I'm up. (#2)

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(This is your physical sheet, which shows off what you have in your inventory, your clothes, your storage space, etc...

BEAR IN MIND: The only things NOT shown on this list are the business cards you keep in your wallet. I'm working on a separate graphic for that.

But for the time being, here's what you've got.

Business Cards: [Anna's Tailoring] and [Saint George OBGYN]

I'm also working on a weapons system because there will be combat in this quest, but it's not 100% good to go yet. For now, let's just say that equipping your knife and storing it can be done at will and without consequence. Just don't expect that to carry over.

Now, onto the rules of the game.

1. We decided last thread that exploration and item storage would be done on an 'auto' basis. For exploration, that means the players get to choose where to go and what to examine first, but the object is always examined in full. All keys will be tried on all locks unless specified otherwise. Also, for inventory, all things that can be picked up will be picked up unless the players do not want it or if you run out of inventory.

2. Sometimes rolling is important. For combat, mostly... Other times popular vote determines what happens. Sometimes you're left to decide these things on your own. When rolls are involved each player rolls once per 'turn' and the highest number is always taken. Popular vote is exactly as it sounds.

3. We're still figuring out the kinks, as this is my first original quest and problems will most likely happen. Don't get discouraged, we'll figure it out and get back on track if we ever run off of it.

4. This is more of a note than a rule... You're not going to see any Silent Hill characters in here. You're not going to see any identical Silent Hill monsters in here. And the reason I call it Silent Hill-esque is because it's impossible to think of psychological horror and not have Silent Hill come to mind. I mean, those are the guys you go to when you need creepy or eerie or emotional distress. That's what they do. But we are playing with original characters and an original premise.

Any other questions, just ask. Standby for further prompting.)

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Your eyes flutter, but shut despite your body's attempt to rouse itself. You don't know where you are. You don't know if there's any danger around you. You don't know if you're even in one piece and your body wants to rest.

Your name... You don't know. Your age... From what few glimpses and mirror appearances you've seen of yourself, you'd estimate that to be around 26. How you got here... You don't know. You can't remember anything that would have led to you being cooped up in that small stone prison, or that chilling house.

But -here- you did know. You remember having the floor dissolve from under your feet, the step into the unknown proving to be one that could have killed you. Blackness that bubbled over and belched itself onto your feet, your legs... Until you were completely absorbed into nothingness.

No. No, that's not entirely right. You remember something else. There was a voice, there was someone else that told you it would help you... "Don't worry. I've got you." ... You can still hear the faint echoes in your mind.

For some reason, it's this that your body responds to. You open your eyes and immediately see the grey, green hue of damp, cut grass. You're outside, laying on your stomach. You take a moment to make sure everything is where it should be, that nothing is severed or broken... Everything seems to be perfectly fine. You push yourself to wake up further, grunting as you lift off of the grass and move into a sitting position. Your hands come to rest at the satchel, holding it before unsnapping the canvas and searching for the contents inside.

Wallet, key ring, papers... But your angel figure is gone. It's not destroyed, rather there's just no trace of it ever existing in the first place. But you know you didn't dream it, and despite it being incredibly strange, you don't feel upset or disappointed. At least neither you nor that angel are in that terrible house anymore.

With that said the idea that someone might have came by and swiped it leaves a sour taste in your mouth.

...Then again there doesn't seem to be anyone else around. You finally take note of your surroundings and find that you appear to be in the middle of a garden. You can smell the flora, sweet scents of flowers intermingling with the moisture on the grass... It's very pleasant. You rise to your feet, which are equally as grateful for having something soft to stand on.

Now that you're higher up you look around the area... Still no one. This garden appears to be deserted. With that being said, it could very well be too early or too late for people to be out. With the thick clouds smothering the sky you're not sure what hour of what day it could be. You're not happy about that.

You listen for the sounds of anyone in the area... The only thing you hear are the gentle ripples of what you assume is water... Though you can not see it.

You will not deny that this is peaceful. However, you don't feel comfortable standing still. It's time to get moving.

(1/2)

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>>1313969

You look around and see several points of interest. There are quite a few hedges that stand tall, dividing a stone road, but at the epicenter of it all is a huge statue of what appears to be a human covered in robes. From your position you can see that the statue is made out of some kind of beige stone.

You also see some flower beds... Surprised to see the color on those...

Behind you are a thick row of daffodils, and to your right is what seems to be a picnic area. You think you see something set up there... But you are not sure. You would have to get closer to examine it in full detail.

You hear the water more clearly now, and you'd judge it as being very close to where you are.

You see several stone pathways lining in front of you.

You feel like there's much to look at here.

(Please specify what you would like to do.)

(2/2)

>>1313979
>You hear the water more clearly now, and you'd judge it as being very close to where you are.
I'm assuming it's not the water we see on the map since those appear to be little ponds, which do not make noise like a river would.
Unless what we're seeing is an exposed bit of an underground river/waterway.

Anyway, let's start by examining the statue.

What's the air like here? Serene? Ominous? Fresh? Humid?

>>1314091
*Oh hey, is there enough light out here to make out something more of the polaroid we've pocketed back in the room we originally started at?

Check the Polaroid, then the sign with the paper on it.

>>1314091

(The air's kind of heavy, and you'd probably chock that up to humidity. If you had to guess, it looks like it's just rained and might rain again pretty soon.)

(Also, because we have two varying responses with the same beginning but different ending... It makes sense that you would check what's closest to you first. So if two or more of the players want to do the same thing, then something different (and there's no popular vote) we'll pick the one that's closest to your position first.

I feel like that's also fair game for any time we don't get a popular vote, pick the thing closest to you if the two can't be combined. Is everyone alright with that?)

(You decide to check the polaroid and look at the statue.)

You pull out the polaroid briefly and examine it, shake it, and flip it over. You see even less on the picture than you did inside of the room. At this point you've essentially got a white piece of paper with a black square on it.

Your interest fades and you put the polaroid away.

You can't help but notice that there's a tall, giant statue in front of you. You looked at it before, but now you're truly examining it. The craftsmanship is remarkable... Whoever was commissioned to do this did a hell of a job. You walk around the steps, observing the figure closely, until you come to its front.

The hooded face of a bearded man looks down on you, smiling, his hands folded together in front of his stomach. His eyes are void of any excessive detail, but you can still see a deep emotion behind them. His beard is stone-woven with curls, hugging the frame of his jaw, but his head appears to be bald. You think this man might be a monk, but you're not sure.

Luckily there's a stone plaque beneath him. You tilt your head down, standing in front of the statue, and read the inscription.

