut up. When you stray close to it, the repartee between the craftspeople becomes awkward—almost forced. Interesting. However, this has nothing to do with transport, and you don't want to go slamming on random workshops in front of a bunch of townspeople, so it is most likely time to move on.
Emberhead, 9:19 AM, September 2nd, 1921
You are beginning to get your bearings in Emberhead. Would you like to explore some more?
----
Again, some places of interest that I listed were: The lower ridge of land that heads eastward, the artisan's courtyard, the village hall, the church, the general store, and the raised black metal structure
Heading on over to the village hall.
zingbobco000
2019-10-07, 01:41 AM
The village hall backs against a cliff at the east end of Silbury Street. It’s the largest building you’ve seen so far in Emberhead. It is, however, locked and shuttered. You walk around it, peering through gaps in the shutters. There seems to be one large room, presumably for community meetings, and a smaller annex that serves as an office and archive. One of the windows is bricked up. Back at the main door, you can see no posted opening hours.
“Mr. Winters doesn’t open up mornings, this time of year,” says a gray-garbed woman passing by. “Best come back this afternoon.”
You ask whether the office has a telegraph. You should probably let the gazette know you're going to be late... in fact you remember that you were actually asked to write an article for the 3rd's paper...
“Don’t know.” She shrugs. “Who would we call?”
You will have to try again later.
Emberhead, 9:49 AM, September 2nd, 1921
You're beginning to understand the main thoroughfares of the town, but you really should be going soon. Would you like to explore some more?
----
Listing the places once again for funzies: The lower ridge of land that heads eastward, the artisan's courtyard, the village hall, the church, the general store, and the raised black metal structure.
Head over to the general store. Surely the proprietor will know of the communication and transport methods in and out of town. (“Or where I can borrow a horse,” Izzy laughs to himself at the mental image)
zingbobco000
2019-10-07, 01:49 AM
The general store is on a corner beside the main road, just before it plunges to the south. The shopkeeper is a brisk, immense lady with a starched apron and strong shoulders.
She looks hard at your unfamiliar face.
“Transport? There’s a motor coach comes through twice a week. Missed it? Hmm. Truck brings in my supplies every second Tuesday, but he’s not due until next week.” She shrugs at the mention of horses as well.
It seems Emberhead is content to keep its distance from the outside world.
----
You have enough money to buy one or two inexpensive everyday items here. Remember the year is 1921! The shop stocks no weapons except a dusty hunting knife, which you may purchase if you want.
I’d better save my money; getting transport or a message out is the priority. Who knows that kind of surcharge will apply to an obvious city-slicker.
“I’m desperate to get back on the road; I’m already a day late to my new job. Does anyone in town have a bicycle? Or <gulp> a horse?”
zingbobco000
2019-10-07, 02:08 AM
She shrugs at the mention of horses as well.
She shakes her head at that too, "I'm not sure, sorry. Maybe someone might, don't pay attention to what toys people are playing with these days." With very little other information, and not wanting to purchase anything, you head out, maybe some other place could provide the answer you seek?
Emberhead, 10:38 AM, September 2nd, 1921
At this point the streets themselves are becoming repititive, and you cannot help but feel almost claustrophobic at the narrow alleyways and winding roads of this city on a cliff. Nevertheless, shall you continue exploring?
I'm listing things, and those things are places: The lower ridge of land that heads eastward, the artisan's courtyard, the village hall, the church, the general store, and the raised black metal structure.
Heading toward the lower ridge of land.
zingbobco000
2019-10-07, 02:10 AM
The air is fresh and the walk down to the lower ridge invigorating. You notice cultivated fields stretching through the lowlands around Emberhead, and among the crops some livestock, but no horses. Are you going to have to make your onward journey on foot?
Further down, the road skirts the edge of the ridge and descends. There are a few scattered hovels here, with signs of habitation. They are set a substantial distance apart.
As you examine them, a door opens, and an older man steps out. He wears a bedraggled suit, but carries a piece of cloth, which he tosses over his head like a hood. As he does this, he sees you and freezes.
----
Please give me a Luck roll!
Rolling for luck! [roll0]
zingbobco000
2019-10-07, 02:16 AM
Well... I'm afraid that's a Fumble, or basically rolling a 1, but... a lot worse... because it's out of 100...
----
The strange man breaks into a run, fleeing from you along the ridge. His gait is lopsided, but his movements have a maniacal intensity. As you're about to make a single movement, you suddenly realize that your shoes are untied, and with that, your body comes crashing to the ground. By the time you get up, the figure is gone...
You turn back to the road and your core business: getting out of Emberhead and onwards to Ossipee. The ridge gives you a good viewpoint from which you can see the course of the road. It winds with the hills, disappearing into woodland for a while before emerging further on. You lose sight of it somewhere towards a second patch of woodland. By your best estimation, that is at least six or seven miles distant. You see no other settlements or traffic.
