Agent Provocateur Vignette AP

[00:00:01] Speaker A: Strap in, operatives. This is go back your all access pass to modern day RPGs loaded with bullets, backstories, and a whole lot of bad decisions. And here are your mission leaders, Sean and Harrigan. [00:00:18] Speaker B: Morning, Harrigan. [00:00:20] Speaker A: Good morning, Sean. How are you? [00:00:22] Speaker B: Doing okay. Doing good. Okay. [00:00:28] Speaker A: I'm excited for this. This session. [00:00:30] Speaker B: I hope so. Your debut as a player. [00:00:34] Speaker A: Although I was a player in Jason's. That's true as well. [00:00:37] Speaker B: That's true. [00:00:37] Speaker A: But in terms of the duet. Yes. [00:00:41] Speaker B: Yeah. [00:00:42] Speaker A: And your debut as. True debut as GM on this show. [00:00:47] Speaker B: Yeah. [00:00:50] Speaker A: Working out the kinks. Ready? [00:00:52] Speaker B: Taking in all of the. Of the spirit of Victor Drake, pouring it into my body as a game master. [00:01:03] Speaker A: I won't be able to hold a candle to Victor. [00:01:05] Speaker B: Well, you know, there's always the John Wick movies to James Bond, There is the Jason Statham to. [00:01:15] Speaker A: Yeah. My guy does not have a lot of personality. [00:01:18] Speaker B: Oh, you're playing that guy. [00:01:19] Speaker A: Bit of a cold fish. So we'll see. [00:01:23] Speaker B: Excellent. [00:01:24] Speaker A: Yep, we'll see. [00:01:25] Speaker B: Where do we want to start? Do we want to just get into the intro about what this is going to be or did you add. Yeah, I mean, other things to tackle? [00:01:33] Speaker A: No, I think in our other vignettes, we've been traditionally issuing the standard format and write ins and call ins and all that sort of stuff. And instead we'll just tell people it's a vignette. It's the Agent Provocateur vignette with Sean as GM and Harrigan as the player. Right. And then I think it's your show from there and we dive in. [00:01:54] Speaker B: Fair enough. So for those of you, this is the. The disclaimer that we put in front of some of the actual plays. We do their duet vignettes short want to feature the rules and some of the mechanics in addition to playing the game. So some of these things, like even in Harrigan's terms, previous ones that we've recorded, there may be a little railroading, maybe not, but you know, we'll see where that goes. But once to showcase some details. [00:02:20] Speaker A: Hard framing. [00:02:21] Speaker B: Hard framing. Yes. [00:02:23] Speaker A: Yeah. Yeah. [00:02:25] Speaker B: So, yes, if you have listened to. To one in the past, you might find some. Some similarities and some differences. But if it's not the usual episode for us, but we hope you enjoy this rendition of Agent Provocateur by Twin Engine Publishing, which is based on Year Zero engine. So if you're familiar with Year Zero engineering, then some of these concepts will be right up your alley and be familiar and then obviously with some tweaks and mechanics for Capturing the high action James Bondish Mission Impossible tone that it is is said as a purpose for this game. [00:03:12] Speaker A: Yep. Supposed to be of the Mission Impossible James Bond style of high action espionage, covert action. [00:03:21] Speaker B: Now before we get into that, I do have a few questions. First for Harrigan. Did you run into any interesting things during character creation that kind of made you scratch your head from when we reviewed the actual game to now? [00:03:34] Speaker A: I did, you know, and I'm. Let me, let me think because it's been a little while since we reviewed this, Right. It's been weeks and months ago at this stage from when we sat down and read this and reviewed this. And people who heard that episode will remember or might remember that we liked the game but felt like it really was kind of a little bit disorganized in terms of how it was presenting itself. And some of the really it was kind of a layout issue even like it wasn't necessarily the order in which things were presented. But it, it was not the easiest book to just kind of power through, to read through and understand when sections had changed and when even topics had changed kind of thing because the headers were not very good. So on this revisit. Right. So I sat down last night to make my character fellow by the name of Willem Quint Dutchman. One of the conceits of the Agent Provocateur game is that you are actually section X8 agents working for NATO. So these are. And they have a pretty decent section actually in the back of the book which I didn't look at carefully before, but I did this time which covers basically every NATO country and their intelligence service. And there's this kind of cool angle where they, they all like they, you know, there are agents seconded from each of those countries into Section X. So it's a pretty neat little, little bit around that that I didn't see before. But the main thing that I saw is I sat down to, to build my character Shama is that there's some actually contradictory stuff in terms of the number of attribute points and skill points that you get. And I got to the point where I was like looking online. I was looking for a router. I ran it through, you know, chat, GPT or notebook. I forgot maybe I use notebook lm. I forget to see if there was stuff I was just missing. And they just misstate how many skill points you get in at least one spot. It kind of conflicts between like the area where you, where you are choosing a former profession which tells you what attribute you're allowed to be best at and it tells you what skills you're allowed to put more than one point into. Right. That kind of thing. And it just, it contradicts the later section around skills in terms of how many points you have. So beyond that, it reminded me how much I like Year Zero Engine games. And I think this is a pretty solid game and I think we're probably going to have fun playing it. I may return to it more than I was even anticipating after I first read it the first, you know, the first time. Building the character was fun to me and it addressed some issues I'm having in games like Covert Ops where I don't think they give the players quite enough to hang their hat on. So it's almost like osr. It's like discover your agent through play for Covert Ops. And I don't know if that works is that if that's the best way to approach an espionage game. This one has a bit more around like what country you're from, what agency were you with, what's your former profession, it's that kind of stuff. So I'm starting the game with a relatively, you know, it's a. It's one page but it relatively good idea of who I'm playing is what I would say did. All right. What about you? How did you feel about doing the prep? [00:06:35] Speaker B: I. I don't know if my prep would run into the same issues that you might have in character generation. I do. You know, I knew I use notion. I'm a big notion user when it comes to RPGs in this show and I got a three column layout of kind of the points to hit. And then I have rules. [00:06:55] Speaker A: Three column layout. [00:06:56] Speaker B: Yeah, well, I have. The notion is like a full page. So when it's full page, three columns isn't that bad. But I go through and I highlight some of the things I know is going to come up in the game. Combat, initiative, damage criticals, chases, some skill components, talents, some of those details. And I didn't run into too many things that, you know, kind of frustrated me or made it interesting. Like I ran into some of the things that we talked about where it's like here story points for example, are sprinkled like in three different areas of the book and raising story points. What happens when you do it? What's the impact? So it's like, you know, you can use or even. I think it was story points or stress and they both start with S and I might be getting mixed up but it's like here's what happens, this, this is how it occurs. These are the effects. And then it might be down a little ways on how to resolve it. I don't remember, but it was some of those details. But otherwise it wasn't bad. I didn't think. Actually, I probably found it easier as a game master because I wasn't going through every single thing of the book. [00:08:11] Speaker A: Same thing with character generation. I was able to focus in and the, the disorganized state of some of it didn't. It bothered me less. [00:08:18] Speaker B: Right, agreed. [00:08:19] Speaker A: Yeah, agreed. Having said that. [00:08:21] Speaker B: Yes. [00:08:22] Speaker A: Forgive. Forgive me for interrupting, but when you said a minute ago, like, you know, do you have anything you want to comment on before we start? I was actually, when I. Right. You know, reason why, I actually hesitated for a second. I was scrolling through the PDF, trying to find the story points section. I'm like, oh, one thing I need to know is how to use these damn story points. It's, you know, it's kind of buried. It's sprinkled. And there is one section on page 75, there is a section on using story points. But the way it's. You know what, it's funny. We were just talking before we got on camera this morning, we were talking about how refreshing it is to read this thing again after reading, you know, like, pop Secret mercenary spies, Private eyes, like the old, the older games that don't resonate with Sean and I in terms of how they are presented. Right. Well, this story point section is written in the old school way where, like, there's no bullets. It's like you got to read paragraphs to understand. What can I do with a story point? Just tell me the three things I can do. Right. And in this day and age should be better presented than it is. That's all I would say. It should be clearer. [00:09:24] Speaker B: Yeah. [00:09:25] Speaker A: Maybe you have a reference you can help us. Because I'm seeing. Yeah. I mean, not even going, not going to go into it. When the first moment arises in the story when we're going to use them, we can dive into them then. [00:09:33] Speaker B: Well, my theory, you say like, well, hopefully you'll have them annotated, like the things you could use with them. And I'm looking at it and going, I have three bullets, but it doesn't tell me what other than like, this is the main function of what you can use them for. So I'm afraid that I might have gone to one part of the book, jotted that down and thought, hey, I'm, I'm done. That's it. That's the extent. Oh, but you didn't look three pages later where it breaks it down in even further. So we shall see once it comes up. But it'll be interesting. And then, you know, obviously prepping this scenario. I didn't use the tables in the book. I did, you know, Harrigan and I were talking about, like, you know, okay, got to create your character and let me know. He goes, okay, I'll get that. Those details done. Is there anything you want me to do specifically to fit the scenario? And I'm like, no, but just make them part of Static X. Because obviously you can use Agent Provocateur for any, you know, your agent's part of the CIA or some other organization that is Section X. I'm sorry, Section X. Yes, but make a part of Section X and then, you know, taking it right out of the book. Here. Here are some of the NPCs, and. And it's part of NATO. Blah. So let's just make that happen. Otherwise, you know, he had pretty free reign to do whatever he wanted to is within the confines of the rules. So. [00:10:57] Speaker A: Yep. [00:10:58] Speaker B: All right, we ready to move on? [00:11:03] Speaker A: Yeah. I'm just jotting down these story point things because there's. They're all buried in these paragraphs. [00:11:06] Speaker B: I never had them. [00:11:07] Speaker A: I don't want to look them up every time I may have to. I'll tell you what, I'll. I'll. While you get us started, I will jot them down. And then if we need to revisit them together, I can give you, like, the highlights of what they can do. [00:11:19] Speaker B: So why don't we start off with whom codename Visser is like. Can you tell me a little bit about. [00:11:30] Speaker A: Yeah, we can do that. What he did. [00:11:31] Speaker B: What do you do before joining. [00:11:33] Speaker A: I will. I will pause my. My story point. [00:11:35] Speaker B: Sorry, jotting down. [00:11:37] Speaker A: It's all right. [00:11:37] Speaker B: As you jot those down, tell me these other things and. [00:11:40] Speaker A: Okay. And so this. This is one of those things where it comes from the character generation of the book and then a little bit of elaboration by the right. Like, anybody who's a, you know, got is worth their salt in the RP world. Can they sprinkle in some details to make the character come to life a little bit? Right. So I chose the elite military unit, former profession. And again, what that does is tell you kind of where you can invest your skill points, and it tells you which attributes can be highest. So in YZE, typically the attributes go from like, 1 to 5. One's very low. Five is kind of top, top of your game. And it's very common that you're either your archetype or your former profession in this case tells you the only stat you're allowed to have a 5 in, otherwise 4 kind of tops them out. And for the former military elite, I actually could have chosen strength or agility to put the 5 in. Now it turns out that I only had 12 points to use, so I didn't want, I didn't put five in anything because I didn't want to be really lacking in certain areas. And it turns out I'm pretty lacking anyway. So his name is William Quint. He lives in Zealand. He's a farmer. Let me get this right. He worked for the Royal Netherlands army. So he was a military guy. And he ended up in the core commandotropen, which is basically the commandos, think of the British sas, but in the Netherlands. And in fact they work carefully with the sas. They cross train and do all kinds of things like that. So, so he's basically, you know, was a parachuter, did a lot of recon train, you know, was just does a lot of in country training for other forces and that kind of thing. So kind of an elite operator. Not like a Green Beret, quite the type. Right, but. And then I think when he mustered out, he joined the aivd, which is the, this intelligence service in the Netherlands. Right. And he has now been seconded to Section X. So he's, you know, 63, tall, rugged guy. The traits I, I chose, these are the things that help you role play. They don't give you much beyond that. And Sean, maybe, maybe I'm forgetting, maybe the experience point system leans into these. But I have chosen careful and taciturn. So he is, you know, man of few words kind of thing. Right. And the way I'm picturing it, he's new to Section X and relatively new to the intelligence world. So he's a bit more of a, a guy who is, you know, an operator who gets things done, who is transitioning in his career. I think he's got probably a failed relationship in his past because of the decisions he's making around how much time he's spending at work. He lives in Zealand, which is on the coast in Holland. And picture, you know, sea salt air, fishing boats, seabirds, a lonesome existence that he likes. He likes the quiet life when he's not on assignment. Right. So I'm having a, having fun picturing sort of the, you know, as the, the personality comes together, he's this, you know, keeps to Himself, but quietly observant. But when. When the hits the fan, he knows what to do. He's that kind of guy. And his. Yes, his code name is Visser, which means fisherman because of where he lives. [00:14:53] Speaker B: How old is he? [00:14:54] Speaker A: He's 34 years old. [00:14:57] Speaker B: And you said he's tester and careful. Are those the two traits? [00:15:02] Speaker A: Careful and taciturn. [00:15:03] Speaker B: Taciturn, sorry. [00:15:05] Speaker A: Yep, taciturn. [00:15:09] Speaker B: And then you have. Are those traits or talents? [00:15:15] Speaker A: Those are traits. My talents. [00:15:16] Speaker B: You know what? [00:15:17] Speaker A: I'll give you the rundown. Strength 3, which is average agility 4 wits 3. Empathy 2. Again, it doesn't seem like there's all that many points to go around when you have 12. And his. He's got. He's skilled in force, close combat, stamina, ranged weapons, vehicles, mobility, stealth, observation and insight. And his real expertise, where he has a 2 instead of a 1 are in close combat, ranged weapons, mobility and stealth coming from his commando training. Right. And again, I was the commando training or the elite military force training told me where I could spend more than one point. So those are the only ones I was allowed to put more than one in. That's what I would say. Talent wise, I have fast reflexes, which means I draw two cards instead of one. In initiative, I have hard hitter, which gives me an additional die if we are in unarmed combat. So if I have strength three in close combat two, I'd normally have five dice. I have six. He's a hard hitter in combat and I have true grit, which makes it harder to put him down. Oh no, excuse me. That's a different one. True grit allows me to push something twice. I can push twice. I'll be taking stress like crazy though if I do that. Right. [00:16:33] Speaker B: Yeah, I can see your face and sweat and getting beaten down with some. Some good stress. [00:16:42] Speaker A: Indeed, indeed. And let me look up just briefly hang on. [00:16:49] Speaker B: Which in. In your zero engine. Pushing once, you know. Okay. Pushing twice. Yeah, it's pretty good. But still It's a Die 6 pool where you gotta get sixes to succeed. We've had people roll 40 dice and. [00:17:04] Speaker A: Never roll more than 40. [00:17:06] Speaker B: Yeah. So hey, hey buddy, you can push all you want. You could have as many character. You could have as many character die. [00:17:13] Speaker A: In one of those roles. Yeah, yeah. Okay, here we go. Just briefly so you know, if you want to play on this at all. Taciturn is the PC rarely speaks more than a few words every now and then. This doesn't necessarily mean that they're shy. Instead it might mean that they feel words and this is the case for Willem. Words are not particularly necessary, Sean. Deeds matter, actions matter. Words matter less. And what else did I choose? I chose careful. PC just wants to come home in one piece. That's not quite true. Happy to minimize risk. Doesn't necessarily mean he's a coward. But in order. In order for her to take great risks, there better be something really important at stake. I may not focus in on that one. That's not quite what I was thinking it was. I want him to. His approach to the operation to be measured to like we have a backup plan, and we're looking at this carefully. He's a planner is what I would say, so. [00:18:07] Speaker B: Love it. [00:18:08] Speaker A: Okay. Anything else you need to know? [00:18:10] Speaker B: I think I'm good. [00:18:12] Speaker A: Wait, wait, wait. Let me describe his gun in loving detail. [00:18:15] Speaker B: Oh, please. [00:18:16] Speaker A: It's a Sig PC P365, which is a carry piece, but there's a new version of that on the market right now called the macro. 17 +1 capacity, 9 millimeter. It's a work of art. Over you, Sean. [00:18:30] Speaker B: Oh, that was quick. [00:18:32] Speaker A: He also has a knife and a pack. But I would say, you know what? Did you read this in the game and I didn't? When you get to the. The first time around, when you get to the inventory section, it says, don't sweat the inventory. It actually says that, like, don't. Don't worry about writing everything down. It's the opposite of, like, Delta Green, where you, like, have to build your go bag and put everything in there you might need. You know, the duct tape and the chloroform and all that stuff. I have a pack with a few things written on it. But it's. But the game basically says you'll have to acquire or find a way to get the things you need to succeed in this game. You're not going to start off with everything on your person sort of thing. [00:19:07] Speaker B: Well, even with mercenary spies and private eyes. Hey, not on your character sheet. GM has the rule to say nope. [00:19:17] Speaker A: Right, Right. Jeff. [00:19:21] Speaker B: My buddy Jeff, he puts a lot of things on his character. [00:19:25] Speaker A: You have a what in the duffel bag? What? [00:19:27] Speaker B: Incendiary grenades in your go bag. That's interesting. Where did you get those? Walmart. [00:19:35] Speaker A: Yeah. [00:19:36] Speaker B: All right, I think we can. We could start. [00:19:42] Speaker A: I'm ready. [00:19:50] Speaker B: You. We find Willem Quint, code name Visser, sitting in a restaurant in Lucerne, Switzerland. If you've never been to Lucerne, it's got a great lake. It sits in the. In the Swiss Alps. Like, you can look around in a 360 direction and just be surrounded by mountains. It's kind of an interesting. I don't know if it would, if I would classify it as a tourist town, but it does get its European visitors and, and even outside of Europe visiting that. And the lake is fantastic. It's just breathtaking views. Think of what, you know, a, a Swiss Alps village would look like. And with the money that Switzerland has and things of that nature, I have had the pleasure of visiting Lucerne. [00:20:53] Speaker A: Nice. [00:20:53] Speaker B: Yeah, it's a very nice place. And as he's sitting there, it is a little later. He's arrived earlier in the day, but goes to this restaurant. Very nice. Well to do. And it's a little bit later in the evening, you grab a late bite to eat and the individuals within the restaurant are kind of petering out. But Willem is sticking around as he looks out this big huge window that's like 20ft tall. 20ft tall and like 40ft wide. This just like made up of individual panes where you can look out onto the village of Lucerne and the lake. And as it's dark outside, you can see it's January, it's cold, a little snow is on the ground. There's cover of snow and you can see the lights light up. And with the snow, it even makes it a little bit brighter outside with the reflections of the street lights and some from the, the things that are going on, cars going by on the highway that's nearby. As you're sitting there in your chair, what drink would Willem. So the waiter comes by and actually says, evening, sir, with a strong ger. Little bit of a German accent with the Swiss. Can I get you a cocktail? [00:22:20] Speaker A: So knowing there may be you. I'm here for a reason. There is and there may be some need to be focused tonight. I'm actually, I'm