"Saint George, 1842

Saint George, born George Fritzgerald, was a German priest who arrived when the land was in a drought and crops couldn't be had. Many of the townspeople were suffering from malnutrition, and it's estimated that up to a quarter of the population starved to death.

Saint George, coming from a humble farmer's family, taught them how to work the cruel land. He was responsible for leading the build of Michael's Ravine, which would come to be the Mercy Aqueduct after the Industrial revolution, and tended the land until the soil was rich and bountiful.

The townspeople, for the first time in years, were able to enjoy a future of growth and prosperity. Had it not been for Saint George, the settlement would have either fled or perished, and our town would not be here today."

(1/2)

>>1314305

...So Saint George saved an entire settlement of people because he knew how to farm, irrigate, and fertilize the land.

You're not completely sure how you feel about that.

A. It's rather inspiring, and nice to hear.

B. It's boring, you feel like you wasted your time and you couldn't care less about it.

C. It kind of pisses you off that a farmer gets a monument and is deemed a saint.

(2/2)

(The driver to my tablet is a little... Not good. So not many pictures for a little while until I get it fixed. Slow downloads, for some reason.)

>>1314308
>A. It's rather inspiring, and nice to hear.

>>1314305
>pick the thing closest to you if the two can't be combined. Is everyone alright with that?
Yes. Unless the closest thing happens to be the blatantly craziest thing ("approach the slippery slope" vs "go look for something you can tether yourself to")

A. It's rather inspiring, and nice to hear.

>>1314308
>A. It's rather inspiring, and nice to hear.
Also, it lets us know that we are (possibly) in Germany and not some creepy otherwordly place where light behaves unnaturally and ghosts break phones, so that's a relief.

>>1314394
>lets us know that we are (possibly) in Germany and not some creepy otherwordly place
*Obligatory joke about there being no difference.*

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You're glad you read that inscription. You feel a little better about things, despite your situation. You take one more look at the statue, and nothing else seems to be out of place. It's just a monument to what you assume was a great man.

You're standing in front of Saint George's monument. (See >>1313979 for reference.)

(Please specify what you would like to do.)

(Oh, hey, look it's that slider graphic again...

These are your emotional statistics, based on how you perceive yourself and how you interact socially with the world around you. To keep it short and sweet, you have three stats: Discipline, Intimidation, and Vanity. Some things directly influence these meters with strong results, and other things (as seen here) just kind of push you slightly in one direction or the other. Remember, you don't know who you are. You're kind of starting from ground zero on your personality...

The meter affects three main things: One, not what you do but how you do it. For example, let's say you want fries with your sandwich but you can't afford them. If you have a high Intimidation you might succeed in putting off such a strong presence that you get them without paying for them, or if you have a high Vanity you might arrogantly demand them because how dare they expect you to pay for fries.

Of course this exact situation is not very likely to happen.

The second thing it influences is your ending. Not whether you win or lose, but the obstacles you'll have to overcome.

And the third... I'll wait a little bit before getting into that.)

>>1314477
Alright, now off to the picnic basket, maybe we'll actually find something edible this time.

>>1314524
Seconded. This is a monument for a man who saved a town from starvation, it would be ironical if we starved to death here.

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(You decide to go to the picnic basket.)

You look over to your left, walking on the trail with the daffodils. They're nice. These grounds are well taken care of. Of course, if they're a tribute to Saint George, you can see why. The hedges are clipped evenly and the grass has just been cut... Whoever takes care of this place has done so very recently.

The path stretches over a slight hill, the grass a little shaggier in these parts. Of course, when you look a little closer and see the buds of orange and blue wildflowers you can understand why. It's very appealing to the eye. Two tall trees stretch up and over the area... Just from a glance you can see that they're common trees. No fruit, no nuts, just leaves and shade.

You move a bit slower when you see that someone has set up a picnic basket on the green. You look around, searching for any sign of life, but you find none. Keeping quiet for just a minute longer, you try to decide the best way to approach this.

Your mouth seems to make that decision for you. You suddenly notice a low whistle, and realize that it's coming from your teeth. It breaks, chirping to try to call someone over to claim these goods. Your lungs push out more air, the whistle becoming louder and shriller. Some of the noise is long, some short... Almost like a language of its own. But that would be observe. Your whistles begin to stutter, chirping again... And then you consciously cut yourself off. You blink and shake your head, stunned.

You can't recall if this is the first time your body has acted on its own accord. But it's strange, and you don't like it. You wrack your brain for a memory, anything to justify what you did... But you can't.

Well, in any case... You bite your lower lip, almost to prove to yourself that you're in control. No one approaches you. No one even makes themselves visible. Anyone within your near proximity would have been able to hear your whistling. You're really alone in this park.

You move closer to the basket, crouching down. At first you pick it up and shake it. It feels light, almost weightless. The top of the basket has two sides that can be pulled away, and that's exactly what you do. You hook your finger around the tiny wicker handle on one of the sides and slowly lift up the lid.

You've found something.

(1/2)

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>>1314654

(2/2)

You instantly recognize that this is a map.

It's in good condition, and doesn't feel thin to the touch. It's probably current. A mini red marker no bigger than 3 inches is hooked onto the edge, and you fold it open to reveal what you assume is the entire town. You look for the park on the map to confirm this... Sure enough, you find it.

You're going to hold onto this. You don't think you can function without it.

You make a little red 'X' by the northeast corner of the park to indicate your current position.

[Red Marker] added to pockets. (7/8) remaining storage spaces.

[Town Map] added to quest items.

You're standing in the picnic area of the park. From this position you notice that there's a fence running along the north, east, and west sides of the park.

(Please specify what you would like to do.)

>>1314685
(Also)

You also notice that there's a circled portion marked 'Jenny's' with a note to meet someone at 7 am.

(Now, I'm not a very professional map maker, but this should cover all of the important streets. If something is too jumbled or not legible, I apologize, just let me know what you can't make out and I'll tell you what it is.)

>>1314685
>Not a single police station marked.
Just our luck.

Ok, I say we ignore the obvious videogame logic for now and don't immediately go to Jenny.
Let's go down Oak Street and to the Community Center instead.
It's on the way to Jenny too, so we can always go there later (or, if we feel like it, we can instead go to Tibeye Jack and see if we can finally find some food).

>>1314735
There are some towns without police stations or police stations on the outskirts, mostly touristy towns.
>>1314685
Head to the community center, maybe you can get some help there.
Also maybe check for people walking on the streets? I have a feeling that we won't find any but who knows.

(And do you want to leave the park immediately without exploring any further, or do you want to look around a little more? Just making sure I'm on the right track with you guys.)