It may be worth taking a chance and walking. The weather is still mild. But you will need supplies before you attempt it.
Emberhead, 11:45 AM, September 2nd, 1921
Your morning exertions have left you hungry. You roam the streets of Emberhead looking for sustenance. There is nothing resembling the busy cafés of your hometown, or anything that might be called a restaurant.
It is beginning to look like you will have to get supplies from the general store when May Ledbetter comes down the street with a girl trailing in her wake. This must be Ruth. As she notices you, she races past her mother and approaches you with a smile. This is a different Ruth from the shy creature of last night.
As she reaches you, she stops and stretches her arms up in celebration. She looks up into your eyes. Abruptly the smile drops from her face and she looks several years older.
“Get out before the festival,” she hisses. “Get out!” She blinks hard, then scuttles back towards her mother.
May approaches, wrapping an arm around her daughter’s shoulders. She smiles. “How are you getting on? Have you found transport?”
Startled, you explain the frustrations of the situation.
“I’d try Mr. Winters in the village hall. He’s always in of an afternoon. You’ll be hungry by now? Help yourself to any food in the house. The door’s not locked.”
You glance at Ruth where she has squirreled herself behind her mother’s leg. Her eyes implore you to silence.
----
Well, that was certainly strange. Although, to figure things out further would you like to ask Ruth or her mother about what Ruth said? Or are you complying with Ruth's desire?
“That’s quite kind, thank you. I’m not giving up yet, but it’s looking like the next trip out might not be for a few days. I think you mentioned a Festival last night —when is that? And what’s it about?”
zingbobco000
2019-10-07, 02:24 AM
“Well now, I suppose the Festival is about the only reason folks come to Emberhead. Well, it’s tomorrow night. I suppose it looks very strange to a passerby.” She then takes Ruth by the hand.
“We’ve got the Beacon, you see. One night every year there’s a torch-lit procession and we light the Beacon on the cliffs. You’ve never seen the like of it. They say it keeps the spirit of the village alive for another year. It’s a celebration. A celebration...”
She tails off for a moment, and blinks.
“But you must be hungry, and I've got business with Ruth, isn't that right, dearie?” The little girl nods slowly.
Emberhead, 1:25 PM, September 2nd, 1921
You take your leave of the Ledbetters and head towards their house. The door opens easily. In the low kitchen you make a meal from stodgy bread and leftover stew. A little window offers a view to the mountains.
If you learned one thing this morning, it was that Emberhead’s streets hold little to occupy the visitor from out of town. But there are still about five hours of daylight remaining. You could take some provisions and the bare essentials from your luggage, and set out in the hope of reaching another settlement before dark. Or you could ask advice from this Mr. Winters.
----
What are you thinking?
What’s the deal with that kid? I never ignore a warning from an honest stranger; and I definitely don’t want to stay here anyway. But is she crazy?
I decide to head to the town hall. I still hold out a little hope that there’s a telegraph. Maybe I can subtly ask what Ruth’s deal is, too.
zingbobco000
2019-10-07, 02:32 AM
The village hall overlooks the lower north ridge of the village. You walk along Silbury Street to find it, conscious of the oppressive black metal structure framed at the end of the road. The shutters of the hall are open and some windows left ajar. There is no knocker, but a little bell over the entrance tinkles as you push the front door.
Inside, a sturdy door to your right is marked PRIVATE. To your left, an opening leads through to a bright room. You take a few steps inside. Benches line the walls and there are two noticeboards mounted between the windows.
----
Would you like to simply knock on the door, or look at the noticeboards first?
I’ll check out the noticeboards.
zingbobco000
2019-10-07, 02:34 AM
The floorboards creak beneath you as you cross the room. You feel a slight spring in your step. Perhaps this room is used as a gymnasium for the village children.
One noticeboard appears to be for the adults of the community, and one for the children. The former looks neglected, featuring handwritten advertisements for household items and a yellowed note about telegraph pricing. There is nothing about the festival.
The children’s noticeboard has a schedule for weekly crèche services, and a number of paintings obviously done by the children themselves. Most are incoherent, though colorful. As best you can tell, they depict fireworks, or perhaps the tale of Joseph from the Book of Genesis. One has lost a pin and hangs upside down. It shows a giant bird attacking Emberhead. Or it might simply be that the artist has not yet mastered the subtleties of scale.
----
Please give me a Spot Hidden (you consider yourself an amateur in this field) roll.
Spot hidden roll [roll0]
Also, can I afford the Telegraph rates? : )
zingbobco000
2019-10-07, 02:39 AM
You are indeed able to afford such rates. While more expensive than normal, they're not exorbitant by any metric.
----
The door scrapes behind you. A middle-aged, bespectacled gentleman appears in the doorway. “May I help you?”
You explain you are visiting on May Ledbetter’s recommendation.