going to bungle this, Sean, because I'm not a coffee guy, but I do happen to know the Dutch are known for their coffee. So he'll simply say, dutch coffee. [00:22:37] Speaker B: Cream and sugar, sir? [00:22:39] Speaker A: Yeah, it's like, I think it's like an espresso or some other added. [00:22:43] Speaker B: Okay. [00:22:43] Speaker A: Is essentially what it is. Ah, it's like, well, a well known drink. But I'm not a coffee. I'm not a, you know, aficionado of coffee. So I can't describe it, but there's a very specific Dutch coffee that he, that he orders and wants and pictures in a smaller cup. It's well prepared with some kind of swirl or something. I'm not a coffee Guy, generally. But. But hey, Willem is. And he wants to stay. Point is, he wants to stay sharp, wants to stay focused. [00:23:08] Speaker B: And the waiter has his hands behind his back and has a black tie, burgundy shirt, black pants dress. [00:23:16] Speaker A: Am I. Am I meeting someone here? [00:23:18] Speaker B: We'll get to that. So, waiter goes toward. Goes, of course, he walks away. And then we flash back to earlier in the morning in the offices of Section X. And you're meeting with Mrs. Mann. [00:23:38] Speaker A: Cool. [00:23:39] Speaker B: So Mrs. Mann is the M equivalent for Section X. She actually has a name, but that's her code name. And that's what all the colleagues and operatives refer to her as. And she. You walked in earlier in the morning. She calls you in and says. She says, Mr. Quint, good to see you. So this. We have a mission. She hands you a dossier and it kind of. You open it up, she says, that is Victor Krell. He's a lieutenant in an organization, an organization known as Cronus. He's holding a high value defector, Dr. Eris Vane. And then there's a black and white image of Dr. Vane, kind of. He's got round, round glasses, spectacles, gold frames, balding, tufts the hair around the edges of his head. That's Dr. Vane. He's a quantum cryptographer who wants to turn to NATO rendezvous with. We've had an individual contact. I want you to rendezvous in Switzerland. Code name, or at least her cover. It's Anya Lovasser. She'll make contact with you and get you access and location of Vain. [00:25:18] Speaker A: Out of character, Sean. So I can understand. Kronos is a criminal organization. [00:25:24] Speaker B: It is. [00:25:25] Speaker A: Correct. Okay, so this Victor Crow is someone who has vain, and we want to take vain from him. [00:25:33] Speaker B: Correct. [00:25:34] Speaker A: Got it. You'll laugh. There's a trait somewhere in here. I'm looking for it. Briefly, there was something along the lines of. And when I say trade again, it's one of those things you're supposed to role play and sort of, you know, dress things up a little bit. It was something like illicit liaison. And I, you know, like a secret, you know, relationship. I almost chose Mrs. Mann. [00:25:56] Speaker B: Oh, really? [00:25:57] Speaker A: Yes. That would have been funny because she's defined in the back of the book. Right, But I didn't do that. So instead, in that meeting in the morning, Quint sorts through the documents again. Man. A few words, nods, says, what do I need to know about the opposing force? [00:26:17] Speaker B: We don't have a ton of intel, but we imagine that Chronos has a presence there. Krell rarely travels without some type of backup and bodyguards. And given the high profile target that we are looking to extract, there's no doubt that he will. He will be under guard. We don't know his location. Hence Ms. Lovasser's on the ground in Switzerland doing reconnaissance. She will have an update for you once you arrive. [00:26:50] Speaker A: Understood. Is there a backup or extraction team I need to be aware of or will Lovassor have that information? [00:26:57] Speaker B: She should have that information. [00:27:01] Speaker A: Understood. [00:27:02] Speaker B: Excellent. And then you look and there's a plane ticket to Zurich and a vehicle that will be. Be waiting for you. [00:27:16] Speaker A: Oh, excellent. Hoping it's a G Wagon or a Range Rover or something like that. [00:27:21] Speaker B: I'm hoping. Oh, man, I got some. I got something better. Probably not very practical for the winter. The winters of Switzerland. I will say. [00:27:28] Speaker A: I was just gonna say it's January. [00:27:30] Speaker B: In Switzerland, but it's very secret agency. I will say. [00:27:36] Speaker A: Okay, cool. Matt's waiting for me there. [00:27:40] Speaker B: That's correct. So then we swipe to Visser, arriving in Zurich and pulling up in a Ferrari to the hotel that he'll be staying at. And that's where you are. So It's a Ferrari 288 GTO 1980. So it's one of those red. [00:28:08] Speaker A: It's not. It's not quite distaste. But Visser. Visser looks at it when it's there and he's just like. Raises an eyebrow like, yeah, it should be low profile. [00:28:18] Speaker B: I should have probably tweaked it a bit, given his profile. [00:28:22] Speaker A: No, it's all good. [00:28:23] Speaker B: All good. [00:28:24] Speaker A: He would have been drive the Ferrari. [00:28:25] Speaker B: He would have been, well, in a like an Su. A European suv, for sure. Yeah. [00:28:31] Speaker A: G Wagon men. [00:28:32] Speaker B: Yeah, G Wagon, Yeah. Okay. We could change it. That's not a problem. [00:28:35] Speaker A: No, it's fine. No, we'll go with the Ferrari. [00:28:39] Speaker B: And so you pull up to what is the Bergenstock Hotel. That's where you have a room and that's where you find the restaurant that you are actually sitting in now currently. And that's a very nice hotel. 5 stars. Has some wonderful views like the one that you're looking out. [00:28:57] Speaker A: Got it. So I'm waiting to meet Anya right now. [00:28:59] Speaker B: Yeah, Anya. Yep. So the waiter comes back to the table and it's a couple minutes later and he. You could hear the, the cup and the saucer as he puts it down. You have a little circular table next to you. You're sitting in a chair. He puts it down and he says, excuse me, sir, the woman who just left wanted me to give this to you. And he gives you A nap, A folded napkin. [00:29:32] Speaker A: Okay. As I take the napkin, I look, I lean and look around like I'm looking for, is there someone exiting right now? Can I catch sight of someone on their way out or. They're gone. [00:29:41] Speaker B: There's nobody there. As a matter of fact, the, the restaurant has not been more dead. As far as people in it, it seems like you're the only one. [00:29:49] Speaker A: What time of day is it right now? [00:29:51] Speaker B: It is about 10:27 oh p.m p.m. okay, got it. [00:30:00] Speaker A: All right, well, I'll unfold the napkin. [00:30:02] Speaker B: All right. You open it up and it says, it says Keppelbrucke, which is the Chapel Bridge. So in Lucerne, there's this long wooden bridge. It's a very prominent landmark within the village. And it says, get here now. And then it's got a little squiggly line with the initial A as in Anya. [00:30:31] Speaker A: He's rising as he reads the end of this note. He takes downs the rest of his coffee. [00:30:36] Speaker B: Boom. [00:30:36] Speaker A: In one go. Little, little cup, sets it down, puts some bills into the, into the check, you know, if that's the area. Just pays the guy basically. And he's like, I must take my leave. Thank you for the coffee. I will be back. And he heads for the garage where his Ferrari awaits. [00:30:55] Speaker B: Now, you know, from just being in the area and having driven to the hotel yourself and the bridge, it's going to take you about 25 to 30 minutes. And right now the time is 10:30. [00:31:09] Speaker A: Yep. But the, I mean, the timing wise, what it said was come now, basically. Right. [00:31:13] Speaker B: Correct. [00:31:14] Speaker A: Yeah, he's, I mean, he's heading right for the lift. He's not going to stop in his room. He's already got his sidearm on him. It's a. You should know that that P365 macro is a concealed carry firearms shot. So it's not like a full size gun. [00:31:30] Speaker B: Side note, when the first time I went to Lucerne in Switzerland, we arrived there and I think we got there later in the evening, camped out somewhere. We decided to go where every young American hotshot goes when they're hungry and need something quick, which is McDonald's. [00:31:50] Speaker A: When in Switzerland. [00:31:52] Speaker B: Mickey D's. Cheeseburger queso. What is it? Hamburger Mitkeysa. [00:31:59] Speaker A: Right, Nice. [00:32:02] Speaker B: And while we were waiting in line, there was an individual, like ordering something in civilian clothes with like a Mac 10 strapped across his back. [00:32:12] Speaker A: Jesus. [00:32:13] Speaker B: Yeah. Now, context wise, in the military, when you're in the army, very rarely do you take your weapons into like the chow hall, especially civilian places. You do not do that. It's just a. No, no. But in Switzerland, everybody's part. At this point, I think everybody's part of the National Guard. [00:32:34] Speaker A: So they're just gonna say everybody's got a rifle of the home. [00:32:37] Speaker B: They all do a rotation. And so it must have been this individual's duty time. So it was interesting anyways. [00:32:45] Speaker A: Crazy. What year is it? [00:32:48] Speaker B: 1982. [00:32:52] Speaker A: Oh, my. Okay. Oh, then my gun doesn't work then. [00:32:55] Speaker B: Oh, that's right. It's probably not even made yet. [00:32:59] Speaker A: I thought it was modern. It's all good. [00:33:04] Speaker B: We could. Yeah, it's. I don't know if it's relevant. Honestly. [00:33:08] Speaker A: It'll be an anachronism that I can later complain about when I listen to this show. [00:33:12] Speaker B: Of course. Of course. [00:33:13] Speaker A: Arrogant. [00:33:15] Speaker B: We talked about this ahead of time. Like, God blasted all day. What year is it? [00:33:20] Speaker A: Okay. [00:33:21] Speaker B: Yeah. And we didn't coordinate that ahead of time. No. Typically this would have been all hashed. [00:33:25] Speaker A: Out, but all good. And so in the elevator, I head down. [00:33:30] Speaker B: All right, so you head down. So you. You get into the Ferrari. You hear. Yeah. You hear it fire up and you peel out of. Of the garage. Underground parking. [00:33:47] Speaker A: Very taciturn and careful. [00:33:49] Speaker B: Yes, right. Intense. Look, I want. I would like you to actually. [00:33:56] Speaker A: You know what? Yeah, hang on a second. Yeah, I am actually. Because it's like she couldn't meet me and it's sign. Come now. I am gonna go like, I'm gonna. I am gonna tear out of there like, hey, you know, camera cut to the hand of the. On the gear shift to the feet moving on the clutch and the. And the brake. Off it goes. He is going quickly. Not going to break any laws that, you know, if there's police around, but. [00:34:21] Speaker B: You know, now with something like this game, with a. A set of skills, I have to say Skill set of skill, page 19. I. I should have made a list of skills. [00:34:32] Speaker A: I have vehicles. [00:34:33] Speaker B: You have vehicles. [00:34:35] Speaker A: I have skills right at hand. If you need them, let me know. Let me know. Okay, my sheep. [00:34:40] Speaker B: Then I will need you to give me a. I think vehicles covers it. [00:34:49] Speaker A: Am I trying to get there quickly? [00:34:51] Speaker B: Yes. [00:34:53] Speaker A: Mobility as well. But that's more for when you're like on foot or climbing or being athletic. [00:34:58] Speaker B: Yes. [00:34:58] Speaker A: This would be vehicles. [00:34:59] Speaker B: And so for audience members, when we ask for a skill check in this particular game, it is in Y0 year 0 engines, there's a couple different types. Right. There's Blade Runner that does kind of a die type with this One is all D6 pool. So. Harrigan's. Looking up his vehicle skill, which is a number. The number signifies how many D6s that he's going to roll. In addition to agility, which is the stat that that skill is tied to, that gives you the total amount of D6s that he rolls. [00:35:32] Speaker A: So governing stat agility is a four vehicles is one. So I'm rolling five D6 and I'm looking for a single six. Right? [00:35:40] Speaker B: Correct. [00:35:42] Speaker A: Okay, rolling. I do have a six. One six. Well done. Succeeded. [00:35:48] Speaker B: Now, in some instances, more than one six can increase the the result or make it a better result. But in this case, it doesn't need. Necessarily need to apply. If you were to roll and not make, you would be able to push, then we could get into that. Hopefully we get it in the push mechanic. [00:36:10] Speaker A: Adding a stress die, which is a different colored die in the pool, which means something when you roll a one. What it really does is if you roll a one in this game, it cancels a success. So this is one of the rules. When you and I read it, we're like, we need to see this in play because it sounds like it will feel bad. So we'll see. I was about to push there, but I didn't make it. But I did get the single success. [00:36:31] Speaker B: Yes. Okay, so you, you know what, Very. [00:36:34] Speaker A: Brief aside, this is the sort of thing for the yze whether the game says it or not. It's one of those things where the GM can very easily use the additional successes to say it takes you less time. You weren't noticed by anybody. Da da da da da. Like all those little, little benefits can come to the fore if you get additional successes. [00:36:51] Speaker B: And that is the case with this particular role. It wasn't to find out whether you should probably talk to the audience. So this role that I had Harrigan make had nothing to do with whether he was going to crash his car or not. If he actually failed, it has to do with whether he gets there early on time or late. So, okay, so you get to the bridge, you park. [00:37:15] Speaker A: You know what, in that case, I'm gonna roll one more. Does the car have a rating? Because it's a Ferrari, dude. [00:37:22] Speaker B: Oh, that's true. [00:37:23] Speaker A: I think. Let's. Let's get, let's get the rules right. I think this has handling, maybe mobility. What is that? I'm looking at some abbreviated words. I'm not sure what the stats are. [00:37:32] Speaker B: Yeah, of course I didn't write down the stats and I probably don't. It probably isn't even listed in the vehicle listing. Which is a little bit more in detail, I think in this game is what I remember correctly. [00:37:42] Speaker A: Yeah, that's all right, though. You know what? Let's. Let's take our time and get it here. I've got a listing of different vehicles. We can approximate it very. [00:37:50] Speaker B: We have a Ford Mustang GTS550. [00:37:54] Speaker A: Well, and there's also the Ferrari F8 above it, right? [00:37:57] Speaker B: Oh, okay. Yes, there is a. [00:37:59] Speaker A: There is a Ferrari. There's a Lamborghini Coontak. Yeah. So handling for the Ferrari is plus three. Mobility is plus three. I want to know what the difference between handling mobility is. Ah, handling is. Is a measure of the agility. Uses a modifier for the cutoff maneuver and hide maneuver. The mobility is a general measure of speed and acceleration. So we want to add the mobility dice to my roll because it's because of the Ferrari, which is three more dice which I will happily roll just for the hell of a shot. Did not get. Did not get another success. But I was actually rolling five, eight dice there because of the Ferrari. [00:38:42] Speaker B: Damn. Good call. Good call. [00:38:45] Speaker A: Plus three. Is it? That's the top, by the way, for any vehicle modification. So the Ferrari is. Yeah, I look Humvee going down those dark roads. Yeah. I wanted the G wagon. It wouldn't have been as good either. It would have been slow. [00:38:59] Speaker B: Yeah, they have the G wig and J G wagon specked out here. Yeah. [00:39:06] Speaker A: I don't know. [00:39:06] Speaker B: I don't see it. [00:39:08] Speaker A: No. [00:39:08] Speaker B: Okay. [00:39:09] Speaker A: They don't. They don't. [00:39:10] Speaker B: They don't have it in this world that doesn't exist. [00:39:15] Speaker A: I don't remember if the G wagon existed in 82 or not, to be honest. Yeah. All right, so. So I make good time. Right time. The lights probably shoot a couple lights if there's nobody around. I'm just, you know, deer down and look carefully because he is careful, but hammer down, man. Ferrari gets me there. [00:39:32] Speaker B: Excellent. You get to the bridge and the. It's relatively late and you arrive at just shy of 11 o'. Clock. [00:39:44] Speaker A: Well, hang on. Can I say one thing? [00:39:45] Speaker B: Yeah. [00:39:46] Speaker A: Careful. Right. Planner on the seat beside me in the Ferrari, there's a map of the. Of the local. Of the town of a local area. So what I actually want to do first is, you know, race into position, get there quickly. But I'm not going to go straight onto the bridge. I'm picturing some sort of overlook or place nearby. I want to get a look at the bridge. Like I'm picturing my eyes go out the window of the car as I Drive past it. I'm getting a. A read on. Is there anyone on the bridge? What's going on on the bridge? I'm not going to stop and then I'm going to carry on and go to the bridge. But I want to get some idea early. What am I in for here? You know, is there a traffic jam? Is there. Is it dead? Is anything. Or what? [00:40:27] Speaker B: During the day when the sun is out and it's shining and it's a little bit warmer, there's probably a bit more foot traffic. However, it is not desolate by any means. As a matter of fact, sometimes individuals like to go out in the evening because it is a beautiful evening. And the lighting. And the Alps and the lighting. [00:40:47] Speaker A: A footbridge only. [00:40:48] Speaker B: It is. [00:40:50] Speaker A: Ah, I didn't know that. Okay, so I'm gonna be parking the car at one end of it anyway. [00:40:54] Speaker B: Okay. I believe it is. I think. I'm pretty sure it is. It is. [00:40:57] Speaker A: Now, sure, it's a wooden footbridge. Yes, yes. And I got you a popular spot, except it's 10:30 at night now. [00:41:05] Speaker B: Correct, Correct. So it is very, you know, it's not very populated, but there is the occasional couple that is strolling along maybe after a late dinner or just out roaming around. [00:41:20] Speaker A: I got. Yeah, I got one for the. For the young kids in the audience. Okay, so Willem gets out. He's got his wool jacket, pulls up the collar. I'm picturing he's got a little beanie on as well. A little black. Black cap, long Sherman cap. Closes the door, gets out the key, and has to use the key to lock the door. Whoa. There's no fob. There's no. There's no bleep, bleep. He turns the key in the lock. [00:41:43] Speaker B: I don't know. Can you lock the door and maybe hold the handle up on Ferraris? I'm not sure. [00:41:47] Speaker A: I don't. I don't know. I. You know, having. Being the big Ferrari owner I've been over the years, I don't know the answer. [00:41:53] Speaker B: You don't know that model got it? [00:41:55] Speaker A: No, I don't. But bottom line, parks, locks the car, pulls the collar up, and hurries onto the bridge. [00:42:02] Speaker B: Okay. [00:42:03] Speaker A: Six, three, long stride. Right. Eating up the ground. [00:42:06] Speaker B: Yep. And so there's a. You notice a couple, an individual, a man and a woman coming towards you, walking very casually. There's one other individual that is sitting or standing on the bridge looking out towards the lake that it kind of goes out into. And then there is one further down, a blonde. You could make out the blonde of her hair that's coming out from kind of this fuzzy, furry white hat. And then the. The coat is also fuzzy, furry white coat, like full length. [00:42:49] Speaker A: Do I know Anya or was I given a picture of her? [00:42:52] Speaker B: There was a picture in the dossier that you recollect. Yes. [00:42:56] Speaker A: Okay, got it. So that's in my mind as I walk past a couple who's coming towards me. [00:43:01] Speaker B: Yes. And as the woman turns and she's like every, you know, she's looking and can see you as soon as you appear, and she can recognize you at the end of the bridge and she starts walking towards you. [00:43:15] Speaker A: And her. [00:43:16] Speaker B: The expression on her face is one of anxiety and very much hurried in anticipation for you. [00:43:25] Speaker A: Is this the woman in the hat or the woman and the jacket, or the woman who's, like, on the side of the bridge looking out into the water? [00:43:31] Speaker B: Oh, I'm sorry. That was just a gentleman. I think you might have asked me. That person's a gentleman. The woman in the hat is in the white coat. [00:43:38] Speaker A: She's. Anya. [00:43:39] Speaker B: Yes. [00:43:39] Speaker A: Okay. [00:43:40] Speaker B: Yes. [00:43:40] Speaker A: Yes, Anya. You know what? [00:43:42] Speaker B: Just for. [00:43:42] Speaker A: Just for giggles, as I walk past the couple, can I tell if they're packing or not? [00:43:50] Speaker B: You can give me a observation. [00:43:54] Speaker A: Man. [00:43:55] Speaker B: Observation check. Yes. [00:43:56] Speaker A: Witch three. Observation one. I'm gonna roll four dice. I did not succeed, and I'm not too concerned about it. I'm not going to push. So I'm just, you know, I. I just. I'm. I'm cognizant of this meeting area or of the fact that there may be other agents in place, especially when I see the worried look on the woman's distant face. So walking past them, I will increase my pace and try to make eye contact with her, like, you know, letting her know that, like, I'm your contact. [00:44:23] Speaker B: Sure. And as you walk past them, they look at you and actually nod as if to just, you know, greet you as a passing evening. Yeah. And when she sees you, she starts walking very quickly towards you, almost picking up her pace like a little hop as she. As she starts to make her way towards you. [00:44:49] Speaker A: Can I tell is there. There's the guy looking out into the water that she's going to have to walk past. Right. Or we're both going to have to walk past. He's between us. [00:44:57] Speaker B: Correct. [00:44:59] Speaker A: Is there another. Is there a vehicle or anybody? Is there any visible sign of what. What is stressing her out? [00:45:07] Speaker B: No. [00:45:08] Speaker A: Okay, then I'm just gonna keep my eye on her, but remain very, like, aware of, like, you know, the sides of the bridge. The other end of the bridge. And what this guy in between us is doing. Is he on