>>1314814
I suppose we could, but I wouldn't really know what to specifically look up.
Don't really have any reason to single out any of the remaining park features ("That one bench!") as likely to be concealing something that awaits discovery.

If other anons do wish to check anything more carefully before we leave though, no objections from me.

>>1314814
Lets look at the park sign, before we leave.

>>1314837
Ah, I'm an idiot. I thought the insription we read earlier was on the front sign when it was actually under the statue.

Yes, by all means let's check that out first.
There also seems to be a leaflet glued to it, so that could be interesting.

Also, can we take the basket? The extra space seems nifty.

>>1314814
>>1314837
Look at the yellow thingy on the way out. I'm pretty sure that nobody on her position would just chill at the park when knowing or somewhere to get help.

>>1314944
Hey, not a bad idea at all! Seconding.

>>1314944
(I'll leave it up to a popular vote and go with what the players want, but if I were you I wouldn't. There's no leash on it, which means you would have to carry it with both hands. You would have to put down the basket to equip anything or use a key, etc...

Plus, you can only carry one storage item at a time. It's fine if you switch out items as an upgrade, like the satchel to a backpack, but you will have to abandon your previous pack to pick up a new one.

I'd say the basket could probably hold 2 more medium items. Do you want the basket instead of the satchel?)

>>1314991
Ah, I thought it might have a handle and that we'd be able to carry it onto a bent arm.
Nevermind then.

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(You chose to walk to the south side of the park.)

Your feet squelch in the wetter parts of the grass as you make your way back, the noise persisting until you hit the stone walkway.

You look behind you and notice that your feet are leaving faint green footprints as tracks.

You take the east walkway, looking over at the statue and the rose bushes... You notice a small pond with several stones as well as a few more bushes of flowers. Up ahead there are three wooden bridges supported by rope handrails, hovering over a small bed of water. The water is crystal clear, rippling just barely as a soft breeze rushes by.

Strange. None of the water that you've seen seems to be producing the sound you heard earlier.

You find yourself at the south end of the park, and you notice that it leads out into a bigger area. Even though the haze of the humidity and the fog you can still tell that there are more buildings as well as a series of roads.

You notice a slab of stone at the front of the parks entry, as well as a bright yellow piece of paper in the middle. You get a bit closer, and see that it reads:

Fred Darwin's Engraving

CORRECTIONAL SLIP:

ORDER: 'Saint George' Sandstone Plaque

CLASS: Misprint... 'Saint Gregory'

...In big black letters at the bottom it says 'fix ASAP!!' Judging by the ivy covering the stone, you don't think that happened.

You could imagine how this would upset the town. It makes your eyebrows lift slightly and your eyes avert the misprint. How embarrassing for Fred.

You get the impression that Saint George might be a ridiculously important man in this town.

You're now standing at the front of the park, facing the dead silent, empty streets of this town. There is a significant amount of moisture in the air.

(Do you guys still want to try to get to the Community Center?)

>>1315148
How bout go to the mall and get supplies?

>>1315148
Considering the map, it's the closest building of some importance to us right now. Maybe check on Ribeye Shack first?
Also stay on the street opposite to the elementary school. Just in case.

>>1315160
I just realized it upon reading this prompt: we're gonna have a very unpleasant trip unless we find some shoes.
Hell, it could do us in if we get in a chase and step on something harmful.

Mall it is.

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(You chose to go to the mall.)

You decide your first order of business should be to get something to put on your feet. You take a step into the empty pavement of the street, and it doesn't hurt but it doesn't feel... Right. The mall's probably going to be your best bet to get suited.

You see a sign slightly rusted that reads: Main Street, running east to west. You look over your map and decide that the easiest and quickest way to get to the mall is to continue east on Main Street, at least for now.

Your first step feels heavy, but eventually you continue on walking and you feel... Alright. You don't feel confident, but you don't feel scared.

You think you might walking for a while on this empty street. The only life you've seen since you've been here has been the foliage.

Looks like you're going to have to entertain yourself while you walk.

You're walking down Main Street, heading east. Everything is quiet, and your eyes are set dead ahead to get you to where you need to go.

You currently do not see anything out of the ordinary.

A. Keep looking around at the environment.

B. Focus on trying to remember anything about yourself.

C. Call out for anyone that might be around.

>>1315294
(Why do I keep forgetting to put things in? Brain. Brain, come on. BRAIN. Standby for part 2.)

>>1315294
>B
Considering the map shows Dillon's, you are in the same town as the spoopy phone killing monsterghostthing, so calling out for people may not be the best of ideas.
Also being engulfed in your own thoughts is a good way of running into creepy shit.

>>1315318
Shit no I meant A

>>1315294
>>1315300

As you continue your walk, you stop when you notice that the road... Just stops. The road is gone, like someone took a big bite out of Main Street. You approach the gap in the road slowly, taking care to watch your footing. The hole just exists, endless. It reminds you of the abyss you fell into not too long ago.

You can't tell if it's your eyes playing tricks on you, but you think you see the actual darkness begin to roil and bubble.

You back away. You don't like it. You don't like it at ALL.

You noticed that there was an intersection a few feet behind you. You think you'll take your chances there.

You wonder if more places in this town are like this.

(NOW we can move on to:

A. Keep looking around at the environment.

B. Focus on trying to remember anything about yourself.

C. Call out for anyone that might be around.

Apologies for that, I thought I put it in but I guess not. Anyway, refer to the previous post for map instruction.)

You are now on the intersection heading down to Second Street.

>>1315294
>A. Keep looking around at the environment.

>>1315323
Head south on Redwood Terrace and
>A. Keep looking around at the environment.
Especially as we move into the residential areas.

>>1315323
>A
Also, before going, see if there is any piece of rubble you can throw into the bubbly hole of doom.

>>1315408
(There's no rubble around you. The only thing you could find to throw down there are the objects in your inventory if you would like to do that.)

>>1315323
Wouldn't we be better off trying to get to the mall via first stree up north?
And I'm assuming we have to follow the roads with areas like the lake being fenced up?

>A. Keep looking around at the environment.

>>1315428
>>1315405
Ya lets go north.

>>1315428
>>1315437
We are in the intersection behind the red line, the only way is south.

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>>1315437
>>1315459

(You could go south, or you could go north, but you would have to go further west, back the way you came.)

Let's settle this with popular vote.

A. Go south on Redwood Terrace.

B. Go west, then north to get to First Street.

>>1315459
We backtrack to the first intersection then head north to first street, go east, and then south on sycamore. That would put us on the other side of the pit.

>>1315473
>>1315476
I'm so slow at typing. And posting.
B. Go west, then north to get to First Street.

>>1315473
>B. Go west, then north to get to First Street.