“Ah. Well, I’m Clyde Winters. I’m not sure I can help you, but… would you care for some coffee? I’m partial to a cup in the afternoon.”
He gestures to the open door behind him. This seems like a worthwhile opportunity, and you are a little thirsty.
You step through the door marked PRIVATE. The other side of the village hall is in marked contrast to the public space. The room is compact, lined with shelves of books and file alcoves. One corner is reserved for a tiny pantry and what is presumably a water closet.
You study Mr. Winters as he fills the percolator. Although thin on top, his hair is oiled and neatly swept back. His suit is a sober affair, and well-tailored even if the cut is a little old-fashioned. A lesser man working alone might have loosened his bow tie for comfort.
On the desk against the opposite wall, you notice what looks like a telegraph set.
----
Would you like to make small talk with the gentleman first, or ask about the telegraph set immediately? Also, I think you mentioned talking to him about Ruth, so feel free to add in whatever you would like.
“Thank you, but no coffee for me, sir. I do appreciate your hospitality. I hope you don’t think me rude if I come right out and ask to use the Telegraph? I’m quite late to an obligation, and would like to notify my employer I’m running behind.”
zingbobco000
2019-10-07, 02:45 AM
“The telegraph? Mmm. Much as we value our isolation, we do need the link sometime. I must apologize, though. The line has been down for two weeks. I reported the fault, but of course, they’re not so speedy when the problem lies in a rural area. I’m expecting a repair the day after next. I do appreciate how frustrating this must be. The coach is due, in what, three days? But I think he’s going west. Perhaps you might engage a wagon? One of the farmers might...”
You explain that you have asked a few of the residents already, but to no avail.
“I tell you what.” Winters pours himself a steaming cup of coffee. The dark liquid smells rich and strong. “When the repair crew arrive I’ll ask them to take you back with them. How would that be? They might want a dollar or two to grease the wheels...”
The day after tomorrow? It’s less than ideal. But it’s the first real opportunity you’ve had.
----
Would you like to continue to speak with him? Or is that all for now?
I thank him for the suggestion. “That sounds like my best option.”
While he drinks his coffee, I make some small talk with him. Mention May’s hospitality, and her daughter was quite polite. But it seemed like she was a bit off... (hoping he volunteers some info)
zingbobco000
2019-10-07, 02:53 AM
The pot continues to gurgle as you exchange pleasantries with Winters.
“Living here? It’s a trade-off, like so much in life.” He looks past you at a high shelf. “I could wish for access to a proper library, of course. But I know myself well enough. I’m strictly a dabbler. And the cities...” His face wrinkles in distaste. “Too many people. Everybody rushing and shouting. We have a special place here in Emberhead. And someone must accept responsibility for keeping it so. That was my father before me. And now the duty falls to me.” He lifts his chin and straightens up.
“This evening, as the sun sets, look out at the landscape around the village. We have peace up here, halfway to the stars. Are we not privileged? Is this not worth the hardships we must accept?”
He looks at you speculatively.
As you mention the Ledbetters he smiles. "Ah yes, kind folk, kind folk indeed. May is always willing to lend a helping hand, and Ruth is such an eager little girl. Although, sometimes that eagerness must be tempered. I am sure this shall come with age, though, just as it does with all children."
----
Would you like to thank Winters and leave at this point, or maybe ask more about this library of his?
I’ll ask him about the library
zingbobco000
2019-10-07, 02:56 AM
You make a small but flattering remark about a couple of the volumes on his shelves. Winters blushes with pleasure.
“Well, of course they’re not my personal collection. They belong to the village,” he says. “But I did select most of the recent items. This is the community’s library, you see. I put up the PRIVATE sign to stop people just wandering in from meetings in the other room. But this is really a public space.”
You scan the shelves. There is a sparse but respectable collection on mathematics and the sciences, passable sections on history and arts, and a shelf of literature. He has a few lowbrow novels tucked away in a corner, with tatty copies of Bizarre Tales magazine.
“Quality does not always equate to popularity, I’m afraid.” Winters gives you an apologetic smile.
----
Maybe you could ask to look at some books while he works? Or do you think you should be heading back to the Ledbetters at this point?
I’ll ask to look at some books while he works.
zingbobco000
2019-10-07, 03:00 AM
Winters is happy for you to spend the rest of the afternoon in study and offers you an upright but comfortable chair. You have enough time to pursue one line of research in depth.
----
You could read about the history of the area, something concerning the festival, something from the sciences, or just some of the weird fiction.
I’ll read about the festival.
zingbobco000
2019-10-07, 03:03 AM
You are not surprised to find there is no published work on Emberhead’s Festival. Winters pokes around and finds a cased monograph, handwritten on yellowing paper by a Dr. Aniolowski.