the phone or. Probably not. [00:45:21] Speaker B: He's kind of like got his hands up on the rail and he's just kind of looking out in the distance. Yeah. Smoking a cigarette. Because it's like 1980 in. In Switzerland. And you do that, and you could smell that hits you right in the face like. [00:45:35] Speaker A: Okay. Does she make. Does she gesture at him with her eyes or anything? [00:45:39] Speaker B: No, but she is looking around like as if somebody were watching her. And she's, you know, obviously exudes a sense of paranoia as she runs towards you. And even as she realizes she runs, she actually, the distance is so far, and she's kind of walking quickly, but realizing she's not making as quick a pace as she wants. And then she starts to. To run towards you after she notices that you're there and you're not move, you know, just like runs towards you. [00:46:11] Speaker A: How far apart are we? [00:46:13] Speaker B: I would say originally, when she was starting, probably a good 75, 80ft. [00:46:21] Speaker A: Not that far then? [00:46:22] Speaker B: No, but I mean, it's a good bridge distance wise. [00:46:28] Speaker A: Gotcha. All right, so I will increase my stride. I'm not going to run, but I will increase my stride. So I'm walking, like, very quickly towards her, but I'm more concerned now. Like, I'll look behind me, you know, I'll look to the other side of the bridge, like I said. So enough said about trying to be observant, but I'm. My senses are bristling as I rush. [00:46:46] Speaker B: To meet her, of course. And then as you. As she comes up to you and meets you, you hear a. You hear a snap, crack, snap. And she lunges. She. You see, her eyes go large and she almost trips, like at the last minute, trips right into you. Or at least. At least you hope she tripped. [00:47:14] Speaker A: Well, based on my profession, I suspect I know the sound of a suppressed weapon. [00:47:19] Speaker B: Indeed. [00:47:20] Speaker A: Right. [00:47:21] Speaker B: Yeah. [00:47:22] Speaker A: So I'll catch her and, you know, kind of turn her in my arms and. Is she limp? [00:47:28] Speaker B: She is. [00:47:30] Speaker A: Essentially go to one knee, lay her down. So I'm not just standing there holding her up and, you know, multiple things at once here. The first one is as I'm laying her down. Can I tell where the shot came from, what direction it came from? Gives me suppressed. [00:47:47] Speaker B: Give me another check. [00:47:49] Speaker A: You want observation again? [00:47:50] Speaker B: Yes, please. [00:47:53] Speaker A: Two, six, three successes of my four. [00:47:56] Speaker B: Dice would have came from behind your. Over your left shoulder. So behind me a little bit into the distance. Yeah. [00:48:07] Speaker A: What's in that direction is there. Like I'm trying to picture, the terrain here on the bridge is this mountainous. [00:48:12] Speaker B: So as you pull up to the. The bridge, there's a parking lot, but there's a distance from the lot to the bridge. Right. You can't just park right to the bridge, get out, and start walking on it. You know, there's a little bit of. Of a sidewalk and open walkway, and then there's the coastline of the actual lake that kind of goes across. So the. The bridge comes out from kind of the far end of this lake out into. Or the bridge comes out to the lake running at some point even parallel to the coastline as the coastline wraps around. Does that make sense? So if you're. If you're a circle, the bridge would be up at the top end of the circle. [00:48:58] Speaker A: I gotcha. It's not going across the middle. Middle of the lake. That. That's too far. [00:49:02] Speaker B: Correct. It doesn't go, like. Right, exactly. It doesn't go across the middle of the lake. It's more at the end. And for those that Google map this, don't correct me, don't write in and say I got this wrong. [00:49:13] Speaker A: The fictitious version. [00:49:14] Speaker B: That's right. [00:49:15] Speaker A: What I'm mostly concerned with is, like, trying to put two and two together. From where I parked. [00:49:19] Speaker B: Yes. [00:49:19] Speaker A: From where I tried to observe the bridge early. Is there a spot where I'd be, like, if I was going to make this shot, where would I be? [00:49:25] Speaker B: Yeah, it would have been from where you parked, probably directly behind that, into the right as you're looking at your car. [00:49:34] Speaker A: Okay. So I'll glance in that direction, you know, to try to confirm, like, did it. What. What I just heard, did it really come from, you know, there. Try to put eyes on where I think a situation might be, or if I see any movement or anybody running from a position or a car. If I don't see anything, I'm right. Focusing my attention on her, trying to save her life. If she's dying. So she, like, is she bleeding out? Is she conscious still? Where'd the bullet get her? [00:49:58] Speaker B: It is not soon after she falls into your arms and you lay her down on the bridge that you can smell just a little bit of that blood, of that metal that the blood has. [00:50:10] Speaker A: Can I tell, is her jacket got a red splotch on it? Could get her in the neck or the head or what? [00:50:15] Speaker B: It appears that she got it right through kind of the torso, through the side and. And, well, you're not sure if it exited her, but her coat is Starting to turn red as a blood seeps into the fur. [00:50:33] Speaker A: All right, so is she conscious? Because I'm going to be like, Anya, It's. It's Visser. [00:50:37] Speaker B: She's like, as. As soon as the shot hits her, she's like. She falls forward. [00:50:42] Speaker A: She's like. [00:50:49] Speaker B: Hotel choppers arrive at midnight. And she has your hand as she's like, like grabbed, grabs your hand and it's like bringing it to her chest. And as she says that, she grabs your hand and kind of peels it off of her chest. And then with the other, puts something into your hand and it seems as though it's a rectangular plastic piece into your hand. And she goes limp, lifeless. [00:51:30] Speaker A: Any chance. Any chance of saving her life here? [00:51:33] Speaker B: No way, man. [00:51:37] Speaker A: All right, so I picture. I open her jacket and I see the state of, like, the bullet of where it hit her. [00:51:40] Speaker B: Maybe. Maybe you can. I don't know. Do you have medicine or first. [00:51:48] Speaker A: I do not. I do not. And I think it's all bundled in this one of those games that bundles it all together. I do not have medicine. Oh, I mean, you know what I mean. I. I've got commando training, so I know, I know some first aid. [00:52:03] Speaker B: Right, that's true. [00:52:06] Speaker A: Because you could roll. Just. That's an empathy skill. I mean, I can roll medicine for those who don't know yze. I just won't have any dice for it. So, like, a first aid roll here would be empathy plus your medicine skill. My medicine skill is zero. So it would be just my empathy dice, which are two. [00:52:23] Speaker B: You could give it a shot. [00:52:25] Speaker A: I'm gonna give it a shot. Tell you what, this is not something where, like, I feel like you would do this and I did not succeed, so I think she dies in front of me. [00:52:32] Speaker B: She would. [00:52:33] Speaker A: Yeah. That's what happens. I'm like, I don't. You know, My hands are now bloody, though, because I've been trying to. Trying to compress, trying to say, you know, see how bad the wound is. Tell, you know, telling her, hang on, I'll get the. I'll get the ambulance as soon as I can. And. But she's, you know, she's not. Not responding back to me. I tuck that plastic piece into a pocket and I turn and rush from the bridge. [00:52:55] Speaker B: So you. As you do that, you notice that it looks like a key card. Blank, no numbers, no non descript. Does have the hotel logo on it, which is the. You said d the rigi R I g I kum K u L M. It's also known as summit station and summit station is at. On one of the peaks of the the nearby Alps. [00:53:23] Speaker A: Gotcha. I smell skiing. [00:53:29] Speaker B: The time is 1105. [00:53:35] Speaker A: Okay, did you get the mid. [00:53:36] Speaker B: Did you get the midnight part. [00:53:40] Speaker A: From the helicopter? Yeah, Chop chopper at midnight. Yes, I did get that. Okay. Yeah. Ry chopper at midnight and I've got a key card. Did I miss anything? [00:53:51] Speaker B: You do not. You did not leave around the bridge. I do leave the body there. [00:53:58] Speaker A: I do. From our, our prior. You know what, I'll pick her up and I'll carry her off the bridge. No, you know what? No, no, I'm actually gonna leave her there. There's a moment of hesitation where I'm like. And then check my chest, my switch, my Swiss watch, my wristwatch. And I'm like, I don't have time. [00:54:18] Speaker B: Oh, it's got the little red and then the white cross on it. [00:54:24] Speaker A: Not, not Victorianox. Oh. Oh dear. What I'm thinking is, you know, if I see a policeman or if I see, you know what I'll do actually I'm going to run to. I can picture I'm wiping my hands on a rag, right. Or on a jacket if I need to to clean my hands off. I'm gonna go right to the guy on the bridge with a cigarette and say I'm. I'm going to go. I, you, I, I have, I have business that urges I have to attend to. Call the ambulance, call the police. This woman's been shot. [00:54:55] Speaker B: He turns around and he looks and he's what? [00:54:59] Speaker A: I don't know what happened. She just fell when she was walking towards me versus lose. [00:55:05] Speaker B: And these starts mumbling in German get the police. [00:55:11] Speaker A: Get them. Yeah, yeah. [00:55:14] Speaker B: And he, he walks over and goes towards her and then looks at you like what did you do? [00:55:21] Speaker A: Like he says, I'm going to go after the shooter, call the police. And I run onto my car. [00:55:28] Speaker B: And as you do that, he starts, he's yelling bullets. I Bullets. I need it from echoes out into the silence of the evening. And it doesn't take too long before police start to converge and then already out of there. Yeah. Some of the individuals that are walking along the lake are probably wondering what going going on. And it's minutes that go by when any type of passerbys get attention to this because it's kind of in an isolated area. [00:56:01] Speaker A: So at what, 10:30 or 11:00 clock at night. [00:56:04] Speaker B: Right. [00:56:04] Speaker A: 1104, 1105 you said. [00:56:06] Speaker B: Correct. [00:56:07] Speaker A: 11:10 now probably. [00:56:10] Speaker B: So what do you do? [00:56:12] Speaker A: Oh, I'm running for my Ferrari. I'm running for the car. Do I happen to know from my map work how far away this rigi cool is? Because it's a. It's at a mountaintop, you said. So that's not a short drive, probably. [00:56:24] Speaker B: It is not. And there is no automobile access. [00:56:29] Speaker A: What, this is a cable car or something? Or helicopter. [00:56:32] Speaker B: Yeah, it's a cable car. [00:56:34] Speaker A: Okay, so do I know the place or do I have to research it? [00:56:39] Speaker B: No, I think, I mean, it's pretty popular. You know, you could. You probably have seen signs on the way in. [00:56:45] Speaker A: You know what? As I get into the Ferrari, Sean, there's a travel guide next to me and some rapidly, rapidly flipped pages to the hotel. And it, you know, probably has pictures of this picturesque cable car going up into the mountains. And I'm like, I swear, quietly, like, because I know I can't drive there, but the next thing you see is the ignition key turning and the car getting into gear. By the way, I did look around for like, where'd the shot come from? But I'm. I'm already like, I've got, got to get. She died for this. I've got to get to this place and prevent the, you know, presumably the guy being moved at midnight from this, from this hotel. [00:57:20] Speaker B: Yeah. [00:57:22] Speaker A: So after, you know, on the way, while I'm driving, I'm looking to see where the parking is for the cable car, etc. And I'm rushing to get there. And in this case, I will not be driving slowly. I'm glad I have a Ferrari in the wet Switzerland, Swiss streets, fishtailing, etc. [00:57:41] Speaker B: Give me a mobility check. Don't forget the Ferrari. [00:57:49] Speaker A: I think you want agility vehicles. [00:57:51] Speaker B: Agility vehicles, Sorry, yes. [00:57:53] Speaker A: Four for the agility, one for the vehicles, three for the Ferrari, and I have zero successes. I'm going to push, okay. Which means I'm taking a stress die, right? [00:58:06] Speaker B: Correct. [00:58:08] Speaker A: Okay. [00:58:09] Speaker B: I also get a villain point, sir. [00:58:12] Speaker A: Oh, fine, take your villain point. Oh, man. I6. I failed again. This is a good example. Like, no sixes I'm taking. I'm using true grit as I'm realizing I'm in traffic, right? There's like, there's a couple of delivery trucks making their, like, late night deliveries to restaurants and hotels, and they're blocking the street and I'm just like, oh, come on, move. I roll the window down, you know, I probably hand crank it down all the way down. Get out of the way, out of the way. And I'm gonna try to shoot the car through a narrow gap this Is me pushing a second time because of True Grit. I have too stressed now, and I have 12 successes and no ones on the stress dice. So I succeeded with an additional success after pushing twice. So I had to push the car hard. I'm probably driving up on sidewalks, you know, people are like, oh, get out of the way. Down goes the car. [00:59:08] Speaker B: So just to wrap that whole skill checkup because it's a little interesting with True Grit, the first time that Harrigan gets pushes, he gets a stress die. But that stress die does not apply to that immediate role. He pushes. So then when he does that, I get a villain point. Villain points can be used by the game master to basically make a skill check against an NPC villain fail. [00:59:41] Speaker A: Great call out because I did it incorrectly, Sean. I added the stress die and then rolled the pool. I should have. When the first time I pushed, I should have just re. I should have just rolled the pool correct, then added a stress die. [00:59:53] Speaker B: Then you mark stress. [00:59:54] Speaker A: And then the second time I rolled, I should have had one stress die in the pool, not two. [00:59:58] Speaker B: Correct. Okay, that's right. [00:59:59] Speaker A: Didn't hurt me in the end, but so I. I now start with these two stress die. They're looking me in the face. I'm going to mark the two stress boxes on my sheet. One, two. Got it? [01:00:09] Speaker B: Correct. So. And then, of course, since he pushed twice, I get another villain point. [01:00:15] Speaker A: You get two villain points. [01:00:16] Speaker B: So whether he succeeds or not, if he pushes, I get a villain point. When. Which can I can use at some point in the game. So that took. [01:00:26] Speaker A: Yeah, that took three rolls of eight dice to hit one six. Go on. But I have story points that I could have used. Right? [01:00:36] Speaker B: You do. [01:00:37] Speaker A: I have three. Correct. [01:00:39] Speaker B: Correct. You start. And we didn't even mention that at the beginning. And I think I had that on a checkbox to like, bring that up. That. So every player character starts with three story points. The beginning of the session. [01:00:50] Speaker A: Indeed. And you know what? Let's, if you don't mind, let's do a five minute bio break. [01:00:57] Speaker B: Okay. [01:00:57] Speaker A: I should have stopped before we started, but I'm looking at my sheet, Sean. I don't know that I see a place for. Oh, there they are. They're story points. I was going to say, are story points even on the sheet, but they are. [01:01:07] Speaker B: I think they are. Yeah. [01:01:09] Speaker A: No, they're right in the mid. Right in the middle. So I'll. I need to keep those in mind. Instead of doing a double push next time I might do that. So. All right. I need about Two minutes and I'll be back. [01:01:19] Speaker B: Sounds good. [01:01:20] Speaker A: All right, cheers. [01:01:41] Speaker B: It. It's it. What's going on? Chat. Put my drink. Good to see everybody. Sorry not calling you guys out, but duty calls. [01:03:24] Speaker A: Got a few. Few people in the chat. Yeah. [01:03:26] Speaker B: Sir Curtis Takahashi. Scott Orcus. Nice farty. Who else? Joe. I think Joe Swick was in there. They might. I think a couple might. Might have had to bounce. But. You do start with three story points, right? Yeah. [01:03:51] Speaker A: Yeah. That's what I. That's what I in the character generation had told me to do that. [01:03:54] Speaker B: Yeah, I thought so. [01:03:54] Speaker A: So I should have three. [01:03:55] Speaker B: I don't know why I didn't have those noted. [01:03:59] Speaker A: I am very quickly writing down I'm putting a new gun on my sheet. I've got a Browning high power instead of that Sig, which is period as you. Sure. Period appropriate. [01:04:11] Speaker B: One thing I should also mention, so going back to the stress component. So individuals that I don't know if we'll get to basically in a one shot in this game, when the agen acquires stress and the stress die gets applied. Any. And I think we touched on it briefly. Any ones that appear on a stress die cancel one of the sixes or one of the successes. So it could play a pretty big part of that. But going into how do you remove stress? Do you know. Do you know the. Do you remember the rule Harrigan offhand? [01:04:43] Speaker A: I don't remind me. [01:04:45] Speaker B: It's the rest part. Remember, you have to rest in a place that you feel safe. [01:04:53] Speaker A: It's got a D and D. Like. [01:04:55] Speaker B: Well, when we reviewed the game and talked about mentions in the book, like. Well, you know, as long as you know, if a. If you feel. If your PC does not feel immediately threatened and you are in a space that you can. [01:05:10] Speaker A: Oh, we did. Yeah. [01:05:12] Speaker B: Bring it together. And I'm like, no, not if there is. I think I equated it to like Die hard. If John McClane is in an air duct, you're not removing stress, you're not recovering stress. [01:05:27] Speaker A: One could argue. And you know, in a high action game that might be the case. We'll see how fast I accumulate it. [01:05:33] Speaker B: There are also one thing that we also. I don't know if we even actually mentioned it or if it was even called out very explicitly. And I could be wrong. In the game, there are four shifts in a day. [01:05:44] Speaker A: Oh really? Which is a classic YZE thing. Right. From like forbidden lands. [01:05:49] Speaker B: It is. But that goes to healing as well as stress. [01:05:54] Speaker A: I was just going to say and more like a Blade Runner thing, right? Where it's like, you can do two things in the shift. What do you investigate? Interesting. I had. I don't think we did call that out. [01:06:02] Speaker B: No. Because I don't. Why? Because I don't know if it was, like, under its own section of saying, hey, in this game, days are measured in shifts. Just so you know, because I don't think it's as detailed as Blade Runner. So for those not familiar with Blade Runner, there are four shifts in a day. And when you say you go do something, it takes up that entire shift. There isn't like one for the first hour or second hour. [01:06:28] Speaker A: Maybe we did talk about it, because it's right here in black and white, actually regaining stress. A PC must rest for one stretch. That's six hours to lose one point of stress, right? [01:06:40] Speaker B: Well, it says stretch, but I wonder if it means shift. [01:06:44] Speaker A: Oh, is where. Where is the. [01:06:46] Speaker B: It might be a typo. [01:06:47] Speaker A: Yeah. [01:06:48] Speaker B: So what Harrigan's looking up, which is what I found, is when you are recovering stress or when you're healing, then the shift is actually mentioned. But if you look, I think through the book, I don't know if it. If shift is detailed, like, hey, just so you know, a day is four shifts. [01:07:08] Speaker A: So when you take critical, regain stress while being hypothermic, being affected by a disaster, under the effects of sleep deprivation. But it does say, this is what you got your panties in a bunch about. It does say that you can, if you're actively hiding from an enemy, and it can be assumed that you won't be immediately discovered, which is totally the John McClane, like, totally that. So I would. I don't know. I think you'd be in too little, too hard on that. I'm looking briefly for stretch, Sean. Where is it? It's not nicely called out anywhere, I don't think. No, I think measure of time. 10 minutes long for a stretch. [01:07:44] Speaker B: Oh, it is. Oh, so it is defined. Stretch is 10 minutes stretch. [01:07:47] Speaker A: And one of the things that this game does have is at the back, it has a nice glossary of game terms. And stretch comes up as a measure of time that's roughly 10 minutes long where you don't have to. You're not meticulously tracking time, but. And you're saying not stretch, but what shift. I don't know if shift's in here. Is it. [01:08:07] Speaker B: It's in when you heal and do criticals. [01:08:10] Speaker A: Like when you are four shifts timescale. There are about four shifts each day. Morning day, evening, night. Shift is Five to ten hours. It is. It's called out. There's a time scale. [01:08:23] Speaker B: Okay. I did. I was. [01:08:26] Speaker A: I think this is. This is kind of cool. Forgive me for interrupting. The examples of how it would be used would be travel. It takes you a shift to travel somewhere, like a different city or hacking a computer system, etc. So these are like long form, like building a piece of equipment. Right. That kind of thing. [01:08:44] Speaker B: Okay. [01:08:45] Speaker A: Kind of. Cool. So this I can get rid of. You know, I mean, presumably the GM can rule that you can't do multiple shifts, recoveries of stress or whatever. But I guess the way I would probably rule that is, you know, you can't do two in a row. You have to have an action scene in between the recovery of stress and all that kind of stuff. But it's up to you. I have two stress now as we rejoin the. Rejoin the action. [01:09:04] Speaker B: Well, and stress and stretch. So I didn't. I didn't realize stretch and shift were different, and now I do. [01:09:11] Speaker A: Yeah. [01:09:12] Speaker B: Because then I was like, was that a typo? Did he mean. Did he mean shift? Because