>>1315473
>>1315476
>B
Go north, maybe see if you can get some coffee on the way or something.

(You turn around and decide to go back and try another route.)

You want to get as far away from that crevice as possible. You turn back and walk briskly from where you came until you hit another intersection.

You proceed north until you reach First Street and as far as you can tell it looks clear in both directions. The map says that going east will take you closer to the mall, so that's where you go.

On your way you look at the lake. You think of the noise of burbling water you heard before, and wonder if maybe something was flowing from the lake. You're not sure if you deem that important right now, though. You don't think that lake is going anywhere, anyway.

There's a thicker layer of fog over the lake. You can't remember if that's normal for bodies of water or not. Up ahead are a few shops, and you wonder if anyone would be there. You haven't seen a single trace of an animal or human since you've been conscious, and it's starting to grate on you.

On one hand the silence is nice, and it leaves you time to think about your situation. You also remember reading or hearing that prolonged periods of silence can make even the smallest of noises seem pronounced. You do notice that the wind is blowing a bit louder in your ears. Even the rapping noise on the windows of the building to your right start to irritate you.

You freeze about five feet away from the store when you realize what you just experienced.

You don't know if you're alone any more.

(Please roll a 1d20.)

Rolled 15 (1d20)

>>1315600
Draw knife.
Keep calm.

Rolled 3 (1d20)

>>1315600
Here's hoping for a non-ghostly coffee shop owner.

Rolled 6 (1d20)

>>1315600
Rolling.

Y-you are still going for the highest roll, r-right OP?

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(Taking 15 for successful dodge.)

Your heart lurches in your chest as an ear-splitting shatter resounds through the area. Your feet scramble, and you backpedal several feet. It's not until you're mid-process that you see what caused the explosion.

A rack full of books had come vaulting through the door, shattering the glass and obliterating the pane to the entrance. It crashes to the ground with a loud 'BANG', sliding on the asphalt and scraping white lines of irritated concrete in its path.

You had stepped away just in time, it seems, because when the rack has stopped screeching it lands right where you were standing. Also a pile of shattered, glittering glass rains down, bits of all sizes crunching against the ground. Aside from your elevated heart rate and the metallic taste of adrenaline coating your mouth, you're unharmed.

You hold your breath and your knife tightly, looking straight into the bookstore. You can't see anything. It's pitch black inside, even the windows have been tinted a dark shade. It's silent, little clouds of dust from the scraped brick walls dissipating.

It is quiet.

A. Look at the books and the rack thrown outside.

B. Slowly go into the bookstore.

C. Run away.

>>1315831
(I can't grammar.

>*Silent, little clouds of dust from the scraped brick walls dissipate.)

>>1315838
(OH MY GOD IT WAS RIGHT THE FIRST TIME.

WOW.

I'M NOT GOOD TODAY. WOW. SORRY GUYS. WOW.)

>>1315831
>C. Run away.
Still no shoes: run but not too fast, unless something gives chase.
Watch carefully were we step.

Should we roll? If we do this, I mean.

>>1315831
>C
Bolt it. Try not to step on the glass too.

(I'm going to give you guys a chance to either stick with your answers or change them because I didn't inform you about what running away does. Because... I'm an idiot, I got distracted because our old friends the southern tornadoes are back to play. Everything's fine, here, my mind was just elsewhere.

When you run away from something you don't choose the direction you run in. You just run away from it and I will send you in a random location. It's a frantic gesture, not a controlled one.

Also... You've got a weapon out. You're running with an exposed knife in your hand. Nothing might happen. Something might happen.

Sorry about that, again. You can change your vote if you like, or take your chances. It's up to you guys.)

>>1315912
>When you run away from something you don't choose the direction you run in.
You're the quest master and you make the rules, naturally, but wouldn't it make more sense to roll? To see if we stay lucid enough to run like a functioning human rather than a panicked kitten?
This goes both for direction and being careful not to step on trash.

Although if we're even given the choice whether to run or not in the first place, it seems to be we should be fairly lucid still. There is such a thing as a cautious retreat performed without succumbing to fear.

But hey, let us know, if it's gotta be random we'll decide based on that.

>>1315961
(No, that's a good point. I'm a little disoriented myself because of the weather conditions, and I'm catching myself making mistakes left and right. Not a good foot to get off to, but we'll recover.

Let's try it the way you suggested, that way it's a little fairer to the players.

I'm sorry guys, I am all over the place.

Like all else, roll a 1d20 and I'll take the highest roll. The higher the roll the better, but 15-20 is a good safe zone to be. 10-14 is alright, and lower than 10... Try not to roll that. And really try not to roll a 1.

I should make a sheet for this.

Final Verdict: If you want to run away, roll a 1d20.

Again, I'm really sorry. Quite frazzled right now.)

Rolled 17 (1d20)

>>1315998
AAAAAAAAAAAAAAA

>>1315998
Glad you agree author, and glad to be of assistance.
And don't worry, you're doing great.

Not sure I need to roll with a 17 already there, but here I go.

Rolled 4 (1d20)

>>1316033
Shit, forgot to roll.

Rolled 17 (1d20)

>>1315998

(Taking 17 as highest roll.)

You turn tail and split. You don't hang around a moment longer before your body sprints down eastern First Street.

Your mind is racing a hundred miles a minute, wondering just what could have sent that rack through the window at that speed. Something big, something strong...

You think of the 'Wanted' poster, and the burly silhouette of someone unknown. But not five seconds later the thought leaves your mind complete.

Through all the mental panics, you notice something blatantly obvious, something you didn't notice at first. You're fast. You're really fast. You're sprinting down First Street on the balls of your feet, your legs powering through like an animal. What's more, even though your heart is pounding in your chest, you don't feel even an inkling of exhaustion. You feel like you could run forever.

You're at the end of First Street coming up on the Sycamore intersection. You can actually see the top of the mall from here separated from you by an open lot of grass.

(Please roll a 1d20.)

Rolled 8 (1d20)

>>1316092
Ummm.... Errrrrr....
That's not suspicious in the least.

Rolled 19 (1d20)

>>1316092
We Flash now

Rolled 5 (1d20)

>>1316092
>You feel like you could run forever.
Just like in a videogame!
(Sorry couldn't help it. Don't take it as criticism QM, It's just a joke. I'm sure there's a plot reason for it)

>>1316127

(Taking 19 as the highest roll.)

You can feel your body leaning slightly as you round the corner, the muscles in your body propelling your forward. Your hair is whipped back, and your face slightly crinkles from the slight strain of pushing yourself further. You feel the rough texture of the asphalt digging into your skin, but it does not hurt. It almost feels good, as if the tension is fueling your sprint.