“An acquaintance of my father’s, I believe,” Winters says. The manuscript is somewhat difficult to read and you make slow progress. Aniolowski speculates that the Festival has its origin in Pagan rites brought over by Celtic settlers, which celebrate the ancient festivals of Beltane, Samhuinn, Imbolc, and Lughnasadh. There is some discussion of the struggle between the seasons and a couple of oblique references to “the alignment” in Emberhead. Aniolowski suggests that the meaning of the Festival slowly changed around the turn of the century.
The monograph terminates mid-sentence at the end of page 28, just as it begins to discuss the modern practices. You ask Winters if he has the remaining pages.
“No. I’m afraid those have been misplaced,” he says. “Perhaps they are still in the library somewhere, but...” He shrugs. “I must make the time for a thorough stock take.”
The afternoon wears on. You have not quite finished your reading when Winters glances out of the window and stands up. He clears his throat.
----
Please give me a Credit Rating (you consider yourself to be of average wealth) roll.
Credit rating roll [roll0]
zingbobco000
2019-10-07, 03:08 AM
“I’m afraid I have some errands to run before dark. So I must close the library for today. I do hope you will return tomorrow afternoon if you are so inclined?”
You leave the building with Winters, waiting as he locks up. You thank him for the coffee and the access to the library. He disappears off down an alley. You hope to be away from the village before tomorrow afternoon, but it’s good to know that there is a place you can occupy yourself.
Emberhead, 6:02 PM, September 2nd, 1921
As the light fades, you return to the Ledbetter house and eat a light supper. May is unusually taciturn. Ruth’s eyes flick to yours several times during the meal. There is an urgency there you cannot quite interpret. Afterwards, May ushers the girl into their room.
You have been in Emberhead for barely one whole day and you already feel confined by it, both geographically and socially. The evening seems to offer little.
----
Would you like to try and talk with Ruth alone about this whole situation? Or maybe go and do some stargazing as Mr. Winters mentioned?
I’ll try to talk to Ruth alone, if I see an opportunity to do so without May being aware. If none presents itself, I’ll head to bed early, in the hopes of waking early too.
zingbobco000
2019-10-07, 03:14 AM
In time, May returns to the kitchen and busies herself clearing up. To speak to Ruth, you will need to get May to leave for a short while. You help with the dishes and try to think of some ruse. In time, an idea comes and you ask about Silas and his friends in the village.
May narrows her eyes. “He knows Troy on the other side of town,” she says. “Not sure I’d call them friends. More like an old feuding couple. But he probably spent last night at Troy’s place.”
You ask May if she could visit Troy and ask if Silas mentioned any plans to return. May looks dubious. “Right now?” she asks.
----
Consider how you're trying to influence May. Are you appealing to her emotions? Explaining how further delay threatens your career? Or are you trying to rush her into compliance? Decide, write it out, and then roll a d100.
Appealing to her emotions. “I know I’m asking a lot, May. And you’ve been so kind to me already. But I’ve been waiting so long for a job opportunity Like this—and in journalism, every day that passes makes it more likely they’ll need to offer the position to someone else....I’d be so grateful for your help.”
[roll0]
zingbobco000
2019-10-07, 11:02 AM
Ok, so here's the thing. In this scenario, you're using a bit of kindness, but there's also a lot of rationalism in what you're saying. Therefore, I'm going to make this something called a Combined roll between Charm (kindness/seduction/flattery/etc...) and Persuade (rationalism/debate/discussion/etc...) where you only have to succeed on one. A Combined roll means that you make the d100 roll and compare it to all the associated skills. If it is lower than a certain number stated by the Keeper, the roll is a success. This basically means instead of making both a Mechanical Repair roll and then an Electrical Repair roll to see if you can fix something that's both mechanical and electrical, you would make one roll and compare it to both (which technically raises your chances of success). Nevertheless, in this scenario, you only had to succeed with one of those, which was Persuade.
Sorry for the long shpeal, just explaining the semi-weird rules.
----
“Well… I suppose it will only take a few minutes.” May fetches a coat and heads out into the night. You give her time to get clear, then rap on the bedroom door. Nothing comes but silence. Then feet pad across the floor and the door opens a few inches. Ruth’s eyes stare through the gap, glancing from left to right. You explain her mother has left the house and ask what has been bothering her. Those eyes flick up to stare at you. “It’s tomorrow,” she whispers. “Same as every year. They took my da. They’ll take you, if you let them.”
The conviction in her eyes is chilling. You press her. Who is she talking about?
“All of them. Every one. They’ve been watching since you got here. You’re marked. Not even this house is safe.” Her voice is hollow. “One year, when I’m older… they’ll take me.”
You hear footsteps approaching from outside. Ruth’s eyes flash and the bedroom door slams. You turn back to drying the dishes. May enters and removes her coat.
“That man is a waste of time,” she hisses, and heads through to the bedroom.
----
You've succeeded on a Persuasion check. You may have the opportunity to improve this later on!