they meant stretch. Yeah, because it's not. Because, I mean, there are a couple places, like tired skills versus tiered skills in the game. [01:09:29] Speaker A: Oh. Oh, you thinking typo? [01:09:32] Speaker B: Yeah, I thought it might have been a typo. So. [01:09:35] Speaker A: Yeah. [01:09:36] Speaker B: So I stand corrected. So you can remove. The whole nature of this conversation was you can remove stress. And these are under the conditions in. [01:09:49] Speaker A: Which, put it this way, rules as written. When I, As I pull up to this. If you allow me to. If I, As I pull up to the parking lot at the base of this, like, cable car station. Right. If I were to say I want to spend a stretch recovering, I could reduce one stretch because it's not. I'm not under stress, particularly. There's a time pressure thing, but no one's hunting me. I'm not going to do that. [01:10:07] Speaker B: Correct. [01:10:08] Speaker A: But I think. I think I could reduce one right now. If I was. If I had, like, Thor stressed and I was like, man, I am. I need to take a minute, smoke a cigarette, you know, and get my. Collect my. Collect my head together kind of thing, that would be the stress recovery in 10 minutes, I think, is what they're getting at. But as it stands right now, Willem is more of the mind. I hope there's a cable car there. And, you know, as you. Can I. Can I describe him? Parking, of course. Okay. So he's, you know, the car skids to a stop inside the parking lot, which is probably pretty empty. Because I don't, don't know how late the cable car runs. In the front seat he's got. He pulls his gun out of its holster. He checks it to make sure it's loaded to Browning high power. Now, not a, you know, we're doing the classic Bond thing where the guns change during the movie. So here's a different gun now, even though, you know, he started with, with the. The anachronistic Sig. He puts the burning high power, make sure it's loaded, puts it back in its holster, gets out and is like booking it for the. Basically the housing the building where the cable car comes into kind of thing, hoping he doesn't have to operate this thing illicitly. Is this the only way up? Can you tell? Is there like some sort of other way to get there? [01:11:16] Speaker B: This is the only way. [01:11:17] Speaker A: This is it. Okay. So he is just booking it, hoping that they run late or that he has the ability to mechanically get the thing moving or whatever. [01:11:26] Speaker B: And they do run it 247 because there's individuals that park down below that go to the. [01:11:32] Speaker A: Oh yeah. Who are like having, having late dinners. [01:11:34] Speaker B: And all that kind of late dinners. Check ins the comings and goings. But after a certain hour it's more on demand. Right. [01:11:40] Speaker A: And I'm hoping there's multiple cars. [01:11:43] Speaker B: Yep. Well, there's one that goes up and there's one that goes down. So they kind of interchange depending on where the need is. [01:11:49] Speaker A: So. Okay, yeah, got it. [01:11:51] Speaker B: So you arrive at the car and. [01:11:55] Speaker A: Let'S see, before I slip into the building, I will, you know what I'll do? I'll slip into the building and then five seconds later I'll go back outside again to see if there's anybody after me to make sure I wasn't tailed or something like that. [01:12:10] Speaker B: Okay. [01:12:12] Speaker A: See what I'm saying? Like, like if somebody's watching me, they're gonna think I'm gonna. I've gone inside and then I'm going to re. Emerge five or ten seconds later just to, you know, I see you, I know where you are. [01:12:23] Speaker B: Okay, give me a check. I gotta pull up your character sheet. Why don't I have your sheet up here? [01:12:30] Speaker A: I gave it to you to the discord. Probably. Observation again? [01:12:34] Speaker B: Yeah, observation, please. [01:12:37] Speaker A: I wish I had. I wish I was better at observation. I got four dice and my two stress dice now. And I got a six on one of the stress dice, so I succeeded. [01:12:48] Speaker B: Very good. You are fairly certain that nobody has tailed you here? [01:12:53] Speaker A: Got it. Back in. Back inside. Buy a ticket do whatever I need to do to get, you know, on the very next car. [01:12:58] Speaker B: Okay, give me a D6. Roll 4, 5, or 6. There may be somebody on the car with you. [01:13:06] Speaker A: I don't like that. I got a one. [01:13:08] Speaker B: Okay. Just you and the. The operator. [01:13:12] Speaker A: Yeah. [01:13:12] Speaker B: I mean, rush in there and closes the doors. He looks over your shoulder. He's. He's not in a hurry to do much. He's, like, looking to make sure nobody else is going to be running for the car. At last second, I'm going to tap. [01:13:26] Speaker A: My wrist on my watch. I'm afraid I am late for a meeting at the top, and I would ask that you respectfully move the cable car as fast as you can. [01:13:35] Speaker B: Why don't you give me a persuasion check, sir? Oh, that'll. [01:13:39] Speaker A: That'll work great. That's two dice, plus your stress, plus. Plus the stress that I'm under. That is no successes. And a one on the stress die on the bane. [01:13:51] Speaker B: So you have a bane. [01:13:52] Speaker A: I have a bane. What does it mean when there's no successes to cancel? Does other bad shit happen? [01:13:58] Speaker B: It just means that it's bad, but it doesn't get worse. [01:14:02] Speaker A: I would have needed two successes to succeed. In other words, the guy's like, huh? [01:14:08] Speaker B: Yeah. He's like, oh, yes. He goes like this. He kind of makes sense. [01:14:14] Speaker A: I would go very fast. [01:14:15] Speaker B: Yes, exactly. Which is not very fast. [01:14:21] Speaker A: Yeah, it translates to, you know, I should almost add another stress die. It translates to the temple or the vein in my temple, like, pulsing as I'm watching. Like, hurry. [01:14:29] Speaker B: He may not understand. He's like, those fuss. And he. Oh, yeah, yeah, yeah, yeah, yeah, yeah. And then he just goes up, you know. [01:14:45] Speaker A: Schnell, Schnell, Schnell. [01:14:47] Speaker B: Oh, yeah. Oh, yeah, schnell. [01:14:51] Speaker A: It goes a 0.1 mile an hour. Fast. [01:14:53] Speaker B: Yeah, it's like. It's very fast. [01:15:00] Speaker A: All right, as we're. As we're pulling away, I'll spend some time at the back of the cable car surveying, you know, the gravity of. Of Anya dying in my arms. I'm gonna. You know, seeing the town below me as I pull away and the roads that I was on, probably the bridge in the distance, maybe looking also to see if there's anybody else, you know, on the roads coming our way. And then if that's all clear, I'm gonna go. I'm gonna go to the front of the car and start looking up at the hotel to see if I can tell what's going on up there. [01:15:28] Speaker B: And it's ever been in One of these, it's like you're looking at a wall and then up as the cable and the cables droop down and it goes up and then the other cable car seems to be coming down towards this one on the left hand side. And it's all, every few, few meters, probably tens of meters. There are lights at the top of the post that kind of light the things up and down below so it's hear the hum. It seems like it is taking forever. [01:16:01] Speaker A: I pace. What does my watch say? What time is it? [01:16:06] Speaker B: Let's see, it is 11:15. [01:16:11] Speaker A: Okay. I wait. How much else I can do. [01:16:18] Speaker B: Then it comes up and then it starts to slow down even more as it enters, comes into the end that turnstile. [01:16:25] Speaker A: The carriage house or whatever. [01:16:27] Speaker B: Yeah, yes. And then it's nicely brightly lit, like you know, almost alarmingly bright. And then it's got like a rubber matted floor and the doors open and he's like choose. [01:16:44] Speaker A: Thank you. I'm out. [01:16:45] Speaker B: Okay. [01:16:47] Speaker A: Feet on the ground and moving towards the hotel quickly. [01:16:50] Speaker B: He keeps the doors open and he walks out of the car himself and he wanders and you could feel him sense that he, he's walking into the hotel for something. [01:17:02] Speaker A: Ah, he'll be well behind me because I'm moving there quickly. [01:17:05] Speaker B: So you rush out onto the rubber matted floor, a couple double doors, glass shoots. [01:17:13] Speaker A: I'll say this, I'm gonna like run practically through the, you know, through the station here. But as soon as I get to the door that opens up onto like the grounds of the hotel and the path that leads up to it, I'm going to switch to like a, a brisk walk. I don't want to attract too much attention basically. [01:17:30] Speaker B: Fair enough. [01:17:30] Speaker A: Not running. [01:17:32] Speaker B: I would picture this something like you come in below the motel and hotel. [01:17:38] Speaker A: Kind of a low rent place, isn't it? [01:17:39] Speaker B: Hotel. Hotel, sorry, hotel. There you pull in, private entrance. There's one door after the other. Quick access to the parking lot. [01:17:50] Speaker A: This is a very fancy Howard Johnson sign or. [01:17:54] Speaker B: That's right, yeah. And so there is. When you enter the building there's like a, an opening where there's a bank of four elevators, stairs, Probably a utility room. You know, employees only. [01:18:18] Speaker A: Is there a staircase? [01:18:19] Speaker B: There is. [01:18:21] Speaker A: That's what I go for. [01:18:22] Speaker B: You upstairs. [01:18:24] Speaker A: First off, how busy is the lobby? How ornate and huge is this hotel? [01:18:29] Speaker B: So right now you're down below, the lobby is up a level. [01:18:33] Speaker A: Oh, I haven't gotten to the lobby yet. [01:18:35] Speaker B: That's right. So okay, are you gonna wait for. Ding. Elevator closes Couple Give me a. A D6 roll. Now, these are not part of the rules. I'm just having Harrigan do random things to see what happens. Okay, so if there are the numbers above the elevators that tell you what floor they're on. There's one that is actually there, but the doors are closed. [01:19:02] Speaker A: Was that. Sorry, say that again. [01:19:03] Speaker B: There's an elevator with the floor that you are on, but the doors are closed. All the other ones are above on different levels. [01:19:11] Speaker A: What do you mean by. [01:19:12] Speaker B: So you're on level. You're on basement. [01:19:14] Speaker A: I got you. [01:19:14] Speaker B: One says there's multiple. [01:19:16] Speaker A: Multiple elevator like shafts. [01:19:18] Speaker B: Correct. [01:19:18] Speaker A: And if I press the button, the doors open. [01:19:21] Speaker B: Doors open and it's readily available. [01:19:23] Speaker A: So I'm gonna. Let me tell me this. I'll go in. Is it. And hopefully no one else is around because I'm going to take a minute here. I'm gonna use my foot to keep the doors from closing. I want to see what. Where I can access in the building from this elevator. Like how. How high up does it go? [01:19:36] Speaker B: It goes up. I don't know how big? I would say probably. I don't know how big the hotel is. We'll say 10 stories. 10 stories plus the lobby? Yeah, five stories. Five stories in the lobby? [01:19:52] Speaker A: I think five stories. [01:19:53] Speaker B: Five stories in the lobby. Yeah. [01:19:55] Speaker A: Okay, but are they marked? I guess what I'm getting at. Does it say like penthouse or, you know, in. Obviously in either French or German. [01:20:03] Speaker B: Sure. It's like got the star on the one and it goes two, three, four, five. And then where you are is like level. Level one. Level two. You're on level two. [01:20:14] Speaker A: So I'm going to lean back out into the. Let me think about this. I'm going to lean back out into the lobby. The lower. This lower lobby that I'm in, not really a lobby, more like a entrance. [01:20:25] Speaker B: Way, like parking lot. It's parking level one or two. You are. [01:20:29] Speaker A: Yeah, I got you. I note where the stairs are so I can visually try to connect with the stairwell in other places in the building. If you get. If you get me. [01:20:39] Speaker B: Sure. [01:20:39] Speaker A: Like when I come out of the elevator, I'm going to look to the same. Because what I'm anticipating is that the helicopter pad may need to be accessed some different way than just taking the elevator up to it. [01:20:48] Speaker B: Right. [01:20:49] Speaker A: But I. Having said that, I'll go. I'll duck, you know, noting where the elevator is. I go back into the elevator or the stairs are back into the elevator. Press the top floor or whatever it is. 5. I think you said it was. And then I'm just going to wait and then I'm going to see what I see when I get out. I'm hoping there will be roof access from the top floor. If there isn't, I'm going to have to find an elevator. Maybe go by going. Or a stairs. Set of stairs. By going down a floor and looking for the stairs type of thing. [01:21:14] Speaker B: Okay. [01:21:15] Speaker A: All depends on how the hotel is set up. [01:21:17] Speaker B: Okay. Okay. So you go up to the fifth floor. Takes. It's a pretty quick elevator. It's not slow, but it's not fast. Gets there in a timely fashion, get out, ding. And it's an open or it's a floor like any other Pretty well to do hotel. And it's pretty quiet. It's not a lot of things going on. [01:21:41] Speaker A: Is it rooms? Is this like hotel rooms? [01:21:43] Speaker B: Yeah, yeah. [01:21:44] Speaker A: So it's corridors with doors, basically. [01:21:46] Speaker B: Correct. [01:21:47] Speaker A: All right, so I'm leaning out immediately. Are there. Is there the stairwell? Is this. Is the stairwell there? [01:21:54] Speaker B: There is a stairwell, yes. [01:21:57] Speaker A: Okay. I'll move down to it. Move through it. If that door is open. [01:22:01] Speaker B: Okay. It says restricted, you know, emergencies only. [01:22:06] Speaker A: Yep. [01:22:06] Speaker B: What have you. But you can push it open. [01:22:10] Speaker A: I do. [01:22:11] Speaker B: All right. You push it open. There's a. Now it gets a little dim and a little rust. Rustier. Right. Even the stairwells are pretty decent, comparatively speaking. But this one starts to get into, like, parking garage, even more so. Like concrete steps, concrete wall, PVC pipe running through it. And you end up going up the steps and stairs. And then it's like another door. You know, alarm will sound. No, back that up. Won't sound, but it'll say, you know, access roof. [01:22:45] Speaker A: Yeah. Like. Like authorized personnel only. Maintenance, you know, access. Yada, yada, yada. I will check briefly, check my watch, and I will check to see if this door is wired in terms of, like, it's a fire alarm about to go off if I go through here type of thing or alarm, which is there's a technology skill role. [01:23:05] Speaker B: I would see. Well, machinery. Yes. I will say that there is a key access pad next to the door. And it's like if you breathe, you know, opening this door will sound alarm. [01:23:20] Speaker A: Yep. [01:23:21] Speaker B: Unless you have, like, the accident, it. [01:23:22] Speaker A: Makes sense for that to be the case. [01:23:24] Speaker B: I mean, if somebody's gonna get on a helicopter, they just beep and then they maybe. I don't know. [01:23:30] Speaker A: All right, so machinery and this machinery skill. These are both wit skills. Machinery and technology. Machinery is about like operating a crane, you know, operating heavy Equipment. [01:23:40] Speaker B: Knowing. [01:23:40] Speaker A: Knowing how to turn a generator on, that kind of thing. This seems like technology to me. Right. [01:23:45] Speaker B: Yeah. [01:23:46] Speaker A: Okay. I'm gonna. I'm gonna try to basically bypass it, turn it off, figure out the code. I mean, there's no way. There's no way for me to figure out the code. [01:23:55] Speaker B: Remember. Remember what she gave you? [01:24:00] Speaker A: Oh, is there a key card slot? [01:24:04] Speaker B: Well, it's like one of those you hold it up to. [01:24:07] Speaker A: Oh. So thank you for reminding me. [01:24:10] Speaker B: Yes, I. I wish. [01:24:12] Speaker A: Yep. Yes. [01:24:13] Speaker B: Yeah. In fact, we. We. [01:24:14] Speaker A: Tit for tat. You're welcome. You're welcome. [01:24:17] Speaker B: You know, in the moment, I think. [01:24:19] Speaker A: I think I will. For a moment, he's going to be like, damn it, this is not my specialty. You know, how do I know which numbers? And I'll look for, like, which numbers are a little bit worn, because I've impressed more. But then I'm. I've got the whole. Like, how will. Let. Let me know what order they repressed in. And then I'm like, idiot. Reach in my back pocket, pull out that card, hold it up to any kind of, like, magnetic, you know, mag reader kind of thing. [01:24:41] Speaker B: You hold it up to the mag reader, and it just. It blinks red. [01:24:46] Speaker A: It brings red. [01:24:47] Speaker B: Yep. [01:24:48] Speaker A: I turn the card around, try it. [01:24:51] Speaker B: Again, flip it around. [01:24:53] Speaker A: Yep. [01:24:53] Speaker B: Flip it upside down, that same red. [01:24:57] Speaker A: And there's no swipe or anything like that. It's just. Damn it. Why did Sean point me to this card if it's no good? [01:25:08] Speaker B: Ah, what is the car, too. What is that card to? What could it lead to? I don't. Why would she give me a card? [01:25:16] Speaker A: It's true. Because back in my pocket, and I tell you what I'm gonna do. I know what I'm gonna do. I'm not gonna roll technology because I don't see, like, I don't have the gear. I don't have the expertise. I. I'm going to roll force. I am going to try and, like, the butt of my gun, like, break this thing so I can. So it's just. It's just deactivated. I can get through. Right. Knowing that there may be a moment here with my stress dice and whatnot where the alarm goes off. This gets back to what I was saying when we reviewed the game, where I think they are neglecting the proper use of stress dice. Like, if I get a one right now, mami, alarm goes off. But the game tells you. All it does is cancel its success. But if you're the GM here, like, this is where the alarm would go off right now. Let me ask you this. Is there a limit on when I can use the story point? Can I use the story point after I roll? [01:26:06] Speaker B: Yes. [01:26:07] Speaker A: Okay, so I'm not. [01:26:08] Speaker B: I believe I can. [01:26:09] Speaker A: I'm going to roll strength, which is three dice, and force, which is one die. And my two stress dice. I'm going to try to break the keypad with the objective of getting through the door without the alarm going off. Makes sense. [01:26:24] Speaker B: Yes. So you are. You're raising a story point. [01:26:27] Speaker A: I'm not using a story point. [01:26:28] Speaker B: Yes. [01:26:29] Speaker A: Okay. But I'll tell you what. I just rolled and I did not get a success, nor did I get a one on either of a stress dice. And I'm going to use a story point to make this a success, which turns ones to twos. So I have a one on my regular die, which doesn't hurt me, but it turns that to a two and it turns one of the dice to a six. So I have a single success in trying to force open the store, basically by smashing the keypad. [01:26:54] Speaker B: And you immediately take a point of stress. [01:26:57] Speaker A: What? I forgot about that part. [01:27:01] Speaker B: And it's only once per scene, by the way, just so you know. [01:27:04] Speaker A: What? [01:27:05] Speaker B: Once per scene. Story point. Once per scene. [01:27:08] Speaker A: So this scene is the getting there. [01:27:11] Speaker B: Yeah, it's in the stairwell. I give you that. [01:27:13] Speaker A: Yeah, yeah, yeah, of course. Gotcha. [01:27:14] Speaker B: Okay, sure. All right. [01:27:15] Speaker A: I have three stressed now. Jesus. [01:27:17] Speaker B: Yeah, but as soon as you spend a story point, immediate point of stress, and then it's got it to your point, it changes one to a two and. Yeah. One to a six. Okay. [01:27:26] Speaker A: All ones become twos and you get a single success. So it is that. It's that, you know, for Connolly, if he's listening, there's no like pushing re rolling. It's just auto succeed by spending the metacurrency but limited number of times. [01:27:42] Speaker B: And for everybody and for everybody listening at home, Sean, the game master now has three villain points. [01:27:51] Speaker A: Suck it, G. I'm putting on. [01:27:54] Speaker B: But I think what we'll find is that they. They're nice to have, but they're, you know, we'll see how it is. [01:28:01] Speaker A: Oh, we'll. We'll see. No, no, you gotta. You gotta use them, man. [01:28:03] Speaker B: You gotta use them and had a villain to use them with. [01:28:06] Speaker A: I go through the goddamn door. [01:28:09] Speaker B: Okay, so you smash it in, fizzles out and you go through the door. [01:28:14] Speaker A: Yes, in a way that I'm not like, you know, hello, I'm here kind of thing. More. More like I open the door Put a shoulder into it if it's stuck, and then open it a little bit. Put an eye out there. Idea being. Hopefully I'm arriving before the. The crew with. With Aaron, with the guy that I'm looking for, Dr. Vane, or whatever his name is. Dr. Vane. And I'm going to be trying to find a objective being, try to find a place I can hide on the roof where I can like ambush them kind of thing, or make off with them or generally monkey with their business. [01:28:45] Speaker B: Okay. [01:28:46] Speaker A: But maybe they're already out here for all I know. [01:28:48] Speaker B: Who knows? It's hard to say. [01:28:50] Speaker A: Let's find out. [01:28:50] Speaker B: Okay, and let's see. Okay, you get out there and there. There are H vac units that are out on the roof, and then there is a. It looks to be like a platform in the middle that is raised and it's got, like, metal pillars and real steel scaffolding. That is a helipad. A helipad? [01:29:18] Speaker A: Yeah, an elevated helipad. [01:29:20] Speaker B: Elevated helipad. And there are steps that go up to it. It kind of goes up and then it crosses over and goes up another level, probably a good 20ft. [01:29:31] Speaker A: Okay. And no, there's no sign of anybody yet. [01:29:35] Speaker B: There doesn't seem to be. And there it's. It's pretty much lit up like a Christmas tree up here, you know, in different spots. It's even brighter up on the helipad, but everything you can see is. Is lit up. And with lighting, even a bright red one, like, kind of blinks every