You focus on the mall, ignoring the other buildings around you... Going too fast to even look over them at this point. Your breath begins to grow labored, to the point where you can hear each rhythmic pant you produce.

You're at the last turn, about to intersect with Main Street.

(Please roll a 1d20.)

Rolled 11 (1d20)

>>1316156
GOING AROUND AT THE SPEED OF SOUND

Rolled 4 (1d20)

>>1316156
Lets slow down, so we can look the mall over.

File: theendoftherun.png (311KB, 705x425px) Image search: [Google]

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(Taking 11 as the highest roll. >>1316159)

You get ready to round the next and final corner, confident from your last burst of energy.

Then the heavy humidity takes its toll.

You lose your breath entirely, your lungs sending empty wheezes through your wide-spread mouth. Your face is slick with sweat and dew, as are your bare legs and feet. It seemed to affect your environment as well, the asphalt growing shiny, slickening, and turning into a complete danger trap.

You have half a second to brace yourself for what's to come.

You fall. Hard. You can see it coming, and the momentum you have build up to this point works entirely against you. It just took that one unbalanced step to send you flying down, rolling and crashing onto the road, sliding before toppling over in an unbalanced, uncoordinated mess.

You lay there for a split second, groaning as the dull pain rattles you to your core. You check your head first... No bumps, no cracks... You don't feel any blood... You bring down your hand to double check and find that you've completely scraped the top layer of skin off your left hand. As soon as you see this you shuffle your legs and rise to your feet to make sure everything else is attached.

...It all seems to be in order. You're sore. You're very sore. But you're not injured aside from your palm. It's not enough to cause you too much trouble, and to be honest it looks much worse than it feels.

But you probably won't be able to grip anything too tightly with your left hand for a while.

(1/2)

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>>1316289

Your heart slows and your breathing begins to regulate itself. You look around and it seems that no one was around to see you fall. You don't appear to have been followed, either.

...Aside from your hand and probably dozens of forming bruises, you feel good. You feel really good. You feel like you needed that intense physical exertion, like you've done it before and you could do it again.

...You're not sure if it's a memory, but something inside you knows that you love to run.

But still, you ran away. You don't know what was in that bookstore, and you might never know. Half of you feels relieved, but half of you also feels deflated.

You could go back, but what would be the point? You're already a ways away from the store, and you've more or less hit your destination. You swallow, clearing the dryness of forced air from your throat, and look around at the buildings.

Sure enough, there's the mall-- A three-story shopping palace with the black, typeset words: Golden Menagerie Mall... The outside of the building is a clean white, with an offset beige being used for the trim. At first you think that it's just a big box, but when you really look at it you see that there are tiered columns that give this building a very sophisticated look.

You turn your head, checking the other side of the street. Across from the mall is a very old, much smaller building. A neon sign stands near the entrance, reading 'Rupert's' and showing off a well-illustrated picture of two frothy mugs of beer.

Rupert's must be a bar of some sort. You can't tell if anyone is inside, but you see that the lights are on.

You are standing just to the west of Rupert's, with both the assumed bar and mall in clear view.

It's very quiet again.

(Please specify what you would like to do.)

>>1316327
Are we still on for getting supplies, or do we want to explore the bar that has electricity?

>>1316327
Let's try to enter the mall.

It's quite the relief that we didn't stab ourselves in the fall. Or slice our fingers off. Or our palm open.

>>1316341
We are very on. We just added bandages and disinfectant to shoes.

>>1316347
Lets also get some better clothes, like leather jacket and gloves. Pants also get pants

>>1316343
(Had you rolled less than 10, something would have happened with that knife.

Also, in some of these images I'm realizing that I haven't been consistent with drawing the satchel. That's an artistic error, you still have it and everything is still intact. I'm just rushing these sketches and I forget to include it in some of them.)

(You chose to go to the mall.)

You pocket your injured hand in your jacket and, still being very wary of your surroundings, you make your way across the street and to the mall.

You find yourself at the front of the mall's building, standing in front of the automatic doors... And met with a glass wall. The doors are not working. You step closer, you take a few steps back... No movement.

You decide to look inside of the mall to see if anything or anyone can see you. You cup your hands to the glass... Much like the bookstore it is pitch black inside. You see a few security lights on, but other than that there is no sign of activity.

...No, you're wrong. Something moved. It was just for a brief moment, and you couldn't make out more than the shadow, but you could see that something moved inside of the building. You stare for a few more minutes, but you don't see anything else that could support your sighting.

Regardless, you can't get in through this entry. You know through common sense that there's bound to be more than one way to get into a mall. Other entries, security doors, fire escapes... It is a big mall, though, so it might take you a while to search for a working one.

A. Look for another way inside.

B. Move on to a different building/area.

>>1316434
Okay I'm going to go out on a limb and venture the guess that most buildings are going to have unsavory things inside.
Given that we have no police station or weapon shop on the map, I figure we may as well start with the next best place to find more stuff that may aid us in combat.
Therefore,

>A. Look for another way inside.

(You chose to look for another way inside.)

You step back and sigh, then choose to walk around the let side of the mall to search for another way inside. Left is just as good as the right, as far as you're concerned. You walk with a little more spring in your step, still satisfied from your physical episode.

You notice that the further back you go, the dirtier it becomes. Take out containers, plastic bags, cigarettes... There are a significant amount of cigarette butts around this mall. Like, a weirdly significant amount, there are tons of cigarette butts laying on the ground.

You ignore it for now, but it's a little weird for you to forget entirely.

There are a couple of green trash cans overflowing with garbage as you proceed, and the stench of old food and dirty water fills your senses. It's not pleasant to say the least. You wonder how a mall like this could look so pristine and grand in appearance, but the maintenance in the waste disposal could be so abominable. You're not even halfway down the left side of the mall and you're already having to step carefully to avoid treading through filth.

You don't see any entrances yet... You didn't think you would, though. it makes no sense for a public entrance to be next to all this trash, and security entries are usually through the back of the buildings.

...You know this but you can't even remember your own name.

Maybe you were a police officer or security guard of some sort? You certainly have the body to back that up. Of course, you've seen some very unfit cops. Maybe you had a job that required you to be above average in fitness. Perhaps an athlete, or maybe a personal trainer?

Your heart lurches forward in your chest and you almost wretch.

Every hair on the back of your neck stands at full attention, your skin breaks out into a cold sweat, and you taste the salty adrenaline filling your mouth once more. Something has you spooked. Something -close- has you spooked. Your feet feel a thousand times heavier, adding weight after weight to prevent you from taking another step forward. There is a primal instinct inside of you that does not want you to advance, but you have no idea why.