----
The familiar surroundings of your guest room are becoming constrictive. The neat bed, small wardrobe, and dressing mirror have the feel of a prison cell about them. What are you still doing here in Emberhead? Your new life is elsewhere.
You lie on the bed and stare at a small crack in the ceiling. You turn over the day’s events, thinking through the little details you spotted. You are certainly weary from the elevation and the fresh air. But do you still feel safe here?
----
Do you feel safe and you'd like to let yourself fall asleep? Or are you uncertain about this whole place and you'd like to stay awake, at least for a while?
Heh, I definitely don’t feel safe. I look out the window—is it a moonlit night? I’m trying to judge if I think I can slip out under cover of darkness, and start the long walk. If the girl is right and “they” are watching me, night is probably the best time to escape.
I start to quietly assemble the absolute minimum of my things. Stuff that might help get me through a night (or maybe more) in the wilderness. But keeping it super light, since I’m no mountain man. I put on my darkest clothes —probably my expensive charcoal wool duster—and my brown wool “newsboy” cap. I also make sure to put my travel-sized Talmud in my breast pocket, and say a quiet prayer to the god I’m fairly certain doesn’t exist (but just in case): The Tefilat HaDerech, or Traveler’s Prayer.
zingbobco000
2019-10-07, 03:21 PM
You think you should be able to make your journey out of this incredibly strange village.
Outside Emberhead, 8:49 PM, September 2nd, 1921
You do your best to quietly head out. You're quite sure that May and Ruth are asleep, and you don't think you've awoken them. Soon you descend on the southern road and follow it around to the east. The black metal structure looms on the promontory above. You shiver as you pass the lower huts and head out of Emberhead.
----
Please give me a Spot Hidden (you consider yourself an amateur in this field) roll.
Rolling for spot hidde: [roll0]
zingbobco000
2019-10-07, 03:51 PM
After the miserable, enclosed streets of Emberhead, you are refreshed by the open air and sense of progress. An hour later, however, the empty road ceases to be a novelty. You have just entered the first patch of woodland when you hear an eerie, lilting howl from the north.
----
Please give me a Natural World (you consider yourself a neophyte in this field) roll.
Natural world roll: [roll0]
zingbobco000
2019-10-07, 04:07 PM
Well then... a Critical Success and a Fumble within a couple of rolls... wow. You may have the opportunity to improve this skill later on. A Critical Success (a 1) is the best result possible, the equivalent of rolling a 20, but 5x better (for obvious reasons). It beats everything else (in the case of a contest) and is always a success no matter what (presuming success is hypothetically possible).
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You happen to recognize the call as that of a coyote, common in this area. The sound can be frightening, particularly at night, but coyotes have learned to avoid humans. You can proceed without fear.
A second call answers the first, but it sounds further away, and yet again, these coyotes are just natural animals, you're unlikely to encounter too much trouble from them. You follow the road through woodland. Branches lean over the road. The foliage is quite beautiful, from gold to russet and a deep, rich red. Fallen leaves crunch beneath your feet.
After about half an hour, you emerge from the trees. The road makes a lazy curve around foothills ahead, into another patch of woodland. A rough track seems to offer a short cut through the woods.
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Would you like to try the track, head up the hill to see if you can spot another settlement, or stick to the safety of the road.
Maybe I’m a mountain man after all! I’ll take the apparent shortcut
zingbobco000
2019-10-07, 04:12 PM
You set off along the track and make good progress. A few mossy tree stumps mark the route and you wonder if its course was planned. However, after about ten minutes, the boughs draw closer and it becomes harder to pick out a way forward. Just as you think you can see the path open up ahead, you miss your footing.
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Please give me a Luck roll.
Rolling for luck: [roll0]
zingbobco000
2019-10-07, 04:14 PM
A root snags your ankle and you topple. Long grass cushions the impact and you climb back to your feet with no serious harm done. Your duster will need some attention with a stiff brush and sponge at the next opportunity.
Ahead, you see the road again. This has not been as much of a shortcut as you hoped.
You return to the road and resume your walk east. At least, you hope you are still heading east. The curves of the road become disorienting when the light begins to fade. Clouds hide the stars. It seems you will not reach another settlement before morning, and you feel weariness in your legs. The air is much cooler now.
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Please give me a Hard Listen (you consider yourself a professional in this "field") roll.
Hard listen roll: [roll0]
zingbobco000
2019-10-07, 04:26 PM
Another cry splits the gloom. It sounds like the same coyote call you heard when you entered the first patch of woodland, but this time with a grating undertone that makes you shiver. It seems closer. They fear humans, you think to yourself, you'll be fine... And yet, part of you is becoming weary. You have no idea how late at night it is, but your legs are beginning to become sore...
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Would you like to find refuge in a tree for the night, or would you like to push on forward?
I’ll take refuge in a tree
zingbobco000
2019-10-07, 04:48 PM
The unearthly coyote call echoes again, and this time it is answered by something closer to you. This seems a good time to get off the ground.