once in a while, higher above. [01:29:53] Speaker A: What does that mean? [01:29:55] Speaker B: Oh, yeah, it's to make sure no airplanes fly into something elevated. Right. [01:30:00] Speaker A: Oh, it's like. It's like on a mast or something. [01:30:02] Speaker B: Yeah. [01:30:03] Speaker A: Or an antenna. Okay, I gotcha. [01:30:05] Speaker B: Yeah. [01:30:05] Speaker A: I mean, what you're trying to tell me is that it's like. [01:30:07] Speaker B: Yeah. [01:30:08] Speaker A: Brightly lit. It's a landing pad. [01:30:09] Speaker B: Right. [01:30:10] Speaker A: So it's. And it's going to be used soon, probably. So I slip outside, close that door behind me, and now I'm like, I should not have perhaps broken the keypad. They will know. They will know. You know, I'll go back in for a minute and try to, like, rejigger it, make it look like it's. [01:30:28] Speaker B: You know. [01:30:28] Speaker A: But I'll give up on that pretty quickly. Slip outside. I'm. I need to try and find a place where. Let me say this, if there's nobody else out here and no cameras. I don't see any cameras or anything. Make me roll a D6. Oh, okay, good. [01:30:45] Speaker B: Now. [01:30:48] Speaker A: I Want to know if there are other means of egress onto this helipad rooftop area or if this set of stairs that I took, is this the way that they're going to come, or is there another way up? Is there an elevator? Is there something else? [01:31:02] Speaker B: No. This penthouse or something? No, this would be the only. The only way up that you can assess. [01:31:08] Speaker A: Okay, cool. This is gonna be maybe more brute force than I'd like, but I don't have time to plan anything else or do anything else, so I'm gonna look for a good hiding sp. You know, I'm picturing the stairwell. The stairs come up, and there's like a little. The little building that the stairs come up into, and you open the door and you're on the roof kind of thing. Even if I just went behind that little structure, I'd probably. Probably be hidden from anybody coming up under the roof. Right, right. And there's no chopper present Currently, No. [01:31:36] Speaker B: So you are. I think it's probably around almost 11:30 at this point in game. And she had mentioned midnight, so it's still kind of early. There's not any sign. [01:31:50] Speaker A: Is there any way for me to get cover from people who are arriving by air? [01:31:56] Speaker B: I. I think it just. Excuse me. Would be like, John McClain, man. It depends on. On that. [01:32:03] Speaker A: The air handling units kind of thing. [01:32:05] Speaker B: Yeah, yeah. [01:32:07] Speaker A: That's what I'm going to focus on, actually, is the ducting and the air handling units. If there's some way for me not to get inside, but get to get under them, amidst them, these big silver, you know, metal features on the roof. Is that a stealth roll? What is that? [01:32:24] Speaker B: Yes. If you are looking to. To hide and. And provide yourself with some cover. And it's just from the potential helicopter. Is that what you're looking for? [01:32:32] Speaker A: Mostly from the chopper. So the chopper doesn't, like, arrive and be like, it's out on the reef. There's a guy how. Maybe this is a lot. [01:32:41] Speaker B: I will give you a bonus die, sir, for timing and not. I don't know if you feel rush necessary. There isn't a, like, I gotta find a hiding spot in a few seconds or I'm in trouble. So. [01:32:53] Speaker A: Yep. Yep. So this is four agility, two for stealth. So that's six dice, plus the three I have for stress now. [01:33:02] Speaker B: And you took my bonus die. [01:33:05] Speaker A: I did not end the bonus die too. But I have a question. How far from the helipad is this hiding spot? [01:33:12] Speaker B: Or. [01:33:13] Speaker A: Or, I mean, let's just describe it in general terms like If I hide amongst this duct work. Am I very far now from the. The stairs exit where they will come onto the roof, and from the helipad. [01:33:23] Speaker B: We'Ll see what your role comes up with. Maybe. [01:33:26] Speaker A: Okay, fair enough. That's. That's an extra success. [01:33:28] Speaker B: Maybe says better. Yeah. [01:33:30] Speaker A: All right, here's the roll. Many dice? At least one. Oh, for. Six. Two ones on the stress dice. [01:33:41] Speaker B: Oh, those are gonna cancel out some successes, so you better have a lot, buddy. [01:33:46] Speaker A: I don't. [01:33:47] Speaker B: I have one success that cancels with the Bane. [01:33:50] Speaker A: I know. I'm aware. So if I'm gonna push that. [01:33:53] Speaker B: Did you. Hey, do you know that you're, like, not succeeding right now? The. [01:34:00] Speaker A: If I push this, I don't re roll. What? The ones and the sixes. [01:34:05] Speaker B: You can. You can re roll whatever dice you want. [01:34:10] Speaker A: No, no, no, no, no, no, no, no. I'm remembering now. You don't re Roll stress dice. Remember that? [01:34:16] Speaker B: Correct. You correct. [01:34:18] Speaker A: That's correct. [01:34:19] Speaker B: That's right. [01:34:19] Speaker A: Yeah. And I. And I don't. And you can choose. I'm going to leave the 1 6, obviously. [01:34:23] Speaker B: Right. [01:34:24] Speaker A: I'm going to set aside my stress dice, of which there are three, but there are soon to be four, because I have. [01:34:29] Speaker B: But you again, put four on this roll. [01:34:32] Speaker A: I'm not going to put four on this roll, but I will add one to it for next time. Right? [01:34:35] Speaker B: Correct. [01:34:36] Speaker A: So I currently have two Banes is what I rolled. [01:34:38] Speaker B: Okay. [01:34:38] Speaker A: And I have rolled one success. I am rerolling the other D6ers to. To try and get two more successes. [01:34:47] Speaker B: I take a villain point. Thank you very much. [01:34:50] Speaker A: Yes, you do. I rolled one more success, which leaves me with a flat. The Banes. Cancel them. I'm not willing to push again. I. There's no good hiding spot from the helicopter. [01:35:00] Speaker B: Well, you find one. [01:35:05] Speaker A: I choose to interpret this differently. Are you like Willem says? Willem says this will not do at all. [01:35:12] Speaker B: Are you, like, huddled up on the concrete platform like this and seeing. They won't see me now, boss, he's on. [01:35:18] Speaker A: He's on top of the air handling units posing like a statue. They will never find. [01:35:24] Speaker B: He's like all prone like this. This pistol out and. [01:35:28] Speaker A: Yeah, yeah, yeah. In fact, you know, here's what he decides when he. Because he's probably spend some time looking around like. And he's like, there's just no good way to do it. I'm too far from the helipad. They'll still see me. See me instead. Picture the exit onto the roof. He's going to Go around the other side of that and be listening. And if the helicopter arrives from a certain direction, he will use that little structure as cover and move from side to side as need be, depending on where the other people are. We'll just have to play it by ear. He's just like, you know, I wish I had time to plan this, but I don't because my GM is a very mean person. Who now has three villain points. I'm not sure what I'm going to do. [01:36:04] Speaker B: Well, I think what I was trying to do is based on the roll, you can find a hiding spot. But how good is it? Is. Is what I was kind of getting to. [01:36:14] Speaker A: It's Sean. It's so I'm not. I'm not using it. [01:36:19] Speaker B: Fair enough. [01:36:20] Speaker A: Using. Using German instead of Dutch, but I don't know any Dutch. All right, I have four stress dice now. [01:36:28] Speaker B: And I have four villain points. Thank you very much. [01:36:31] Speaker A: Shut the hell up. Let's. Let's roll, buddy. [01:36:33] Speaker B: Okay, I wait. So that's the plan. Wait. Wait until they make their way up there. Okay. [01:36:38] Speaker A: Yes, dude. Yes. [01:36:40] Speaker B: I hope they're still taking them out in helicopter. [01:36:43] Speaker A: 20 minutes. [01:36:45] Speaker B: All right. [01:36:45] Speaker A: Yes. She did say. [01:36:47] Speaker B: She did say. Midnight. [01:36:49] Speaker A: Midnight. Chopper gave me a key card. I wonder if the key cards for their room or something. I'm just a bypass again. [01:36:55] Speaker B: That is interesting, but it doesn't have. [01:36:58] Speaker A: A hotel room on it. Or does it? [01:36:59] Speaker B: It does. No Any go to any hotel. None of them are going to have rooms for a reason. [01:37:04] Speaker A: Not in 1982, my friend. They would. Absolutely true. [01:37:08] Speaker B: But I don't even know if they'd have key cards in 1982. [01:37:11] Speaker A: Do I have times. Do I think I have time to run back downstairs? It's 11:30, right? [01:37:16] Speaker B: You look at your watch. [01:37:18] Speaker A: I do look at my watch. [01:37:19] Speaker B: It says 11:30. [01:37:23] Speaker A: You do have time. [01:37:24] Speaker B: You. I mean, you can go downstairs. It's not going to take you. [01:37:27] Speaker A: Well, 20 minutes, I'm going to presume. How about this? I'm going to presume that they're probably on the fifth level, the top level, the penthouse level. I am going to go back through that door where I've wrecked the keypad. [01:37:39] Speaker B: Sure. [01:37:39] Speaker A: Back down to the fifth floor and try that key card in a couple places in a stealthy way. [01:37:50] Speaker B: Just so that I'm on the same page. You're gonna go through the door. You came up down to the fifth floor and just make your way down rows of rooms, hoping in the key card hits. [01:38:06] Speaker A: Nope. When you put it that way. What's his name. Okay, to the lobby. From the. So stairs down to the elevator. [01:38:20] Speaker B: Okay. [01:38:21] Speaker A: Elevator to the lobby. [01:38:22] Speaker B: All right. [01:38:23] Speaker A: Time is ticking. You know, many, many glances at the watch as this happens. [01:38:26] Speaker B: 11:35. 11:35. [01:38:31] Speaker A: Okay, to the lobby. [01:38:35] Speaker B: You're at the lobby, Right? [01:38:36] Speaker A: Right to the front desk. [01:38:38] Speaker B: Okay. Nice, brightly lit, kind of a yellow hue to it because of the. The marble that is around. Wooden tables. You go up and there's an individual dressed in a suit and tie. It says Luca on the name tag. Gold name tag that he has on his left breast. [01:38:55] Speaker A: Got it. Willem says, excuse me, I am with the Krell party, the one departing at midnight. And I. I've. I've. I'm meant to meet with them. I've been given this. He holds a card up. I've been given the card to get access to the room, but they neglected to tell me what room they're in. Can you help me out? I believe the. The man's name is Victor Krell. [01:39:20] Speaker B: I'm sorry, sir. We don't. I don't typically give out room numbers here. [01:39:28] Speaker A: I cannot miss this helicopter. I am asking you to do me a favor. [01:39:34] Speaker B: May a persuade check, sir. [01:39:36] Speaker A: Oh, for God's sakes. With all the. [01:39:40] Speaker B: MP2, he looks new. He just started yesterday. Sir, I don't know if that's our policy. I could lose my job. [01:39:49] Speaker A: For those who have commented about how can you. How these systems roll with one PC? This is where my character would be. Like you. You over there who know how to talk to people. You should talk to this person. Because I don't know how to do it. I don't know how to interact with the humans. But I got two sixes on my stress diet. [01:40:08] Speaker B: Did you really? [01:40:09] Speaker A: I succeeded and then some. [01:40:11] Speaker B: So. You look so stressed. He feels bad for you. [01:40:15] Speaker A: Yeah, clearly. Like, I play it up, I'm like, I'm going to lose my job. This is the best opportunity for my whole career. My wife's going to be so upset. [01:40:25] Speaker B: I just. [01:40:26] Speaker A: It's a simple question. I'm asking you. You know that. That party's leaving soon. [01:40:31] Speaker B: It's like, let me see your key, sir. [01:40:36] Speaker A: I hand it over and he walks. [01:40:39] Speaker B: Over two feet, swipes it, probably blanks it out. He says, that's. Looks around before saying anything and slips it to you, then stops. That's for the tower suite, room 404. Sir, please be discreet. [01:41:00] Speaker A: Thank you very much. I owe you. [01:41:02] Speaker B: Yes, sir. Have a good evening. [01:41:06] Speaker A: I will. I will write up a good review in your trade journals for the hotel. [01:41:09] Speaker B: He Nods and I go. [01:41:13] Speaker A: You're. What will be a Yelp review later. [01:41:16] Speaker B: Trade journals. [01:41:17] Speaker A: Yes. Or whatever. Travel. Travel, Travel. Yeah. It's not trade journals. So fourth floor, not fifth floor. That's good. That I. That I checked it and. [01:41:30] Speaker B: Sorry. [01:41:30] Speaker A: Tell me the room number again. 404. Was that what it was? [01:41:33] Speaker B: 404. Room not found. [01:41:38] Speaker A: And he said tower. It's probably like, no tower. There's no fourth floor. Something. You're playing Delta green. You can't get to the fourth floor. Tell you what. I am going to go to the elevator bank, and if it. If there's no elevator in the lobby, like someone's using them. I'm taking the stairs. I'm just gonna run. [01:41:57] Speaker B: You get to the elevator, goes to. To fourth floor. [01:42:00] Speaker A: Okay. [01:42:00] Speaker B: Ding. Yep. Ding. Fourth floor. Boom. [01:42:04] Speaker A: Up and down. [01:42:04] Speaker B: It's like 4:20 through 429 that way. 401 to 419 this way. [01:42:15] Speaker A: I go. [01:42:17] Speaker B: Okay. It does. You don't have to go very far. 414-24-0,3. 404. [01:42:23] Speaker A: Got it. I listened to the door. I approach it quietly, and I listen to the. Put my ear to it. [01:42:28] Speaker B: Give me below. [01:42:30] Speaker A: Below the people. [01:42:31] Speaker B: Give me an observation. Check, Willem. [01:42:34] Speaker A: Four plus one. Plus my four stress dice. Freaking stress dress. [01:42:40] Speaker B: Stressed. [01:42:41] Speaker A: Oh, man. I got two successes again from the stress dice. [01:42:46] Speaker B: Oh, they're pulling. [01:42:48] Speaker A: And no veins. [01:42:49] Speaker B: Ah, they're pulling. [01:42:50] Speaker A: Help me out here. The moment is tense. They're helping me focus. I cannot let the Sector X down. We cannot let the doctors, you know, be taken into Kronos clutches. [01:43:03] Speaker B: You do hear something on the other side of the door. Muffled voices, but you can't make out exactly what they're. What they're saying. But there. There is somebody. They're not sleeping. There's even a light coming out from underneath the door. You notice door opens in. It does. Like, every hotel room ever. [01:43:23] Speaker A: That's why I asked, though. I asked for a reason. I asked for a reason. You will understand. [01:43:28] Speaker B: I understand. Wait a minute. I never said it opened in. [01:43:31] Speaker A: Huh? Correct. I asked for a reason. I knock on the door and I do the. [01:43:38] Speaker B: And then it goes quiet. [01:43:41] Speaker A: I will say, hotel security, we have an update about the helipad. Knock again. I'm just rushing through this, buddy. [01:43:57] Speaker B: The guy looks through the keyhole. [01:44:02] Speaker A: Okay? So as soon as I get this sense there's someone on the other side of the door. Like the light beneath. [01:44:07] Speaker B: Yeah. You see the feet? [01:44:09] Speaker A: My gun is in my hand, lower than he can see or, like, down to my side, behind My leg. But as soon as that happens, I. I am swiping the key card and putting my shoulder into the door with the intention of, like, driving it right into him, hitting him in the head, driving him back into the room. And my gun will be out as I'm going into the room. [01:44:24] Speaker B: That. That sounds like a good plan. It does. [01:44:28] Speaker A: I wish the dice didn't have something to say about it, but it does. Is that force? [01:44:33] Speaker B: It is, yeah. [01:44:34] Speaker A: Okay. One, two, three for strength, one for force, four for stress. Here comes that roll. A complete failure probably means, like, the key card doesn't work. I pancake against the door. I have two successes. [01:44:52] Speaker B: Key card. It's like, how does this work? [01:44:56] Speaker A: I have to time it. [01:44:57] Speaker B: Tell me how this works. Key card works. No problem. Is it, like, slow motion? Shing. [01:45:06] Speaker A: So key. Yeah, yeah, exactly. Exactly. Like, it's. It's timed precisely. Because as soon as the key card goes. I imagine in 1982, they're probably not. Might be a light, but maybe not. There's a click. As soon as I hear the click of the bolt, I'm having to. Man, this is with my. My gun hand. Right. Fingers off the trigger. But I use that to slam the handle down, which opens the mechanism. And that's when the shoulder hits right into it. And it's slant, and it hits something hard on the other side. But I push through because that hard thing was the dude's head. So I push through into the room. Tell me what I see. [01:45:42] Speaker B: Because the hard thing is his head. [01:45:48] Speaker A: He's gonna have the mark on his forehead of the. Of the chain. [01:45:52] Speaker B: Yeah, the chain. It's 80s. Chain. No, no, none of the swipey bar things. Yeah, chain. [01:45:58] Speaker A: I was thinking it was actually the. Like, the. The lens he looks through. [01:46:01] Speaker B: Oh, even better. [01:46:02] Speaker A: Right? Yeah, Right in the forehead. [01:46:03] Speaker B: Yes. That would be awesome. He goes to look in there, it's like, boom. [01:46:06] Speaker A: Slam. [01:46:07] Speaker B: Yeah. So do damage. Do close combat. [01:46:18] Speaker A: You know what? [01:46:19] Speaker B: What? [01:46:19] Speaker A: Okay, go. [01:46:20] Speaker B: No, go ahead. [01:46:21] Speaker A: My suggestion would be to use my extra success to do a point of damage to him. [01:46:26] Speaker B: Okay, that's fair, I guess. [01:46:27] Speaker A: I had one extra. I had one extra six. Right? [01:46:30] Speaker B: Sure. Yeah. That's not a problem. You can do that. [01:46:33] Speaker A: Okay. [01:46:34] Speaker B: So he is stunned. He is like, boom. And he goes backwards. [01:46:42] Speaker A: Through. Into the room. [01:46:43] Speaker B: Right into the room. Yes. And the door opens wide open. He is laying down. His feet have kept the door open from closing. You're welcome. And he's noticeably. Noticeably dazed. Laying down on the ground. And it's. You know, he's a He's a pretty big dude. Short hair, buff shirt, jacket. [01:47:13] Speaker A: And he's on the floor. [01:47:14] Speaker B: On the floor. And as his coat opens, you could see that there's a weapon and a holster. [01:47:18] Speaker A: Yeah, he's. He's packing. [01:47:20] Speaker B: Yeah. [01:47:21] Speaker A: Okay. What else do I see? [01:47:23] Speaker B: Yeah, when you look into the room, it opens up kind of. It's a little narrow area as you first walk in. There's the bathroom to the right, and then there's probably just like a little closet area where there's a, you know, a couple hangers and things of that nature. And then it opens up into a bigger room where there's a couple beds probably around the corner. You can just see the ends of them, maybe two of them. And then there is a table just around to the left. Barely like as it opens up, probably on the left hand side. So it's kind of like a tea room, if you will. Tea section. And you could see over near the window that somebody is tied up onto a chair. [01:48:02] Speaker A: Gotcha. [01:48:03] Speaker B: And it looks like a guy with like gold wire rim, circular specks in their little half cocked and his head's disheveled. And Dr. Eris Vane, you can assume. And then there's one other goon that is like at this point, standing up and getting, you know, as soon as somebody knocked on the door, Eve stands up and he's like next to the doctor. And then there's another individual who you recognize as Victor Krell. [01:48:33] Speaker A: Gotcha. So, Krell, one other guard who's rising to the occasion. A man tied to a chair and a guy who's sort of dazed for a moment beneath my feet. [01:48:42] Speaker B: Correct. [01:48:45] Speaker A: All right. Are we drawing initiative? Is that what we're doing or how. [01:48:48] Speaker B: Are we handling this when it happens with surprise, you, I believe, get to choose where you fall in the initiative. [01:48:53] Speaker A: I would like to choose card number one. [01:48:55] Speaker B: Sean, congratulations. So for listeners at home in Yze, typically cards are used one to 10 and you flip them over randomly. But when there's a surprise round, the actual individuals that are involved in the surprise positively can actually choose when they decide to go. There are also talents that can also alter that. So Harrigan chooses to go at number one and also aces low. The lower the better. And initiative remains static for the entire combat round. [01:49:27] Speaker A: Got it. All right. I'm having to make split section decisions here. Browning high power comes up. Bam. I'm shooting at the guard. I'm actually going to shoot twice. Browning high power in this game has a rate of fire of two. Let me do. Let me Say this. Are we starting the combat rounds when I get into the room? Is that right? Yeah. Right now I'm going to use my fast action. This is yze with a fast action slow action, or two fast actions Fast action to aim at the guy who's rising. Slow action will be to fire my weapon. But I'm firing it twice. And if I put this guy down, Sean, my second shot's actually going to be at the guy on the floor. [01:50:08] Speaker B: Okay. [01:50:09] Speaker A: I can either shoot at the one guy twice and take a recoil penalty on my second shot, or if I decide to switch targets and shoot at the guy on the floor, or I don't want to shoot at Krell, but if I do shoot at him, it would be a minus one from the recoil and a minus one from changing targets as well. [01:50:25] Speaker B: Okay. [01:50:26] Speaker A: It's pretty cool. Little. Little firearm rules. So range weapons is two, agility is four. So that gives me six regular dice to start with. The weapon gives me two more. The Browning. All my meal makers kind of give that. And then I have all these stress dice, forest rest. And I have two from aiming. So I have a lot of dice. I have a whole lot of dice. Like a handful of dice. Geez. And I got. Oh, this is going to be beautiful. Oh, one cancels. Cool. So here's that mechanic in. I got three successes. Yep. Three sixes