You take a better note of your surroundings and you find that you're just about to turn the corner to reach the back of the mall. You don't hear anything. You don't smell anything other than the waste.

Do you want to proceed?

>>1316527
Go back and check the right side instead. No reason not to trust our gut instinct. Or given the intensity of the reason I'd dare say sixth sense.

(You chose to retreat and check the other side.)

You back away silently, biting your bottom lip. As you move backwards the feeling subsides, your body calming itself and returning to its prior condition.

You've never felt anything like that in your life.

Once you're certain that rush of panic is gone, you turn around and walk to the right side of the mall. It takes a little more time than last, as you're still confounded by what just happened... And what's been happening.

You find that there's a customer entrance on the right hand side of the mall, but like the front the sliding glass doors are locked shut. The interior is pretty dark, but you can see differences in the store sizes and shapes of the items. You can clearly make out that one of these stores is a clothing store.

You continue down the right side of the mall and find another door. It's a fire exit... And it will not open from the outside. You don't know if it's build that way or if it's locked, but you push on the handle-less door and it simply won't give.

The hairs on the back of your neck begin to rise, again. You feel... Bristly.

You have found all the entrances and exits on the south, east, and west sides of the mall. The only one that remains is the north side.

(Please specify what you would like to do.)

>Check out Anna's Tailoring, we might be able to get some clothes there.

>>1316672
If the front door is just the glass door activated by sensor movement, it might not be unbreakable glass and getting arrested for breaking and entering would probably be a relief at this point (not that it seems at all likely). However we're going to need something heavy to throw at it.

Might as well try Anna's Tailoring, maybe we'll find a mannequin or something else we can throw.

File: mapedit2.png (221KB, 490x533px) Image search: [Google]

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(You chose to go to a different location.)

You retreat back to Main Street, the feeling that something is fundamentally wrong in the back of the mall too strong to continue. You look over your shoulder every so often, but nothing follows you.

As you reach Main Street you notice something you didn't see before. There's another gap in the road, a deep crater that stretches down far past your vision. The uneasiness from before creeps up on you and you step back.

There's something else on this street that puzzles you. There's a street sign, like the ones for Main, and First, and the others that you've seen... But it's blank. It's a plain sign.

Of course, with the current situation being that you're not able to go down this road, it doesn't really affect you.

You proceed to walk east.

You pass the arcade, and much like the streets around you it's completely void of noise and life. There are the shadows of some of the objects inside, but not much else. You then find yourself at the intersection of Main Street, and what appears to be the County Road 6. You look left, and you look right.

You notice that there's an alleyway directly across from that street. According to your map and your perception, it seems that it runs around the back of Anna's Tailoring.

A. Take the alleyway.

B. Keep following Main to Pine Street.

>>1317498
>A. Take the alleyway.
But be wary for odd feelings and sensations.

>>1317498
>A. Take the alleyway
What could possibly go wrong?

(You chose to go down the alleyway.)

You notice that it's rather wide for an alleyway, and the sight of a green, bulky metal trash bin lets you assume that trucks must come down here to pick up the garbage. It's rather littered here, as well, though it's nowhere near the level of disarray that the mall had. Just some paper, a few plastic cups and the odd beer bottle broken and scattered. You're careful not to step on anything too gross or sharp.

You notice that there's a door on this side of the building. A staff entry, you assume. You go to the door and put your hand on the knob. You turn it a few times and find out that's it's shut tight. You can't tell if it's locked or just jammed. You put your shoulder into it, pushing on the door... You think you hear something squeak but it doesn't budge an inch.

(Please roll a 1d20 for perception.)

Rolled 18 (1d20)

>>1317590
pls be a rat pls be a rat

Rolled 19 (1d20)

>>1317590

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>>1317634

(Taking 19 as the highest roll.)

You... Realize that the squeaking isn't coming from the door.

You turn around, slowly, and see that the green garbage bin's lid is moving. Every time it moves, you hear the squeaking of the hinges. Something's inside, and it's trying to get out.

You press your back against the door and furrow your brow, looking at the now jittery garbage lid. It's rattling furiously, the lid clattering against the metal bin wildly. Finally, a loud 'BANG' resounds from the tin, and it stops.

Your first instinct is to inspect the bin... Your second is to look around. You look down both of directions of the alley. There's no one, nothing that's around. The streets are totally empty.

Then you look up.

The arcade's roof hangs over the building, forming an arch-like structure, and leaving a fair amount of overhang above the alleyway. Your eyes scan it, and you almost look over it to begin with... But you see it. It's out of place, it doesn't belong here. You've never seen it before in your life.

You don't know what it is. It doesn't have a face. It doesn't have a nose, or eyes. But it looks at you. A spindly, long hunk of flesh, wrapped around itself and hanging from the building... Hanging upside down from the building... Has its sightless gaze completely fixated on you. You hear a little 'tick'... 'tick'... As moisture hits the ground, originating from this thing hanging off the ceiling. You see that its head rotates, and a large, red-stained mouth grotesquely parts to reveal teeth the size of soda cans and thick, dull fangs. A stream of its saliva drools out of its mouth, hitting the ground with a 'tick'... 'tick'...

It unwraps itself, twisting and falling from the ceiling. You don't notice just how big this thing is or how long its arms and legs are until you see it catch itself in the fall. Its feet are little more than spikes, and you realize that's how it hung itself from the roof. The legs are triple- jointed, giving it the freedom and ease to twist itself into that warped shape, and its arms are just slightly shorter. Each palm must be the size of your face, and each finger probably measures six inches in length.

It wobbles its head, bubbling and foaming spit at the mouth... And it turns to face you. It inches towards you, the spikes on its legs dragging and screeching across the pavement. Mottled flesh heaves as it starts to move faster.

You're not sure if you can run away this time.

(1/2)

Rolled 8 (1d20)

>>1317590
Guess I'll roll, but I doubt I'm gonna beat 19.

>>1317646
Well if we cant run from it, we might as well run INTO it. Aim for the legs and hopefully hobble it enough so we can end it.

File: physical sheet 2.png (281KB, 1120x1000px) Image search: [Google]

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>>1317646

(Alright, guys, you're at your first combat encounter. Homebrew monster, yey.

So this is how it works, and we might change it later down the line, but this is probably the easiest way to do things until we get in the hang of it. If you don't like the combat system I have, let me know, and I'll do my best to modify it until it suits everyone.

You will be rolling a 1d20 for what you want to do and the highest number will be taken. Also, the success of the attack is determined on the highest number rolled. I will roll for damage on the rolz website, which is easier because I don't have to keep rolling and responding, and rolling and responding... So, while you roll for what you want to do, I will be rolling for how much damage is done.