You select a tree with obvious footholds and a thick branch at about twice your height. You haul yourself up. You are not dressed for this.
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Please give me a Climb (you consider yourself an amateur in this field) roll.
zingbobco000
2019-10-07, 04:52 PM
Luckily for you, as long as you didn't fumble (96-100), you're ok.
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You ease yourself onto the widest branch you can see. It is less than comfortable, but you do at least feel safer in this elevated position.
Night grows deeper around you. The woods come alive with small noises: scratching nearby, distant bird calls, and the gentle rustle of leaves. Although resigned to a long, tedious night of wakefulness, after a few hours you find yourself yawning. You loop your belt around the branch and your clothing, to hold yourself in place as best you can. Then you close your eyes.
In your dreams, the trees change position, lifting their roots from the ground, and shuffling to another spot before planting themselves again. This seems perfectly normal, companionable even. They start to glow, a greenish-yellow as the flames lick—
Flames?
The trees begin to scream.
Tongues of flickering fire snake up the tree towards you. You scrabble at the belt which binds you to this pyre, coughing as the vapors fill your throat, choking—
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Please give me a Sanity roll (hey we're using the trait this game is known for finally!).
Rolling for sanity? [roll0]
zingbobco000
2019-10-07, 05:05 PM
Indeed, Sanity is actually sort of like health in this game. Losing a decent amount means that your investigator goes insane, and losing a lot means that insanity lasts forever and you're now effectively an NPC. Luckily, because your highest stat was Power (which does make sense for a religious person), you have a large amount of sanity.
One interesting thing to note is that Sanity is out of 99, and you roll against it, so the more sane you are, the less you lose. However, in this scenario, you failed the roll, which means you are going down the slow but eventual path of madness (it's not actually a guarantee, I just like being dramatic).
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The belt parts and you plunge into the conflagration. The ground rushes at you.
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You lose 2 points of Sanity and 3 hit points.
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Somewhere, 8:15 AM, September 3rd, 1921
The skin of your face feels warm. There is a mattress beneath you. You blink against the sunlight. A blurred figure swims in your vision.
“You’re awake. It’s May. May Ledbetter.”
You shift and pain wracks your body. You feel bruised, and your head throbs. May comes into focus.
“You’re lucky to be alive. A farmer found you in the small hours, lying by the road. Patched you up and brought you back on his cart. Said you were in the middle of the woods somewhere? Best take it easy today. I’ll look in on you later.”
The farmer and his cart are long gone, of course. You snooze for a little longer.
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You received First Aid while you were unconscious (someone successfully made a First Aid roll). This heals you 1 hit point.
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Emberhead, 9:30 AM, September 3rd, 1921
The Ledbetter kitchen is empty, although bread and eggs have been laid out for your breakfast. There is a note from May explaining that she has taken Ruth out for a few hours.
You make a quiet circuit of the village, pausing in unobtrusive places to watch the villagers. It is rather busy for this time in the morning. Yawning locals stream back and forward along the roads, carrying bundles of split logs to the site of what you’ve heard referred to as the Beacon. You see two figures already up in its superstructure, arranging the wood. The Festival bonfire will be most impressive. But do you intend to stay to see it? You suspect by now that something is amiss here.
While the villagers are distracted, you may do some illicit investigation. Or you may simply leave town without looking back.
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Here are some examples of illicit activities: Searching May Ledbetter's bedroom while she's out, going alone to the seemingly unoccupied Village Hall, taking a closer look at the Artisan's Courtyard (specifically that boarded-up building), or spying on activity at The Beacon. Alternatively you can just try to get the heck out...
I’ll check out that boarded up spot in the courtyard.
zingbobco000
2019-10-07, 06:20 PM
You approach around the back of the buildings in Emberhead’s northwestern corner. By this time in the morning, you would expect activity in the artisans’ courtyard, but the benches and anvils sit deserted. Your footsteps echo off the surrounding walls.
You peek through the joints of the locked-up workshop, but you can see nothing inside.
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Would you like to try and pick the padlock (then again, you don't really know how to pick a lock), or physically break into the workshop? Or do you just want to leave this be?
Hmm. I’ll try to pick the lock, if I see any artists supplies nearby that might work as a pick.
(Just in case: [roll0] )
zingbobco000
2019-10-07, 06:48 PM
You examine the padlock. It is old and not particularly secure. There are plenty of metal shavings around that could work as improvised picks. But can you really pick a lock?
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Erm... so... you're going to make a Lockpick roll, but you get to double your skill for this roll only (because the lock is really old). This means that instead of a 1% chance you have a 2% chance... and you rolled a 2...