on my base dice. Of the four stress dice, I got one. One. So one cancels. So that means there are two successes. Does the guy have a vest or anything? [01:51:16] Speaker B: You're not sure? [01:51:18] Speaker A: Okay, But I'm gonna tell you what. I'm gonna put the extra D6 on damage. [01:51:22] Speaker B: Okay? [01:51:22] Speaker A: And the weapon damage is two. And the extra success means the weapon damage becomes three to the guy who's rising. So he gets a nine millimeter bullet. Bang. Three damage. What happens? If I can tell that's going to put him down, I'm going to switch my aim. Or if it hits him in the vest, I'm going to fire at him again. So I've got one more shot I can use, basically. [01:51:47] Speaker B: Okay, yeah, you hit him and hit him pretty hard. So he goes down. He, like, boom, boom. Falls backwards up against the wall and slides down onto the floor. [01:52:01] Speaker A: All right, so it's one smooth motion. This is the stuff that he's good that Willem is good at, right? Breaks through that door, puts the guy on the ground, lifts his gun, shoots the guy either dead or. Or near it, and then brings his gun down, two hands to the guy's chest, and bang, shoots Shoots him there, too. The idea being here to intimidate the hell out of Krell and keep moving. So I'm going to fire by removing 1D6 for recoil, 1D6 for switching targets. Right. And then all this, all these other dice. [01:52:30] Speaker B: Are you going again? [01:52:33] Speaker A: You get to shoot twice? [01:52:34] Speaker B: Oh, yeah, yeah, yeah. Sorry, go ahead. [01:52:35] Speaker A: You have to shoot twice. But there's these, like, recoil and switching targets. Benders. Right. And on this one, no B, no banes. And two sixes. So I will do three damage to the guy on the floor as well. [01:52:47] Speaker B: Okay. Near your feet. [01:52:50] Speaker A: Yep, the guy at my feet. So three damage to the guy across the room who's rising. Yep, the guard. And then three. And then switch. Quick switch of aim. Bang, bang on the. On the ground. [01:52:59] Speaker B: Okay. Okay. [01:53:04] Speaker A: When you give Willem only half an hour to accomplish something, he's gonna break some eggs, my friend. [01:53:09] Speaker B: Right? For sure. Let me double check something. Okay. Okay. All right. [01:53:25] Speaker A: Yes. [01:53:25] Speaker B: You, you there. They seem incapacitated. [01:53:29] Speaker A: Okay. So I put both guards down and I'm, you know, is it. Could I tell. Last thing before my turn ends here. Could I tell if Krell had a weapon in his hand or anything? He did not. Right. [01:53:40] Speaker B: I presume he did not. He would. [01:53:44] Speaker A: So basically, it's going to be breakthrough. [01:53:46] Speaker B: Bang, bang. [01:53:46] Speaker A: And then look at Krell with, you know, with the gun sort of halfway. Halfway up towards him and say, don't be stupid. I'm here for Dr. Vane. Over to you for whatever the actions are going to be. [01:53:57] Speaker B: Okay. Crell obviously realizes how deep he is in right now. Currently with two of his goons incapacitated, he's got this nerdy professor sitting at a chair, and he's like, I am not sticking around to get shot and killed. So he makes his way and takes fast actions to get out of the room through the patio door and, like, sliding door. So he goes. Yeah. [01:54:27] Speaker A: Onto the balcony. [01:54:28] Speaker B: Onto the balcony. Okay. Yes. [01:54:31] Speaker A: Okay. [01:54:32] Speaker B: So he is gonna make his way out. Like, long live Cronus. And he moves out. I don't know. I don't know. [01:54:47] Speaker A: He has villain points, dude. [01:54:48] Speaker B: I know he does. I don't have to use him yet because you haven't done anything to him yet. [01:54:52] Speaker A: Fair enough. [01:54:52] Speaker B: Right. So he. Villain points don't do anything until, like, you succeed on something for him. So. And I cannot use villain points. [01:55:02] Speaker A: Only on him, not his bodyguards. [01:55:03] Speaker B: It's only on named NPCs or villains. [01:55:06] Speaker A: Sweet. [01:55:07] Speaker B: Yes. [01:55:08] Speaker A: Got it. [01:55:08] Speaker B: Small minor detail. After I looked it up and said, hold on a second. I want to check Something. [01:55:13] Speaker A: Okay. All right. [01:55:15] Speaker B: Well, yeah, they're. So he's. [01:55:17] Speaker A: He probably fast actions to open the door. [01:55:20] Speaker B: Open a door? [01:55:20] Speaker A: Yeah, patio door. And slow action to move outside. Right? [01:55:23] Speaker B: That's exactly what he does. [01:55:26] Speaker A: All right, so let me know when it's back to me or if you're going to have Vayne go or whatever. [01:55:31] Speaker B: So that's. Vane is like. He's tied up. [01:55:34] Speaker A: He's like. He's tied up? [01:55:35] Speaker B: Yeah, he's like. Yeah, he looks nervous and. And shocked. And he's, like, looking at the person on the floor and the person on the. On the. The other person on the floor, and he looks at you like. Like you're gonna shoot him. He doesn't know. It's now your turn. [01:55:52] Speaker A: All right, so I. I will run when he. When. As soon as I see Krell, you know, exit through the glass doors onto the balcony, I'm going to be heading after him, saying to Vane at the time, I'm here to take you. I'm here to take you in. I'm with NATO. I'm with the Section X. I'm here to rescue you. And then to Krell, I'm going to be. I'm going to be like, stop. They're under arrest. And, you know, even though I don't really have police powers, but we're not going to worry about that too much. So what I'd like to do, Sean, is use. I think I probably got to use my slow action just to get out there. Is that how movement works? I'm trying to remember. Is movement slow or fast? [01:56:31] Speaker B: It is. [01:56:32] Speaker A: There's a whole table. There's a big table. [01:56:34] Speaker B: Yeah, there is. So you can crawl. Close combat weapon attack. Toss a grenade, reload. Hang on a second. [01:56:42] Speaker A: Are you doing fast or slow? [01:56:43] Speaker B: That's slow. Those are slow. So fast are moving into a zone. So you can move into a zone. [01:56:50] Speaker A: Then this is what I'm doing, my fast action. I rush after him. After saying that to Vayne, I rush through the. Onto the balcony. And the idea is going to be I want him alive. So I'm holstering my gun quickly. Is that taking action? Probably not. I don't know. I think you know what it does. So I'm gonna keep my gun in my hand. I'll pistol whip the bastard. So I'm gonna. I'm gonna put the gun on safe as I move onto the balcony. And the idea is going to be to try to grab him by the collar before he, like, jumps or pulls a weapon or whatever. And the gun comes up. And I'm just going to be like, I'm taking you in and crack him on the side of the head. So I'm going to do a melee attack, like a physical attack. [01:57:29] Speaker B: So for those listening at home, a fast action that Harrigan is actually doing is moving through a door, which is actually on the table for fast actions. [01:57:39] Speaker A: Yes. [01:57:40] Speaker B: He already has his weapon drawn, so he doesn't have to do that. That would actually take a fast action as well. [01:57:47] Speaker A: All right, Strength is three. Close combat is two. [01:57:52] Speaker B: I think this would be. Are you. You're attempting to like, pistol whip them? [01:57:56] Speaker A: I'm gonna try to pistol whip them in the head. Like cuff them, you know, knock them. Basically knock them senseless or hurt him. If I'm a gm, I'm probably allowing a plus one for the weapon as a pistol as the butt. Right, sure. Like a knife gives you a plus one, for example. Sure. Okay. And then I have my stress dice. So strength three, close combat two. I got a pack of dice again. I've got like six, six base dice and four stress dice. Roll this. These are big. It's almost like champions. These are big, man. I'm rolling well, Sean. Oh, six. You're gonna. You're gonna use your revealing points. I can tell for sure because I got three successes. [01:58:34] Speaker B: Okay. [01:58:34] Speaker A: So that would. That would be one damage is the base melee thing. Right. And I'm going to use. You know what, what's the order of this? Do I choose what my extra successes do or do you choose to use the villain points now to reduce my successes or whatever you're going to do? [01:58:52] Speaker B: Oh, that is a good question. [01:58:53] Speaker A: I believe I have. Yeah. I have some specific things I can do with the villain, with the successes, which are kind of cool. We should explore them. [01:59:02] Speaker B: We can explore them, but we don't know if they'll work. [01:59:06] Speaker A: Correct. And some of them actually have to. Let me, Let me go to that page. Actually, it's pretty neat. You might remember when we reviewed it, like, extra successes on range weapons are kind of like. You do extra damage. [01:59:17] Speaker B: Yes. [01:59:17] Speaker A: But on the melee, it's like there's a little, like, there's a whole set of stuff you can do. It's kind of cool, but I just gotta find it, remember what page it's on. [01:59:26] Speaker B: Is it under hand to hand? [01:59:28] Speaker A: Come on. Combat. [01:59:30] Speaker B: Post combat? Of course. Right down the page. [01:59:32] Speaker A: Oh, I forgot about this. I don't want to do this. But this is a place where if he had higher initiative than I, I could use the success to switch initiative. Cards correct. So if I, if I, he had a three and I had a six, I could switch that right now, essentially going twice in a row. Right. Kind of. [01:59:47] Speaker B: That is true. Many of these things make you know what play with a. You know what a bigger party. Yeah. [01:59:52] Speaker A: Tell me this, gm, I think right now, what did he draw for initiative? [01:59:57] Speaker B: Well, I just, I didn't even roll because you had a one, so I let me roll. [02:00:00] Speaker A: So. So yeah, he's got a three. I could right now switch with him and go on three. In other words, go again. [02:00:11] Speaker B: You right, could do that. [02:00:14] Speaker A: I think that's. [02:00:14] Speaker B: But then you become. Then you become three. [02:00:17] Speaker A: The next round he goes on one. Then he goes on one and I go on. Yeah, exactly. I mean, but that's kind of cool. [02:00:24] Speaker B: Yeah. The other guy's got an eight. [02:00:26] Speaker A: Okay. So I can exchange initiative with these extra successes. I can do extra damage. One more point. I can do knockout, which is probably what I'm going to go for. I can do pin the opponent, push or shovel, trip or wrestle, a handheld item. So this is where like I. This is really modern game design here where I love, like, there's all these extra actions, feet, like things, whatever. But they just tie it all to like. Do you have extra successes? Because there's always things you can do. We don't need grappling rules or tripping rules or just all extra successes and do the thing right. [02:00:55] Speaker B: Correct. [02:00:55] Speaker A: So I'll tell you, I'll tell you what I like to do. I would like to do the one damage. Trip him and knock him out. So I'm trying to like on the side of the head, put him down and at the same time like drive his head into the ground so that he's like stunned. So three successes. But you may cancel some of those or whatever you're going to do. Right. [02:01:17] Speaker B: I should also mention, do you have martial arts. [02:01:21] Speaker A: As a. I don't. That would do more damage. [02:01:23] Speaker B: It would do. [02:01:24] Speaker A: I don't. [02:01:25] Speaker B: Yep. So just. Oh, no. [02:01:26] Speaker A: But I do, I do have. Depends on whether you counted or not. I should have rolled one more die if I was unarmed. I guess I wasn't unarmed because I had the pistol which you gave me a plus one die for. So it's all good. I have that. I have that hard hitter thing where I do one extra die in melee. Yeah, it's a wash. It's a wash. Yeah. [02:01:44] Speaker B: And so everybody knows for close combat, when there is hands and feet involved, it's. It's one damage typically. And then if it's Martial arts, then it's two damage. Yes. [02:01:53] Speaker A: Yep. [02:01:54] Speaker B: And then for each success is an additional point of damage or in another. [02:01:58] Speaker A: Or one or one of these things. [02:01:59] Speaker B: One of these effects. [02:02:00] Speaker A: Yes. In fact, let me say this. Well, okay, you. So you know what, generally what I'm trying to do, and I've got three dice. My. My strategy might change a little bit depending on how many successes I actually end up with. So tell me if you're going to use villain points, tell me if I can counter those with story points. Like what can we do here? [02:02:19] Speaker B: Yeah. So the story points, I believe, if I'm not mistaken, I could. I'm sorry, villain points. Let's get those straight. I use villain points, you use story points. [02:02:32] Speaker A: Yep. [02:02:32] Speaker B: So one villain point will negate one success rolled by PC during the mission to negate successes in any skill rolls directed against an NPC or villain. So I am not allowed to spend a villain point to counter result of skill roll that produced it. Only ones GM has can apply. [02:03:00] Speaker A: Got it. [02:03:02] Speaker B: The number of villain points will never cause the number of successes to be less than the number of banes in a roll. So I can't go into. I can't do it. Negative to you. I don't know why I would. I can't make it worse, I guess. And then cannot be used to make NPC succeed in a skill roll. So if I'm as a game master and he's making a skill roll, I can't use a villain point. So it's very much tailored for me to get a villain out of a. [02:03:30] Speaker A: Pickle like reason right now. [02:03:32] Speaker B: Right. And that's what I want to do. [02:03:34] Speaker A: Yep. Because I've got three successes coming at you, coming through, you know, bursting through the door, about to pistol whip him. But what actually happens? [02:03:44] Speaker B: Well, so I am one success. So I am hung up and maybe you can help me out. It says one vp. One villain point will negate one success rolled by PC. Is that one six or just the entire skill roll? [02:04:03] Speaker A: No, that's one six. One six. That's. You need to use three villain points right now and I would not affect you at all. [02:04:10] Speaker B: Right. [02:04:11] Speaker A: You know, you know, you'd block, block the, the hit, you'd whatever you dunk. [02:04:14] Speaker B: And dodge, duck, dodge. [02:04:15] Speaker A: Yep. Yeah, exactly. [02:04:16] Speaker B: So I think I have to use three so that I don't get succumbed, actually. So you. [02:04:27] Speaker A: Or you could use two and take one damage. I would hit you. Yeah. Yeah. [02:04:33] Speaker B: I'm gonna use two and take one damage to two and then my damage. [02:04:38] Speaker A: So I Strike him. But he's on his feet still, correct? [02:04:42] Speaker B: Probably. [02:04:42] Speaker A: Unless he has one health. [02:04:43] Speaker B: Yeah, he bruise him. Poof. [02:04:45] Speaker A: Oh, I'm taking you in. And it's his turn. [02:04:52] Speaker B: Not if I could help it. And he does a fast action. Jumps like vaults over the side of the balcony. [02:05:05] Speaker A: Okay. My story points allow me to do anything here. After the outcome of a failed roll, you want that turn any npc? Oh my. Does he have to make a roll for this? [02:05:19] Speaker B: I think I'm gonna have to make a roll. Well, so in action, he can just. I could spend two fast actions and get over the rail. [02:05:26] Speaker A: I guess what I'm saying is if he's about to pull a parachute or something, is there some sort of skill roll he's gonna. [02:05:32] Speaker B: As far as you know, you're like, what, this guy's jumping off a four. [02:05:34] Speaker A: Five story building and let's let him do it. [02:05:37] Speaker B: So he is. [02:05:39] Speaker A: Yeah, he's jumping off the fourth floor balcony. [02:05:41] Speaker B: Yeah, he is. He's looking rough. I don't think he has a skill that's gonna. [02:05:49] Speaker A: We're gonna test the following rules. [02:05:51] Speaker B: Oh, shoot. There are falling rules, aren't there? [02:05:54] Speaker A: What? 1d6 per 10ft. [02:05:56] Speaker B: Oh. [02:05:57] Speaker A: But people argue about whether it should be accumulative or not. Yeah. [02:06:00] Speaker B: So I. This is what my plan was. [02:06:03] Speaker A: All right, go ahead. [02:06:03] Speaker B: I can roll the 1D6 per 10ft. But there's. [02:06:07] Speaker A: That was. Dude, I was. I was giving D and D terms. [02:06:10] Speaker B: Well, no, but I think there is falling rules in this game. [02:06:16] Speaker A: Let's look it up. [02:06:18] Speaker B: Falling, page 56. [02:06:20] Speaker A: 56. [02:06:22] Speaker B: I'm gonna. I'm gonna cushion this. But I don't know, he might. I might end up falling in my doom. Should have put him in the fall. [02:06:30] Speaker A: Fall in meters divided by two. So a four. Four stories would be about 12 meters, 15 meters. Yeah, something like that. [02:06:40] Speaker B: Yeah. [02:06:42] Speaker A: So let's say it's 7:40. If you know, cup of difference, it's 14 divided by two. That's seven dice rounding. Yeah, keep rounding. [02:06:52] Speaker B: Fraction seven dice of damage. [02:06:55] Speaker A: Yep. Well, well, remember, only sixes would actually hurt him though. [02:06:58] Speaker B: Oh, yeah, yeah. Okay, I got you. [02:07:00] Speaker A: Right. You know what? Let's go with six. Go with 60 in terms of the. The, the distance. [02:07:05] Speaker B: 60. [02:07:06] Speaker A: And then if you want to as the GM. Here we go. It's like if you're falling into a haystack, a bush or a stack of mattresses, have the number of dice. And if he falls under like a snow covered tree or something, have the dice. Yeah. [02:07:19] Speaker B: Okay. [02:07:19] Speaker A: So if it's six dice, roll three. So he's still. If he gets 666, he's gonna. [02:07:25] Speaker B: He's gonna be hurting four and a one. [02:07:29] Speaker A: Okay. [02:07:30] Speaker B: And a one. [02:07:32] Speaker A: He's not good. He's fine. [02:07:33] Speaker B: He's fine. So is you. [02:07:37] Speaker A: He lands on something soft, obviously. [02:07:38] Speaker B: Oh, yeah. A big pillow of snow. Like, probably hits a pine tree on the way down, right? You know, brushes him and doesn't break his back. All the snow falls off the pine tree, down onto the ground, buries him. And you see him like. Like going through the air right into the snow. Okay, so that's his. That's his move. You can see about 20ft from him, like, four snowmobiles. [02:08:15] Speaker A: Oh, shit. Okay. [02:08:18] Speaker B: All right, so he's. He's done. He gets. Tries to get up out of the snow. [02:08:23] Speaker A: So I. Yeah, I mean, I can. I. My main objective is the doctor inside. So I immediately holster my weapon, and I just kind of look down. It's like, shake my fist a little bit. Like, oh, next time, I'm gonna go inside. And as I start untime a doctor, letting him know who I am. I'm with. I'm with. You know, I'm with NATO. I'm here to. Here to rescue you. I'm gonna pick up the. The phone and try to get the desk and be like, security to room 404 immediately. [02:08:48] Speaker B: Okay. [02:08:49] Speaker A: And. And also, don't let the. You know, the. The snowmobiles outside. Don't let them get away. I'm not sure how far you want to. You want to take this? [02:08:56] Speaker B: Luke is like. It's like my second day. [02:09:00] Speaker A: Right, Right. [02:09:02] Speaker B: Yeah. [02:09:02] Speaker A: I'm issuing a bunch of instructions to the hotel operator, whatever. I'll even identify who I am. You know, this is, you know, NATO security, right? Like, yes, Lane, they need to get security up to this room, and I'll throw in the hole, you know, if you can stop those snowmobiles from outside from leaving, which I don't. I don't have any faith in, but. Okay, maybe they can. [02:09:24] Speaker B: And as you are doing that, you hear. Yeah, it's very faintly like. Because the rooms, other than the. I don't know, the guys may not even be responding or making any noise. It's pretty quiet after all the ruckus. All the gun. Hey, Luca. [02:09:46] Speaker A: Security. [02:09:47] Speaker B: So, okay, now what do you do? It's like, yes, sir, right away. [02:09:54] Speaker A: I mean, I'm untying. What I'm really doing is talking to Vain and untying him and saying, I'm, you know, we're here to take you into custody. We're going to protect you. Kronos, you know, no longer has their clutches on you. I'm. Let me put it this way, Sean. I'm not sure how long you want to run this, but I'm. I'm leaning this. Attending this towards, like, wrapping up. [02:10:10] Speaker B: Okay. [02:10:10] Speaker A: I'm not going to catch the main guy. He's going to get away. This is his. This is his getaway. The snowmobiles and what. [02:10:15] Speaker B: He may not want you to get away. [02:10:18] Speaker A: Okay, well, that. That could be different. That could be different. [02:10:21] Speaker B: Like, he's. You got his good. [02:10:23] Speaker A: I do. Okay, that's different. Then in that case, I untie vain and say, come with me, and we're gonna basically make for the cable car. [02:10:35] Speaker B: Okay. [02:10:36] Speaker A: You know, in other words, let's put it this way, four floors. We're gonna go to the stairs because I'm. I'm predicting the security is going to come via the elevator, and I want to run into those guys. [02:10:45] Speaker B: Okay. [02:10:46] Speaker A: So we're going to take the stairs and try to go straight down and then straight out the building. The two of us running, basically. [02:10:51] Speaker B: Okay. [02:10:52] Speaker A: But the idea being I've alerted the building security as well. Right? [02:10:58] Speaker B: Okay. Yes. So you start making good or bad. No, that's fine. He's like, okay. And it gets his. Uncuff him and release him, and he's, like, massaging his wrists and grabbing his ankles. And he looks at you and he's like, okay, yeah, we have to get. [02:11:18] Speaker A: You out of here. [02:11:19] Speaker B: Okay. And he nods, and so you could take him out of the door and then come with me. As soon as you hit this, the stairs open up the door, and you can hear the footsteps. The footsteps echo from the stairway. As the door closes, the elevators go ding, and there's two individuals that look like hotel and staff walk out towards. [02:11:43] Speaker A: The room of the security. Are they like. [02:11:49] Speaker