I'll also be rolling for the monster, of course.

Now, let's take a look at your equipment.

You have a knife, which does 1d4 + 2 damage. Your opposite hand is injured, so you won't be able to use it in combat. We're just worrying about right now at this moment, not in the future. You can do any attacks with a knife that make sense... For example, you can slash, you can stab, you can chop, etc. If you want to stab its head, roll, and comment 'stab its head'.

If you roll a 20 at any time in combat, something really cool is going to happen and you get 1/2 of your dice's value added to your attack (So if you roll a 20, it would be 1d4 + 2 + 2 and somethin really cool... Don't worry about that part, though. I'll do the math for the hit damage.)

If you roll a 1... Don't... Don't roll a 1. You don't want the highest number to be a 1.

...Alright, it's your first time so I'll tell you what a 1 does.

A 1 is the only number that does sustained damage. Like a broken limb or an open wound or something like that. Something that damages you over time and persists even after the fight until you can physically heal yourself. Try not to roll a 1.

In some circumstances escaping is an option. Right now, it is not. Also, you are in combat, which means you are at risk of dying.)

Rolled 16 (1d20)

>>1317682
>>1317692
Slash at the joints in the legs, to give us a mobility advantage.

>>1317692
Okay guys call me crazy but, anyone else thinks the best strategy may be to forfeit initiative?
This thing has extremely long limbs. Looks rather flexible and dexterous too.
If we go on the offensive against it, not knowing what it's capable of, we could easily find ourselves at a disadvantage.
If we let it come to us, we will have a better chance to react and fend it off with our short knife without exposing ourselves, striking at its arms or head depending on what it reaches for us with.

Then again none of this reasoning may factor at all in the combat system that's just been outlines (unless the author applies modifiers?), so I don't know if this actually makes any sense.

>>1317714
>>1317716
Hmm. You got a point there. Imma change my vote to dodge/counterattack.

Rolled 11 (1d20)

>>1317692
>>1317722
This makes more sense. Wait for mr. Anorexio to come at us and then slash at its hands or feet or whichever limb tries to grab us with when it gets close enough.

>>1317725
But aim for the joints to maby hit ligaments and tendons. Crippling it makes it easier to kill, or at least easier to keep ourself alive.

>>1317725
>>1317734
But guys, what if it comes at us like a dog? Lunging forward with it's head, jaws open, arms stretched back (or planted on the ground even)?

>>1317751
Block with forearm of non knife weilding arm, and slice neck with said knife.

>>1317751
Lots o dogs where I live, gotta know how to kill em if they attack.

>>1317754
Course your forearm is now in its mouth, but atleast it's not your neck.

>>1317754
Block a bite attack with a forearm? Like, let it bite into our arm?
I was thinking something more like try to intercept it with the knife so it either cuts this thing above the mouth (hopefully inflicting enough pain to make it flinch back) or slashs open it's cheek Joker style ("You want to know how I got this scar? I'll tell you. There was this bitch in a alleyway...")

>>1317756
Mh, well that's more experience than I can claim.
Though this thing has fangs much longer than a dog. I'm not sure our arm would be of much use if it bit into it (or that we wouldn't die of blood loss from the gaping wound short thereafter)

>>1317764
Dogs and other canids, and felids, like to aim for the neck. So I would rather my arm be shredded than my neck.

(I'm glad you guys are discussing this to such a length, but I'm a little confused on what you want to do...

Either roll or link to your previous roll and type out what you want to do this turn. Just so I'm 100% clear on this.)

>>1317722
>>1317714
I'm still for dodge/counterattack.

>>1317798
Dodge and counter seems like the best choice.
>>1317788
Also, OP, is mr. Anorexio foaming at the mouth or is it chewing something?

>>1317804
(It is currently drooling, spit bubbles, foam... As far as you can tell it's got nothing in its mouth but it hasn't opened its mouth.)

>>1317812
Oh great, undead rabies. Just what we need.

>>1317798
And of course, since i originally suggested it, I agree.

By the way author, out of curiosity, what did the trash bin have to do with this guy? Did he leap from it onto the ceiling so fast we didn't see it?

>>1317714

(Taking 16 as the highest roll for >>1317798)

(You decide to hold your turn for a counter attack.)

You brace yourself, digging your feet into the cement and crouching just slightly to give your body a better sense of balance.

The... Whatever it is... Hunches, and you can see that its waist is just a fraction of what is proportionately appropriate for a human. Its legs tense before it lunges at you, the flesh in between its joints extending without strain before it springs off the ground.

It reaches its arms out, and the thought of this creature grabbing onto you makes every hair on your body stand straight up. Your flight instincts kick in and you duck out of the way, bending over as the monster sails over you-- where your head once was. Your feet scurry, pivoting so you're facing it again, and you see that it vaulted forward so hard that its head left an imprint in the door.

It seems phased for a moment, like it's been close to knocked unconscious. You are facing its back behind it.

(You are still in combat. Please specify what you would like to do and roll a 1d20.)

File: monstercombat1.png (32KB, 388x325px) Image search: [Google]

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>>1317936
(Forgot to post what I rolled.)

>>1317936
Hamstring it.

Rolled 5 (1d20)

>>1317950
Hmm Dice

>>1317847
(The hour of the trash bin is not yet upon us.)

Rolled 17 (1d20)

>>1317936
Okay two things, first a question out of curiosity: did we dodge succesfully but not counterattack based on the rolls? (Like, had the roll been more favorable would we also have landed a hit?)

Secondly JUMP THE MOTHERFUCKER.
Let's get on its back and slit its throat open.

>>1317967
It has good reach due to extra joints, lets not get in grappling range yet.

Rolled 17 (1d20)

>>1317936
JUMP IT, SLICE ITS THROAT

>>1317984
Mh, you think it may be able to claw at us even if we're on its back? I suppose it's possible.
But I really do believe we should try and go for the kill now that it's dazed, we may not get another chance.

What did you mean by hamstring though? Cut the tendons? I doubt we would be able to get both before it recovers.

>>1317967
(I read dodge/counterattack, as an 'or' so I picked what was most appropriate. Those two things aren't exactly synonymous, and counterattacking immediately after a dodge won't happen in the same turn. That would be an enormous advantage in a survival situation, and it's one you haven't earned yet... Considering that this is your first encounter.

You can counterattack now if you'd like, but you'll have to specify how you want to do so. Like you did in your post, hitting it from behind when it's stunned is totally viable.

You can counterattack as a means of response to an attack from this type of creature, but in that close proximity you'll most likely take some damage.)