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You simply insert the improvised pick in and find that the lock itself practically comes to pieces in your hands. Someone really should've replaced this lock by now. You push aside the door and step inside the workshop. The air is cool against your face, and you see light glinting through the eaves. The center of the room features a raised slab with a slight slope. An indentation beneath it suggests something sits there. A basin perhaps? Prone shapes are racked against the far wall, covered with red cloth. They look… human…
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Would you like to investigate further? Or have you seen enough?
Uh-oh. I grimace and check the —bodies?
zingbobco000
2019-10-07, 07:08 PM
You approach the red-shrouded figures, expecting them at any moment to leap up and grab at you. There are three. Each has a label hanging from its toes:
Benjamin Cramer, 1/19/1921
Abraham Hollingsworth, 4/22/1921
Marian Phipps, 7/6/1921
You lift one corner of the shroud. Underneath, wrapped in tight bandages, is a thin but unmistakably human form. You are looking at three dead bodies. Embalmed dead bodies.
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Please give me a Sanity roll for seeing this horrific sight.
zingbobco000
2019-10-07, 07:15 PM
You steel yourself, subconsciously placing a hand on your Talmud, as you take a deep breath. They're just bodies, sure, they're rather strangely made-up, but they're nonetheless just dead people. Nothing can hur-
"So! I thought you looked like a snoop. Like what you found, did you?”
A burly villager fills the doorway, blocking out much of the daylight. You can make out a dark apron, and a thick beard. He steps forward, fist raised.
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You recognize this man as the blacksmith, shall you engage him in combat? Or are you going to surrender without a fight?
I surrender! “I meant no harm!”
zingbobco000
2019-10-07, 07:33 PM
The man chuckles, "Good." He winds up. "That'll make this easier."
Everything goes black.
???, ??:??, Presumably September 3rd?, If this isn't 1921, that's a problem
The fading light from a narrow window tells you afternoon is giving way to evening. Your hands are shackled behind your back so you cannot even lie down on the rough bed. A woman you have not seen before comes in. Her face is wrinkled and her eyes dull. They do not meet yours, but she puts a cup to your lips.
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Do you accept this drink? Or do you reject it?
zingbobco000
2019-10-07, 07:37 PM
You turn your face away, and when she tries again, you dash the cup from her hands using the side of your head. The clear liquid spills across the floor.
The woman gives a half-shrug and turns to leave the room. You shout after her, but she gives no reaction.
You soon become thirsty.
Emberhead?, 5:30ish?, September 3rd, 1921
As the light fades outside, your little prison becomes dark. You can hear much activity around the building. Occasionally an orange glow passes the window. The only comfortable position in the shackles seems to be to sit against the end of the bed with your arms hanging behind you.
You need to concentrate and come up with a plan. There is clearly no escape from your bonds. You do not know exactly what your captors want from you, but you cannot ignore the fact that they have spent the entire day constructing a massive bonfire.
The door scrapes, wrenching you back into the moment. Orange light spills into the house from blazing torches held at the threshold. Two large villagers step in and grab you. At least, you assume they are villagers. They wear heavy black cloaks, and their faces and hands are painted entirely black, save only for a red triangle centered on their left eye.
You try to drag your legs, but they reach under your arms and lift you bodily from the bed. Outside, it seems that the whole village has congregated to see you. Every single one has a blackened face with the red triangle motif. Torches sputter and spill fire.
You struggle, but you can see physical resistance is hopeless. You are marched to the central street and turned to face the Beacon.
https://s3.amazonaws.com/files.d20.io/images/89720049/L3DvTjcxLrld25ihsdRf4Q/max.png?1566314911
The procession down The Approach is slow and formal, save when you sense weakness and yank at your captors. A chill touches you when you see three human shapes carried ahead of you, draped in red cloth. The Beacon looms larger and larger, its dreadful silhouette a black triangle pointing to the stars. A low drone begins among the cloaked figures—unbidden, the word mourners comes to mind. Smoke from their torches makes you cough. You feel heat on your face.
As you reach the cleared area around the Beacon, three dancers break from the pack: young girls swinging balls of fire in spectacular arcs, drawing circles in the night air. One by one, they draw close to you and touch your forehead with sooty fingers. Each kisses you three times: on the left cheek, right cheek, then forehead. Then they whisper in your ear. The smell of kerosene fills your nostrils.
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Please give me an Appearance roll.
zingbobco000
2019-10-07, 07:53 PM
“Through your sacrifice the village will be reborn,” says the first dancer.
“You pass from earth to air for all our sakes,” says the second.
““Through incandescence may you find rapture,” says the third.
Their dance weaves off and disappears behind the buildings.
As you arrive beneath the beacon, ten villagers close in on you. Working with surprising coordination, they immobilize you and lift you up the blackened iron stairs to the raised platform. You cannot help but shiver at the sight of the central framework, twisted from past blazes, and what you can now clearly see to be fastening points for chain. None of the eyes meet yours as they lash you to the metal.