B: They're security. [02:11:51] Speaker A: Hotel security, yeah. Okay, But I can go down the stairs. But you're telling me there's. There's steps sounding in the stairwell, too? Okay, yeah, I go that way. [02:11:59] Speaker B: Okay. [02:11:59] Speaker A: And we're down. I'm gonna have to meet them, obviously. [02:12:01] Speaker B: Okay, so you run all the way down the stairs down to level two, the place where the carousel is. [02:12:10] Speaker A: Ah, okay. Is that where you go? [02:12:12] Speaker B: Oh, you want to go to the lobby? [02:12:15] Speaker A: What do you mean by the carousel? [02:12:16] Speaker B: Are you going to go to the. The lift, the level of the lift, or are you getting off? [02:12:21] Speaker A: I was trying to go down to the. I was trying to go down to the Very bottom. Oh, that's what you meant by carousel. I'm with you. [02:12:26] Speaker B: Yes. [02:12:27] Speaker A: Very bottom. If the stairs go down that far, which I guess they do. [02:12:29] Speaker B: They do. [02:12:30] Speaker A: Idea being fires, man. [02:12:32] Speaker B: Can't have everybody like up on top of the fire breakout. [02:12:35] Speaker A: Yep, yep. So yes, one level past the lobby to the carousel level and then out that door, leading the guy towards the cable car. [02:12:45] Speaker B: Okay. You get down there, there's no problem. There's the same guy that brought you up. He's like eating a sandwich on the rubber pad, like, like on a little chair that's sitting there, you know, nothing's going on. It's almost midnight. [02:13:02] Speaker A: Yep. We have, I, I've been successful at what I came here to do. Let's. We need to get going. [02:13:07] Speaker B: So as soon as you come out there through the two door slide apart, you walk through, you see him onto. [02:13:13] Speaker A: The cable car, you mean? [02:13:14] Speaker B: Yeah. [02:13:15] Speaker A: The cable platform or the built. The platform. Okay. [02:13:18] Speaker B: The platform right out of the main building, keeping the cold air outside. [02:13:21] Speaker A: Not on the cable car yet. [02:13:22] Speaker B: Not on the cable car yet. And then the guy's eating a sandwich and he looks at you and he. Oh, he nods slowly, gets up. Watt makes his way over to the cable car, lying in wait with the doors open. And he walks over, kind of a heavyset guy, kind of pulls up his pants, gets his things, brushes off the bread crumbs off his. [02:13:49] Speaker A: I understand. He's not fast. I understand. [02:13:53] Speaker B: Forgets his soda. He goes back to the chair. [02:13:55] Speaker A: While the camera is lingering on him lovingly and doing all this stuff, Willam will look out the windows behind him like, you know, pursuit of coming is there like what's happening at the hotel? Or I'm lower. [02:14:07] Speaker B: Yep. [02:14:08] Speaker A: I'm low. One level lower than where the snowmobiles were, right? [02:14:11] Speaker B: Yes. [02:14:12] Speaker A: They're probably out front of the lobby up on some like terrace or something. [02:14:15] Speaker B: Yeah, this, this level is kind of built almost on the side of a mountain piece under. [02:14:20] Speaker A: Got it. Yeah, got it. So I'm glad we went this way. [02:14:23] Speaker B: Yeah, for sure. [02:14:24] Speaker A: So I'm just going to say to, to vain Dr. Vane, like bored quickly and to the guy that is like taking his time to adjust his suspenders and his little, little Swiss hat and all that kind of stuff. I'm gonna be like, we have to, we have some urgency here. I'm gonna actually flash my badge, you know, my, my Sec section X badge and say we have some urgency to get to the bottom. So I need you to, you know, operate the car as quickly as it will go. Right now. [02:14:51] Speaker B: Okay. Give me a persuade check. [02:14:53] Speaker A: Thank you. [02:14:54] Speaker B: I need some points. [02:14:59] Speaker A: I'll give you a bonus. [02:15:00] Speaker B: I'll give you a bonus for flashing the badge. [02:15:01] Speaker A: The badge? Yeah. Empathy to. You know what, when we're done, all said and done here, we should look at the exposure I've got and this, that, that might matter. [02:15:11] Speaker B: Right. But we haven't. I think we didn't start you with any. And then I start with zero. Right. [02:15:16] Speaker A: I'm a brand new agent, essentially. [02:15:17] Speaker B: Right, Right. [02:15:18] Speaker A: Yeah. [02:15:18] Speaker B: I don't know. [02:15:19] Speaker A: Forced rest dice. Yeah, go ahead. [02:15:21] Speaker B: No, go ahead. [02:15:22] Speaker A: Two. Empathy, zero. Persuasion and one from my badge. So you only get ones, you only. [02:15:30] Speaker B: Get exposure after the mission or the session. [02:15:32] Speaker A: Yeah, yeah, I think so. That's what I meant. Like at the end of this we should like, tally it for sure. And I got exactly what I need, dude. I got one six. [02:15:40] Speaker B: You got a six. [02:15:41] Speaker A: No Banes. [02:15:42] Speaker B: Unbelievable. Oh, he snaps and gets his composure. Salutes you. Rushes over to the cable car and. [02:15:50] Speaker A: He'S like, all right. [02:15:52] Speaker B: Motion. Yeah. [02:15:52] Speaker A: Snap, snap. [02:15:53] Speaker B: Yeah. And then closes the doors. He throws it in high gear. Things like. [02:16:01] Speaker A: And I'm still. I've got all these stress dice drawn. I'm still like on the lookout, basically. [02:16:06] Speaker B: Fair, fair. So he starts moving the car before. [02:16:10] Speaker A: The doors are even closed, like, oh, now we're talking. [02:16:13] Speaker B: Yeah, yeah. So he. The doors close, like takes. [02:16:18] Speaker A: Now we're going to test this. We're going to test this John McLean thing. This. Can you recover stress when you're not? Because on the cable car ride down, I'm going to be like, okay, I think. I think we're good. We're in the clear. I think I've got. I've got one less stress die. [02:16:36] Speaker B: Now. [02:16:36] Speaker A: I've only got three instead of four is what I'm thinking. But the GM is shaking his head, so I don't know if that's going to happen. He doesn't like it, folks. He's reading. [02:16:49] Speaker B: How long is the stretch? [02:16:51] Speaker A: 10 minutes. [02:16:52] Speaker B: Oh, that's a long ride. [02:16:55] Speaker A: It is. [02:16:55] Speaker B: I will, I will. I guess it kind of took you 10 minutes to get up. I don't know if it would have taken you that long, but I'll give you the losing 1.2. [02:17:03] Speaker A: At least that long. [02:17:04] Speaker B: I will say that you feel as though you are not immediately threatened, therefore you can take a breather. [02:17:12] Speaker A: Exactly. [02:17:13] Speaker B: At the moment. [02:17:13] Speaker A: Yes, exactly. [02:17:15] Speaker B: If you, if somebody were like behind you and you jumped on there or. [02:17:20] Speaker A: I saw guys on snowmobiles below us or whatever. No, but it's Quiet, right. [02:17:24] Speaker B: You think it's done? Like, hey, we're good. We're in the clear. Yep. [02:17:27] Speaker A: I'm quiet. I'm talking to the doctor like, are you hurt? You know, do you need to get medical attention? [02:17:31] Speaker B: I am fine. I am very thirsty, but I am, I'm okay. [02:17:34] Speaker A: Do you have other family members who are in jeopardy? You know, I'm going to do a little bit of debriefing around them already. Right. [02:17:41] Speaker B: I am worried about my family, but I, I am okay, I think. [02:17:45] Speaker A: Okay. I'll take you to Brussels as soon. As soon as possible. [02:17:49] Speaker B: Yes. Great. Thank you very much. All right, start getting down. And you, you seem to catch your breath. A point of stress is gone. Get down to the bottom and the doors open up and the, the gentleman, the conductor, like, gives you, he gives you the thumbs up. [02:18:20] Speaker A: I pat him on the shoulder. Good job. Nice operating. Fastest cable car I've ever had. [02:18:28] Speaker B: Travelogue, all kinds of reviews. That's right. [02:18:31] Speaker A: That's right. [02:18:33] Speaker B: All right, so you have the Ferrari waiting. [02:18:37] Speaker A: I was going to say I'm going to make for the Ferrari and then the helicopter coming. You can picture that I'm, you know, always doing the left, right look, and the like, oh, is the coast clear? And if it's clear, I'm going to be like, you have to double time it. Run with me now, doctor. Run. We're gonna try. But then. Yeah, then the helicopter. [02:18:54] Speaker B: A observation check. [02:18:57] Speaker A: Observation. [02:18:59] Speaker B: Which three? [02:18:59] Speaker A: Observation one plus my three stress dice. Roll these. Shoot. I have a success and a bane that cancels it. So I did not succeed. [02:19:13] Speaker B: Okay. Your Ferrari is there waiting for you. [02:19:17] Speaker A: That makes me very uncomfortable. [02:19:19] Speaker B: It's like the only car. Yeah. In the parking lot. Okay. I mean, if you would have succeeded, there might have been another car there. Who knows? That might be a little bit better. But yeah. [02:19:31] Speaker A: Yeah, we basically, you know, it's late at night. I don't think much of it other than, you know, you know, and I also. They have not had a lot of time to react to what's been happening. So I'm not of the mind that they booby trapped the car or something crazy. No, no, no. Basically I'm gonna, you know, run to the car, open up the passenger door for him because I'm picturing he's not as athletic as I am, so I kind of got to wait for him to come along. Is he trundle, trundling along? [02:19:54] Speaker B: I then when he gets to the car, he's like 10ft away. He just stops and looks at it like Looks at you. [02:20:01] Speaker A: He says, I did not choose the car, the means of. Of. Of transport, but with it will get us where we need to go quickly sit down and help him in. [02:20:10] Speaker B: Raises his eyebrows and opens the car and crouches onto the ground to climb into it. [02:20:16] Speaker A: Exactly. [02:20:16] Speaker B: Gets on all fours off the ground. Yeah. [02:20:20] Speaker A: Yes. And then, and then I, you know, close this door, walk around to my side, cast an eye in the air at the chopper that I can probably hear more than I can see. But I then get in, close my door, fire her up, and then I'm not going to drive like a maniac, but I'm going to pull out, like immediately. And there's probably not much traffic this time of night, but I'm not going to drive like a lunatic to stand out. Okay, if it's possible, I'll say this. If it's possible, if I do see traffic or anything like that, which is, I think, highly unlikely, I would try to get lost amongst it. But I think it's more likely I'm the only car on the road, right? [02:20:58] Speaker B: You're pretty much the only car. Yeah. It's pretty quiet at midnight during the week in. In Lucerne. Sleepy little town of Lucerne. [02:21:05] Speaker A: Do I know of a tunnel nearby in the Alps, or. Must be one. I'm gonna make for a tunnel. [02:21:14] Speaker B: Give me. [02:21:18] Speaker A: It's one of those ones where there's not a great skill for that. [02:21:21] Speaker B: No. Give me a wits check. A straight wits. [02:21:24] Speaker A: Just. Just wits. [02:21:25] Speaker B: Just. [02:21:26] Speaker A: Well, does it. Does that include, I don't know if survival might. [02:21:32] Speaker B: Survival might. I'll give you survival. [02:21:34] Speaker A: And I have one point of survival. [02:21:36] Speaker B: You do. [02:21:36] Speaker A: It's three. Survival one and my three stress dice. Okay. Oh, three successes. One bane. So two successes. Okay, so maybe that means it's close. [02:21:50] Speaker B: Yeah. Well done. [02:21:51] Speaker A: Do I know it? It's not far away. [02:21:53] Speaker B: You. Do you know that there's a mountain pass that gets into some tunnels and, and things of that nature that go through the mountains? [02:21:59] Speaker A: Absolutely, yes. I'm picturing everyone who's listening to this has driven late at night when you get that blackness in front of you and there's mountains here. But as you come by the signs, they light up in that, like fluorescent green, almost like they glow in the lights. And when I see one of them that has the arrow for this, this pass, there's a sharp turn and then an accelerator. Like now I'm, like, I'm going quickly now. Before, I was trying to not draw attention, but when I get to that turn, I. The wheel wrenches, the Car fishtails and the hammers down. The Ferrari is, you know, tail lights race into the blackness. [02:22:34] Speaker B: Okay, why don't we get into chase? Shall we? [02:22:39] Speaker A: I think we shall. [02:22:40] Speaker B: So chases. They. There is no initiative when you start chases. [02:22:45] Speaker A: Okay. [02:22:45] Speaker B: The. What it has done is you determine the starting range or we. Or we roll for it. In this case, I would say that it's at least probably two zones away. See if I can pull this bigger because it's not two zones away. And it's also two different things that we're dealing with. So there are two tables that would play a role potentially in this chase that would add complications. [02:23:18] Speaker A: You know, six tables. Yeah. [02:23:20] Speaker B: Correct. So if we were both using vehicles, they would both roll on the same tables. But because we're. One is in the air and one is in a vehicle, it adds a different dynamic that Harrigan will have to probably maneuver past certain obstacles that the air. That the helicopter will not. [02:23:39] Speaker A: Fair. [02:23:39] Speaker B: So each participant may perform one maneuver each round. Okay. So then depending on the maneuver, passengers, PCs, NPCs in the same. In the same vehicle may act during that round. So if you have a passenger who has a gun, they would be able to shoot during that group's turn. Each one of the parties in this case can do two actions. A fast and a slow. [02:24:08] Speaker A: Or too fast and fast is drive. Right. So technically, I think I could use my slow action to, like, shoot out the window, for example. Right, sure. Yes. Kind of like we were saying with tiny spies, where there's a nice action economy here, which you don't have that goofy. Like, if you're driving, can you do something else? Because you're using your action to do that. This game accounts for that. Right. The fast action is the drive. The slow action is doing something else. [02:24:33] Speaker B: And as you're firing, you would suffer a minus two penalty unless the driver chooses to perform a stand and shoot maneuver. [02:24:44] Speaker A: Oh, I see that. Cool. Well, I can make that decision because I'm driving. [02:24:49] Speaker B: You are driving. [02:24:49] Speaker A: So in other words, I could drive. I could steady the car and put my hand out the window and. Yeah, right. I don't anticipate on shooting the helicopter down with my pistol, however, so it might be moot. I want to get to the tunnel. [02:25:03] Speaker B: So page 63 in the rule book will outline the maneuver. [02:25:06] Speaker A: Sir, I'm looking at him. Yep. [02:25:09] Speaker B: And then we restart. I'm gonna write him down because. [02:25:14] Speaker A: Pursue, flee. [02:25:15] Speaker B: Correct. [02:25:16] Speaker A: Hide, block, cut off, ram attack, stand and shoot. [02:25:20] Speaker B: Or trick. Yes, I'm going to. I've got mine written down. Here. Which probably won't be any big surprise. So they are reveal. You do not tell anybody what's going to happen. And then it's divulged. [02:25:37] Speaker A: You know what, let me look at these briefly here. Swiftly duck into an alley. What is our. Is there a starting like range? [02:25:45] Speaker B: The range is two zones. [02:25:48] Speaker A: Okay. Two zones. And that. That will determine certain. Certain things that I probably can and can't choose. Right. [02:25:54] Speaker B: I would actually probably say it's even long. Probably long. So three zones. We'll change that. [02:26:01] Speaker A: Three zones. Okay. Looking at hide performed by the prey at medium range or greater ply minus 2 if it is medium. I'll tell you what, I'm gonna start. Let's do this a little bit differently. I was gonna just pursue, just flee. Right. Because I'm trying to get to this tunnel. But as I look up and I look at the road ahead, I see this dark stand of trees. I'm about to drive through. I hammer it, you know, have that. My foot is planted, you know, fifth gear, Ferrari's flying. And then as I zoom into these trees, off go the headlights and I slam the brakes on. I'm gonna try to stay amongst the trees and hide while the helicopter hopefully overshoots me is what I'm hoping to do. So. So come to a stop with the hide. With the hide action. [02:26:50] Speaker B: And this is also. You gotta boil this down. So there are two roles that are taking place in a chase. One is the pursuer and one is the prey. So I'm the pursuer. Arrogant is obviously the prey. [02:27:02] Speaker A: Yep. [02:27:03] Speaker B: So because the reason we bring this up is because that's how it's re referenced in some of these maneuvers. [02:27:11] Speaker A: Yes. I'm the prey. So you. Sorry, you revealed what pursue. [02:27:17] Speaker B: I did. [02:27:18] Speaker A: You did pursue. I did hide. Does it. How do you. How do you. I'll let you. You run the game here. But how do you do. Which card goes first? [02:27:30] Speaker B: So it's for or more. [02:27:33] Speaker A: More like you intersect them. [02:27:35] Speaker B: Correct. So there are vehicle traits that are going to play a role in this that also modify two different maneuvers. Each round and obstacle may be revealed. So for pursue, I'll just read that quick. Add the mobility modifier for the vehicle to roll. So I think it all ends when you crash or it becomes you become engaged like the range. Right. Or if you decide to hide and you succeed, then you. I think we'll roll, read, hide. But I think then it's also over unique. You've dodged them. So it kind of all happens all at the same time. Barring obstacles that will occur also in the same round. So pursue and flee. Add the mobility modifier for the vehicle to the roll. Add a Plus 2 modifier to the roll for each step of vehicle class above the pursuers. So the size of the vehicle also matters. And then you'd add a minus modifier for each step of vehicle class lower than the pursuers. That would probably apply to Harrigan against me because. Well, I don't know. The helicopter may be the same. [02:28:57] Speaker A: Well, they have like, I am a class two. I think Ferrari is class two. [02:29:03] Speaker B: Are you on the classes? What's helicopter. [02:29:08] Speaker A: Three? Which makes sense. [02:29:10] Speaker B: Yeah, for sure. [02:29:11] Speaker A: Yep. So I'm a class below you. [02:29:14] Speaker B: Correct. So you would have a minus two for each step. So you would have a minus two on. Yep. And I would get a plus two. So each success rolled for a fleeing participant increases the range from her pursuers by one range. So it's. [02:29:35] Speaker A: But I am not fleeing. [02:29:36] Speaker B: You're not? [02:29:38] Speaker A: Yep. Each success role for the pursuit for pursuing purchasement decreases the range by one. So if you get three successes, you'll be on top of me, Right. Because we're at 3, 3 zone range right now, Right? [02:29:51] Speaker B: Correct. [02:29:53] Speaker A: The only part I was trying to figure out in terms of the order of this is like, does your card happen before mine or mine before yours? Or is it literally simultaneous? So in other words, let's put it this way. If you roll right now and you close the range to something closer, when I like, can you eliminate my hide thing? This is a perfect example because I can only hide if we were at medium range or longer. And if you roll right now and get two successes and close the range to like short to one zone, can I hide still? That's my question. [02:30:25] Speaker B: That is a good question. [02:30:29] Speaker A: Where are the steps outlined? Because I see in step three, the chosen maneuvers are revealed depending on the attributes of the vehicles involved and the obstacles printed by the gm, Positive, negative or Myers might apply. [02:30:40] Speaker B: So I think it might fall to the vehicle. [02:30:44] Speaker A: What does that mean? Oh, here's the round order. Hang on. Participants selects a maneuver in secret gma randomly generate an object. Correct pursuer and pray. Both reveal maneuvers are resolved with the prey going first and the pursuer last. [02:30:57] Speaker B: That's what I missed. That I have no idea. [02:30:59] Speaker A: That is what I've been looking for. The prey goes first, the pursuer last. So that'll that will allow me to hide. I do have PC or PC or NPC is allowed to cancel a plan maneuver. So in other words, if I hide. [02:31:13] Speaker B: You can cancel mine. [02:31:15] Speaker A: Yeah, yeah. No other maneuver may be chosen instead. Oh, okay, that's interesting. [02:31:23] Speaker B: Once you pick it, you can't change it is what it's. Yeah. [02:31:26] Speaker A: And there's certain obstacles that will force a different maneuver kind of thing is what it's getting at as well. Bottom line, sort of sorry for those at home here. I think we determined that I have to roll my hide before we do anything. Yeah, Right. Because I am. I am the prey. And this is maneuver can be performed by the prey. Medium Range or Greater -2 modifier. If the range is medium, you said it's long, so I don't have that. [02:31:48] Speaker B: I don't. [02:31:48] Speaker A: Plus two modifier. Yes, plus two modifier. If it's extreme, which is not, make an opposed roll for the vehicle. Skill against the pursuer's observation. So you're rolling observation. And I'm adding the handling, the handling of the vehicle that the prey is driving. If the prey wins the opposed roll, the chase is over. This could be over, buddy. So I've got agility, four, I've got vehicles, one. I've got three stress. And the Ferrari gives me three days. Thanks for the Ferrari, Sean. [02:32:20] Speaker B: You're welcome. So I have three agility. [02:32:30] Speaker A: Yours is. Yours is observation. So it will be wits. Oh, what's an observation? [02:32:35] Speaker B: Right. Two wits, two observation, four dice. [02:32:42] Speaker A: Okay. There's my rule. One, two, three sixes. Three successes. [02:32:52] Speaker B: I got none. [02:32:53] Speaker A: You got none. All right. [02:32:56] Speaker B: And I cannot push. [02:33:00] Speaker A: NPCs. Can't. All right. So I think turning the headlights off and tucking in amongst the trees. You tell me you're the gm. [02:33:10] Speaker B: And then. So as you're doing that, the doctor's like super nervous. He's looking up a brown and you see the spotlight coming flashing by the vehicle, and it's doing kind of this circular motion, almost like it's going wider and then coming in closer and closer, but just not seems a little all over the place. [02:33:31] Speaker A: In the cockpit of the car, Sean, my hand is up in that parental way, like, say nothing, don't move, do nothing. I'm not saying these words. I just has my hand up to quiet him, basically, as I'm, you know, intently watching the search patterns. And I think what I'm going to do is when I start to understand them, I'm going to keep the headlights off and crawl the car forward. And we now. What we now have is we're not in a well lit area. We have a car on a very dark mountain road making. They're making my way towards the tunnels. Keeping an eye like, sometimes I stop while the helicopter crosses the road in front of me. So basically, a little bit of cat and mouse, but I think I've gotten to the tunnels, Right. [02:34:08] Speaker B: Is it a mo. Is it a moonlit night? [02:34:11] Speaker A: Would you tell me, gm? [02:34:16] Speaker B: It is not. It's relatively dark. Okay. Which makes it a little more challenging or better for you, I guess, depending on how you look at it. Like, when you hit some of these tunnels, which they. You do come across some on the highway because they have to go through some of these mountains. It gets really dark. [02:34:32] Speaker A: But, well, in the tunnel, I can turn the headlights on. [02:34:35] Speaker B: That's true. But they will potentially shine out the other end. I mean, lights are bright, dude. [02:34:40] Speaker A: But regardless, your chase is over, my friend. [02:34:43] Speaker B: Regardless, you do get away. I'm just picturing the scene of how dark. [02:34:49] Speaker A: Here's what I was picturing is I probably drive a couple of miles doing this. Headlights off. [02:34:54] Speaker B: Sure. [02:34:54] Speaker A: Only going, like 20 or 30 miles an hour. Like, slow down these roads. Right. And then as soon as I see the tunnel yawning in front of me and the helicopter's in the distance, I'm going to. You know, that's when the accelerator goes and. Well, inside the tunnel, the headlights come on and seen is what I was thinking. [02:35:10] Speaker B: Dude, totally. You hit. You hit the lights, and they flip up. [02:35:16] Speaker A: Yep. [02:35:17] Speaker B: And then you hit the accelerator, and you hear the Ferrari just scream. And then the music kicks on, and the guy. The doctor's like. Into the dark, see the doctor visibly get, like, get pushed back into his seat. [02:35:34] Speaker A: William, who. Who's not the Ferrari guy, looks over at him from the. With the steering wheel in one hand. They hand on the gear ship, and he goes, I think I could get used to this car. As we blast into the darkness. [02:35:46] Speaker B: Awesome. Very awesome. And then you see in the distance, the helicopter still kind of going around the same area. [02:35:52] Speaker A: Not on the wrong side of the mountain now. [02:35:54] Speaker B: On the wrong side of the mountain indeed. Yeah. [02:35:58] Speaker A: Sweet, man. [02:36:00] Speaker B: Bravo. [02:36:01] Speaker A: What'd you think? [02:36:01] Speaker B: Good, good. I like it. [02:36:03] Speaker A: We are a little long, but that. [02:36:05] Speaker B: Is, we are not done. Do you have a few seconds? [02:36:08] Speaker A: I do. [02:36:09] Speaker B: All right, so let's talk about exposure, shall we? [02:36:11] Speaker A: Oh, yeah. Yeah. Oh, yeah. We're not done. Yeah. So typically, this will be one of our longer vignettes, but I think you. You. Well done, man. You packed a lot of different stuff in here. I like it. [02:36:23] Speaker B: Yeah. Good. [02:36:24] Speaker A: It's good stock exposure. [02:36:26] Speaker B: Yeah. Expo. Well, so at the end of. [02:36:29] Speaker A: You know what? Let's do xp, too. [02:36:31] Speaker B: Yeah, of course. [02:36:32] Speaker A: Xp. [02:36:32] Speaker B: And Exposure, you kind of have to. Because you got to lower your exposure if you want to spend XP, right? [02:36:38] Speaker A: Yeah. If it gets to 10, you kind of have to retire. Right. [02:36:41] Speaker B: So we haven't talked. We kind of briefly mentioned it in the overview, but we haven't talked about exposure at all in this conversation. Where's my exposure here? So exposure. So after each session you get 1.4 of exposure for participation. [02:37:01] Speaker A: I got exposure. Yep. [02:37:02] Speaker B: Led to the PCs facing being caught on a journalistic camera. [02:37:09] Speaker A: Journalistic. [02:37:10] Speaker B: Journalistic camera. Streaming media filmed by the opposition. [02:37:16] Speaker A: No, No. [02:37:16] Speaker B: I would say no. If you killed a villain. [02:37:20] Speaker A: Oh, I didn't. [02:37:21] Speaker B: You did not. Not the villain, Dan. PCs are not the villain. The villain is the named. If the PC was captured by the opposition. [02:37:31] Speaker A: Hell no. [02:37:32] Speaker B: No. That is it. That's it. Sweet one. Exposure. So if Harrigan, over time, his character were to gain 10 exposure, he would have one last session to allow him to lower it. And if he didn't lower it at the end of that last session, then that agent gets relegated to desk duty and removed from the game. [02:38:02] Speaker A: We talked about this during the review, but the GM can now build in adventures to try and reduce your exposure. And there's things you can do very much like the James Bond game. And I think maybe I forget if Top Secret had something similar or not. They all. But they all start to blend together, folks. But I. I just. Yeah, great mechanic. [02:38:23] Speaker B: So how do you lower it? You spend experience points one for one. So we have to get into experience points because that matters and how much you would spend. So you can spend more than one experience point too. Lower. Like it's not. [02:38:38] Speaker A: And I think you're supposed to justify it too, though, with like, what did you do with that experience points to lower it? Like, did you. Did you go in and delete some database records? Did you find the film you're on and get rid of the film and it's all that kind of stuff. But go ahead and walk me through the experience thing and we'll. [02:38:52] Speaker B: All right, we'll see. Pull that little table up on page. [02:38:59] Speaker A: Current. I'm looking at my sheet right now. While you look, look it up. Current injuries? None. Unspent xp? I don't have any yet, but I'm about to have some. [02:39:10] Speaker B: Experience points. So most YZE games at the end there's a checklist and. And this is how you get experience for the game. And then experience points could be in this game used to purchase talents as well as lower your exposure. So first one, did the player participate in A game session. [02:39:31] Speaker A: Yep. [02:39:32] Speaker B: Second. So did the PC explore at least one new location? [02:39:36] Speaker A: I think, yes, I'd agree. [02:39:39] Speaker B: Did the PC defeat a villain? [02:39:43] Speaker A: I think I did. [02:39:45] Speaker B: I guess if you say overcome it, yes, I got the. [02:39:49] Speaker A: I got the guy. If I didn't get the guy, I don't know. Your call. [02:39:53] Speaker B: I would agree. I would agree. Yes. Okay, so defeat didn't say kill or eliminate. [02:39:58] Speaker A: Right? [02:39:58] Speaker B: Right. [02:39:59] Speaker A: Yeah, I foil. I foiled the plot. [02:40:01] Speaker B: You did foil the plot. Success, if you will. And then the last point would be, did the PC overcome an obstacle without using force? [02:40:10] Speaker A: No. Well, wait a minute. Let's talk about obstacles for a minute. At the end, the helicopter. I didn't use force there. That was. That was like sly driving. [02:40:20] Speaker B: So this, ladies and gentlemen, during the year Zero Engine games, during experience points is when the players grovel for all the little bits that they can possibly get. They squeeze it out. Can I get one from EV in the car? [02:40:39] Speaker A: I always force the one. Just the one in the one moment. The one scene. [02:40:44] Speaker B: I'll give it to you. Because I am known as the kind and just game master. [02:40:50] Speaker A: Okay, Is that it or is there more? No, that's it. [02:40:53] Speaker B: That's the entire checklist. [02:40:55] Speaker A: So I got four. [02:40:57] Speaker B: Oh, I'm sorry. There is more. There is more. There is more. That's at the end of the column. It goes to the next one. I apologize. Did this PC's traits figure in the gameplay of the mission? [02:41:10] Speaker A: You tell me. This was the careful and taciturn. So, you know, man, a few words. And the planner and all that kind of stuff. I mean, not really. [02:41:18] Speaker B: I mean, there was an element where I think you wanted to, but you didn't. [02:41:22] Speaker A: I didn't have time. [02:41:23] Speaker B: You didn't have time. That's true. [02:41:24] Speaker A: What I was going to say is, like, I. I would have. And he wanted to, but he felt like, I don't have time to do any of this. I just have to, like, push ahead. Which is why he knocked the door down and went right to the front desk to ask for the room. And, like, none of that was planned. [02:41:36] Speaker B: You were trying to do it at the bridge. [02:41:39] Speaker A: Yeah, yeah. I'm not taking the XP for that. [02:41:44] Speaker B: Because Harrigan is a just player. [02:41:47] Speaker A: A fair player. [02:41:48] Speaker B: Yes, fair player. Did the PC act accordingly to their traits? Did I just read that? I did, didn't I? [02:41:54] Speaker A: You did. I mean, I acted that way, but. Is that a second one? [02:42:01] Speaker B: Is there another one? [02:42:03] Speaker A: You know what, Sean? [02:42:04] Speaker B: Oh, there is. It says twice act according to their traits and then figure into gameplay. So one is role play, I would say, and one is mechanics, maybe, I. [02:42:12] Speaker A: Think mechanics, no, but role play, yes. But I'll also say I've just gotten a text on my phone. I gotta go check on something. [02:42:18] Speaker B: Sure. [02:42:18] Speaker A: Give me like, give me like two minutes. [02:42:20] Speaker B: Yeah, yeah, yeah, go ahead. [02:42:21] Speaker A: Be right back. [02:42:27] Speaker B: Still there. Curtis, good to see you, man. I hope 2026 treats you well. Happy New Year. Thanks for tuning in. I don't know if the live play, talking to Curtis or anybody still in bed when this goes on. Oh, yeah, you're still in here in California. I hope you're still. I hope you're dry or you weren't affected by all that crazy weather out there, Curtis. But as I edit this, some of these kind of rough edges will be edited out. But be interested to hear what you think about the. The format. Actually, Harrigan and I have talked about it on the show and saying like. Or even just one on one and with other people. Like there's AP and then there's reviews. Sometimes APs get into the rules, sometimes they don't, or they do briefly and then they never touch them again. So I think there's a market out there for people listening to something being run and then understanding when to do X or Y and why. So I hope you have a good day. Thanks for tuning in, buddy. Everything all right, dude? [02:44:36] Speaker A: Everything's cool. [02:44:37] Speaker B: Okay. [02:44:37] Speaker A: It's all good. [02:44:38] Speaker B: All right. Picking up where we left off. So to Harrigan's point, we have. Did the PC's traits figure in the gameplay of the mission and then did the PC act according to her traits? [02:44:56] Speaker A: I think he was pretty taciturn the whole time. [02:44:58] Speaker B: That's fair. Point. [02:45:00] Speaker A: Point, Harrigan. But for the. On the role playing side, but not on the mechanic side, like, I wasn't able to plan things out or be careful or. Yeah. [02:45:07] Speaker B: Did the PC perform an extraordinary act or stunt of some kind? [02:45:15] Speaker A: You tell me. [02:45:17] Speaker B: I mean, the smashing into the door and taking out those two goons. [02:45:21] Speaker A: I think killing two guys in one round in yz. [02:45:25] Speaker B: Pretty good. [02:45:26] Speaker A: Pretty good? Yeah. Yeah, pretty good. [02:45:27] Speaker B: You had the. The villain over a barrel pretty quick. [02:45:29] Speaker A: Yeah. Yep. [02:45:31] Speaker B: And then this is the last one. Did the PC conclude a mission successfully? Yeah. Yes. [02:45:40] Speaker A: Well, I don't conclude. Depends on whether or not you want to pick this up, this game up in some other system where I'm in the tunnel. [02:45:48] Speaker B: Well, that's true. I would say for the purposes. Yes. Yes. That would be a yes. [02:45:52] Speaker A: That means I got 6 XP, which is a lot. [02:45:54] Speaker B: Which is. Means you have to get that. That's why it's the exposure thing. I think that's why they tax so much on. [02:46:00] Speaker A: Yeah. [02:46:00] Speaker B: Otherwise you'd be like, man, I don't get to pick a trait because I'm always lowering my exposure, man. [02:46:07] Speaker A: This, I would say this is one of those things you have to be careful of with yze, where if you play more frequent, shorter sessions and you're handing out XP all the time, the characters can pile up the XP too quickly and you may want to do the whole more like we're going to do this every four hours or every two sessions if we're only playing two hour sessions kind of thing. We saw that in our forbidden, Forbidden Lands games, Sean, where the, the, you know, the PCs grow and grow and grow. They have all these extra points to use because you're always getting one for playing. You're usually getting between three, four and five per session kind of thing. I just got six, which is a lot. But I'm also the only character. So I, you know, there was a lot for me to do is what I would say. [02:46:45] Speaker B: And perspective wise. So not only do you spend XP on exposure, we mention skills too. You can also. And the skill point is, is kind of. It's this that's important because in order to increase a target Skill level by 1, it costs 5 XP. If you want to increase it by 2 points, it costs 10 and so on. So. [02:47:09] Speaker A: Oh, really? Yeah. Ouch. [02:47:12] Speaker B: Yeah. So you need to bank some of these for sure. And I sometimes. So yeah. [02:47:18] Speaker A: So to go from zero to one would be how much? [02:47:21] Speaker B: Five. [02:47:23] Speaker A: Yeah. Because the first place I would look on my sheet is persuasion. I had to roll that a couple times. [02:47:29] Speaker B: Yeah, it gets better. So talents. Learning one single new talent is seven xp. [02:47:37] Speaker A: But talents are good. [02:47:38] Speaker B: Yeah. And then lowering exposures one for one. And then I think you could. It says you can change traits. Did you know that? [02:47:48] Speaker A: So I did know that. Yeah. [02:47:49] Speaker B: Yeah. So for those at home, you could change. [02:47:53] Speaker A: Oh, sorry. Just to a bit of a callback to something we talked about at the top of the top of the session here. I was trying to figure out how the traits factored in. I thought it was experience and sure enough, it's the experience questions you just asked. That's where the traits like rise to the four. Right. [02:48:07] Speaker B: Yeah. So you couldn't change your traits. It's up to the GM's discretion. But Harrigan might have played this character. [02:48:15] Speaker A: Well, I'll tell you what, When I remember when I went back and read Careful, I'm like, that's not my character. I moved more of a planner than I am. Like the book's description of careful. So after this session, I in fact would probably delete careful with, you know, working with the GM and bring in a different trait. And you can actually have up to four of these things. One to four. You have to have at least one, but you can have as many as four. Kind of cool. [02:48:36] Speaker B: It's also calls it out, though. Like, there's a lot of games where it's like, yeah, you create a character and then, well, the GM says, you know, let's play the first round, the first session. And if you don't really care for it and you want to change something. But I'll be flexible in that it's actually stated in this game specifically around the traits because that also forms like, oh, man, I thought this guy was gonna be Bookworm. [02:49:00] Speaker A: That's a big time fate thing where that, you know, all those aspects embedded in those roles as well is like, hey, if your aspects aren't working, change them. Right, Right. Yeah. Cool. [02:49:12] Speaker B: We covered pretty. I mean, cover chases, combat, combat and combat with stress. [02:49:21] Speaker A: Yeah, yeah. Lots of stress from. From early on. Push twice and then not again. I'm like, whoa, Pushing bad. [02:49:31] Speaker B: Banes villain points. [02:49:33] Speaker A: I use a story point hand to hand. Yeah, yeah. We got range combat and hand to hand. Combat. [02:49:40] Speaker B: Combat. Yeah. [02:49:41] Speaker A: Well done, man. It's cool. [02:49:45] Speaker B: I was like, where is he going? Why is he going to the roof? What is he doing? [02:49:49] Speaker A: Because I. Dude, the timing was like, tight. I thought the helicopter might already be there. [02:49:53] Speaker B: I know. [02:49:53] Speaker A: I know is what I thought. However you go to the room, you helped course correct me a little bit. [02:49:58] Speaker B: I did. [02:49:58] Speaker A: I got there. Yeah. I quite like the way I got into the room. [02:50:02] Speaker B: I do too. [02:50:03] Speaker A: Bring them to the door and then use the key card to open it. [02:50:07] Speaker B: It. You know, because you succeeded on a check. I was like, he's not gonna succeed on surprising. It's so funny. Here's your engine 20 dice, man. Kablua. Nothing. [02:50:17] Speaker A: I know. [02:50:18] Speaker B: Two dice. [02:50:21] Speaker A: You know what? I did not mind. You weren't seeing it the same way I was, but I did not mind the Banes canceling sixes. I didn't mind it. The part that I was kind of most concerned about, like, how will that feel? It feels like there's tension in your role because you're like, I got four dice in my hands that might eat me, but they. I tell you what, my stress ties came up six more than my regular dice did. I had a Lot of successes from the stress dice, which is what it's modeling that whole like, you know, chips are down, you know, agents get, agents get better, they come into their own kind of thing when the, when the tensions rise. Yeah, yeah, it's good. We've got, we got what, four in the can now. We have done Bond Tiny spies, top secret and now this. Yeah, I think we're gonna, we need to do mercenary spies and private eyes next. We may have it, we may have a secret GM that we'll, you know, reveal later if we make it happen. But I thought you did a great job today, man. It's good, good. [02:51:16] Speaker B: I hope you enjoyed yourself. Do we want to cover anything else before signing off? [02:51:21] Speaker A: I don't think so, man. I think we try to keep these tight and this is already going to be like two and a half hours long. [02:51:26] Speaker B: So I was a little afraid of that. That's all right. [02:51:29] Speaker A: It's a, it's a, this isn't been yet. It's going to go a little longer. And I think, you know what I, my instincts were like to cut it after the guy jumped off the balcony and got away. But I think you wanted the chase and I think that made, that was good. It was a, it was a better extension. Took us another 30 minutes or whatever. But I think we got to see a whole nother part of the mechanics, you know, we've, we've established on in all these games is that the chases can end quickly in Bond, in Tiny Spies and now in this, it's kind of cool. The chases don't go on and on and on and on where you're just doing opposed roles kind of thing. The fact that they have maneuvers that you choose that can end it immediately, I think makes a difference. So the fact that we say, does the game have chase mechanics I think matters for this, this type of fiction. [02:52:13] Speaker B: Yeah. And I think during the day I would have probably thrown an obstacle in there a little bit. Yeah. [02:52:20] Speaker A: And I'm remembering like, like when I read it, my takeaway was something along the lines of every two rounds maybe put an obstacle in or something like that. Like have, have them do pure chase stuff. And then the next one there's a covered bridge, you gotta like narrow. It's a one lane bridge, you got to navigate. Right. Then it's a free round. Then it's a, there are cops chasing as well. You know, it's that kind of thing. Right. Or at least has tables to roll on, which is kind of cool. [02:52:43] Speaker B: Yeah, yeah, yeah. [02:52:45] Speaker A: Good stuff. [02:52:47] Speaker B: Well Excellent. [02:52:49] Speaker A: Mm. Let's sign off, man. We're good. [02:52:51] Speaker B: On behalf of my buddy Harrigan, thanks for tuning in. This has been an episode of Go Bag. Hope we you appreciate Agent Provocateur. It's a great little game. I liked it. You like it, Arian, overall, now with that you played it. [02:53:02] Speaker A: Thumbs way up, actually. Yeah, but does. Wait, maybe we were. We were before. Before we were on the mics. But building the character reminded me of how much I like the YZE and how much I like those games. How the characters kind of come together and. And playing it just reinforced that further. I'm like, nope, I know, like I know these mechanics generally. I know how to build a dice pool. I know how to what. How stress works, etc, so it felt familiar. And I know I like most of these games. So far I haven't, you know, I don't know. They all. They all have different things to bring to the table. But I like this more than reading it, which I think maybe we may be suspected that because it does have that, like, you know, you don't have a professional layout person helping you with it where it's an amateur, so. Not amateur. It's a third party product that doesn't have Free League behind it doing the layout basically. But in play. Pretty good. Pretty good in play, yeah. However, we should let people. People can call in and write in. Let's see what they think. They've heard these by now. Maybe they can say what they think the ones that work best are. The ones that don't work well are. [02:54:09] Speaker B: Right, Agreed. All right, we'll sign off for sure this time. Thanks, everyone. Catch you on the next one. See ya.