The village sings now, something rhythmic and ancient, carved from odd syllables. A second group ascends to the Beacon, carrying the three red-draped bodies. With reverence, they arrange their burdens in a triangle around your feet. Then they withdraw, leaving you alone with the dead, shin-deep in a sea of kindling.
It seems the entire village is gathered around the Beacon to watch you burn. Behind the face paint, you recognize May Ledbetter, and—yes, that is Silas the coach driver standing at her side. The audacity and scale of the deception staggers you. A man steps up on a dais and raises his hands with quiet authority. The frame of his spectacles obscures the red triangle on his face.
“So we draw here together again on this night, as we do each year, and we give thanks to the one who will preserve the village against the fire of the void. You will be taken by the Ones From Above in our stead. Your death will bring life to our streets and bounty to our fields. It will safeguard our children and our elders alike for another year. We salute you.” He bows his head.
All around the Beacon, bearers step forward and lift their torches to the edge of the raised platform. A ring of tiny flames flicker up around the perimeter. As they wink, the singing of the villagers drops into an unearthly rhythm. They stare at you, and you stare back, watching as you are held clearly in their vision.
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Would you like to throw all of your remaining strength against the bonds right now or wait for a moment and see what happens?
I’ll wait for a moment—pretty sure these folks know how to tie knots well enough. Something doesn’t seem right (even for a pagan human sacrifice cult). I try to hold back panic and rack my brain, hoping for a clue. Some way to talk my way out of this. I try to puzzle out why they’d need out-of-towners for the sacrifice, when Ruth said she was in line for next year...
zingbobco000
2019-10-07, 08:31 PM
The flames snake across the kindling, catching and rising. Smoke rises and it becomes difficult to see the villagers. The three bodies surrounding you catch fire, blazing with sooty red flames. You begin to cough as the smoke enters your lungs, and fight down the urge to panic.
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In this scenario, you can think whatever you would like. Some things must be left unanswered however, and not all clues may have been found. Also, you get the feeling that Ruth meant one year as in "One year [in the future]" not "One year [from now]."
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Flames lick at your legs. Your eyes water. You are shrouded in smoke. It might be your imagination, but you think you can feel a slight give in the chains. Your survival instinct kicks in and you throw yourself against them, giving no thought to how they bite into your wrists.
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You take 3 points of damage from the flames. Please give me a Strength roll with a Bonus Die because you held back your strength. A Bonus Die means that you roll another d10, and if it's lower than the 10's place of your 100 roll, you can substitute it for that instead (basically advantage).
Hulking out with bonus strength!
Roll: [roll0]
Bonus: [roll1]
zingbobco000
2019-10-07, 08:39 PM
So in this example, that would be a 27, which is a success!
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Desperation lends you strength and you yank at what you guess to be the weak point in the chain. It breaks! You throw the chain off, stumbling across one of the red-shrouded corpses, heading away from the watching villagers. You cough. Your hair and eyebrows smolder.
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You take an additional 2 points of damage as you run through a literal bonfire
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You leap from the conflagration on the far side of the Beacon. Your heart lurches momentarily at the sight of the sheer drop beneath you, but you land a few inches short of the edge. You roll to extinguish your burning clothes. Your lungs feel singed. Everything hurts. The chant of the villagers gathers in intensity. You peer around the Beacon. They don’t seem to have noticed your absence amidst the billowing smoke. Most of them are staring into the sky.
You crawl as rapidly as you can for the cover of the nearest building.
With the villagers assembled at the Beacon, the streets are empty and you are able to pad away from the blaze. You must get out of town before they finish.
The chanting seems to accelerate as you round the corner of the southern road. Here, parked against the side of the general store, you have your first piece of luck since reaching Emberhead. It seems that the general store owner was lying as well, for you notice a bicycle! You learned to ride one of these in Providence.
You settle into the saddle. Your burned flesh protests at the contact.
----
Now one final query, shall you wait and observe the going ons at the beacon, just for... scientific purposes? Or are you absolutely positively done with this place?
zingbobco000
2019-10-07, 08:50 PM
It takes a moment to recapture the skill of riding the bicycle, but after the first turn to the east, there is a long downhill out of Emberhead. You hear screams and crackles above you, but concentrate on balancing and working the pedals in your weakened state. You’ve had too many hopes dashed in this abomination of a village. You keep your head down and ride away. Every now and then you rest and glance back, seeing nothing but flames.
Twenty minutes later, with no signs of pursuit, you stop for a breather having walked your bike to the top of a hill. You can see Emberhead rise in the distance. The entire village appears to be ablaze. The dark column of smoke above it will be visible for many miles—but if the village is as isolated as it seems, help is unlikely to arrive in time.
You watch the place burn for five minutes. Then you mount the bicycle again and ride towards civilization, and dawn.
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Congratulations! You have survived this adventure. You will have a chance to improve some skills through experience as I'll describe in the OOC.
The End.
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