>>1318007
*both legs, I meant

>>1318007
Ok the lets go for the kill then, the longer we are in a fight, the higher chances we get injured or killed.

>>1318010
>You can counterattack as a means of response to an attack from this type of creature, but in that close proximity you'll most likely take some damage.

Is that a warning in relation to
>>1317967
>>1318005
these prompt?

Or in general when the enemy is currently attacking, not dazed?

(Like, are you telling us "You can try to jump it right now, but I wouldn't do that"?)

>>1318027
(No, it's not a warning, it's a just a response to what happened.

I'm not going to tell you what to do in combat, because obvious reasons... The only thing I'll warn you about is if/when you get close to death because you currently aren't aware of your hit points (will be addressed later). And I won't wait til '1 hp left lol', I'll keep you fairly warned.)

>>1318035
Ok, just making sure. This is kind of a tutorial phase being the first fight, so I figured you may being extra forthcoming with advice.

Anyway, looks like it's unanimous.

>>1318042
Oh should we go for a vital organ, like a kidney?

>>1318045
We know that this thing has a neck, but I wouldn't presume to venture any guesses at its internal organs, their size, placement and relevance.

File: monstercombat1a.png (47KB, 388x325px) Image search: [Google]

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(Taking 17 as the highest roll.)

You brandish your knife, squeezing it tightly before something inside of you pushes you forward. You run towards the creature, reaching around its neck and aiming to slice its throat. A small shout of nonsensical noise bursts from your chest and you dig the edge of the knife into the creature's throat-- Your muscles flexing as you pull, dragging it across the flesh.

There's a glurbling noise as you do so, and it sounds like you've done a significant amount of damage to this thing.

But you realize this thing must have something inside of it that controls a reasoning process. You feel the creature turn against your knife, slicing it further across its throat. It faces you.

It smells. It stinks more than any of the garbage you had walked over. It's an acidic, metallic, rotten stench that permeates through the air around you. It's now that you see this creature's blood. It's bleeding a very dark red, viscous slime down its torso.

It rears its head back, stretching the skin and spreading the severed flesh to reveal the gore of black insides, before it headbutts you.

It's solid, and it hurts far more than the scrape on your hand did.

(Please roll a 1d20 for recovery.)

Rolled 1 (1d20)

>>1318111
Ouch.

>>1318122
Shit
Bug Shit
Shit Shit.
Sorry

>>1318122
(We got our first 1!

By the way, a 1 has just the same rules as any other number. If someone rolls higher, the higher number is taken. Even if it's a 2.)

Rolled 10 (1d20)

>>1318111
And then it turned out we were not playing Silent Hill but Dead Space (just kidding, you know how it is in the game: strike head=ineffective, remove arms=death)

On the plus side, it didn't claw at us.

Rolling.

>>1318137
(At least... It follows the same rules in this instance. It might not in others.)

>>1318137
>>1318138
Thank heavens, I didn't get us killed.

Rolled 13 (1d20)

>>1318111
NOT ON MY WATCH

>>1318162

(Taking 13 as the highest number. 13 inflicts +2 extra damage to you (range of 10-14). 13 does not constitute a lost turn (range of 2-9). 13 does not constitute sustaining damage (1).)

It takes you a while to recover. Your scraped hand quickly goes to your nose, checking to see if you're bleeding. You are not. But it hurts, and the fact that this thing touched you disgusts every part of you that is human.

Your eyes water and you realize this thing has probably done more damage to you than you thought.

You see that it's completely recoiled, perched on the ground with its spikes for feet scraping across the cement.

You think you're able to focus on hitting it again.

(You're still in combat. Please roll a 1d20 and specify what you want to do.)

Rolled 19 (1d20)

>>1318198
Give it a colombian necktie.

Rolled 15 (1d20)

>>1318198
>>1318206
Hoping for a 20

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(Taking 19 as the highest roll.)

>>1318206

You rush forward, holding your knife similar to before, and press further into the gaping wound. Your teeth grit, the black ooze dripping onto and rolling off your hand, and you don't stop pushing until there's a satisfying squish.

You pull with a grunt, the creature's neck spraying a gush of its blood from the force. It staggers back for a bit, its spike-like feet crunching into the pavement, before it swings its arm back, then whips it forward to smack into your face.

...It doesn't feel good. The thing got a bit of your eye as it slaps you, and you step back instinctively. You feel your back hit the trash bin and you blink to try and dull out the stinging in your eye.

You don't feel great, but you can still stand and function.

You look back at your assailant, the creature's neck completely bent back as it wobbles from side to side. Torrents of its blood cascade from the wound, and you realize that you're more or less just looking at its neck, now. You also realize that this thing has no bone to its neck, either.

You think you'll probably be able to finish this with one more move.

(You're still in combat. Please roll a 1d20 and specify what you want to do.)

Rolled 13 (1d20)

>>1318245
Well here goes nothing.

Rolled 9 (1d20)

>>1318245
Oh, it's an invertebrate. That can be both good or bad.
But for now just BEHEAD THE FUCKER

>>1318255
Nothing indeed unless you say what you want to do with that roll.

Say guys, weird spontaneous thought: should we try to shove the trash bin into this thing? Like, as a distraction to get an opening or something?
I guess it depends on how heavy it is, could actually backfire horribly though if it manages to grab onto it and shove back.

>>1318255
Finish beheading it, if it is still moving then shove it into the trash bin.

Rolled 3 (1d20)

>>1318269
>>1318285
Alright, I'll try roll for the group decision.

File: monstercombat1c.png (44KB, 388x325px) Image search: [Google]

44KB, 388x325px

(Taking 13 as the highest roll.)

You rush the creature again, your adrenaline expelling itself all in one final burst, and you grab it by the throat. You dig your knife into the remaining flesh and skin, sawing through it wildly before a wet 'pop' resounds through the alley. You yell, and push the creature away from you.

Both its head and its body crash next to the door, hitting the stone wall of the building and twitching violently. You watch, waiting for a moment... After what feels like an eternity but is probably closer to 10 seconds, you see that the creature's body has stopped twitching.

It's dead.

(For example, if someone had rolled a 20 here, you would have been able to behead it by hand and it would have been a slightly... Gorier description. But this also works just fine.

Please standby for aftermath, we're not done with narrative just yet.

1/?)

File: aftermath.png (537KB, 700x500px) Image search: [Google]

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You sigh, your breathing ragged in your chest. You pause to catch your breath, leaning your back against the trash bin and sliding down to sit and look over your work.

You don't know what this is other than a twisted visage of some monstrous... Something. You look down at your feet, your skin covered in the black goo of the dead creature. It nauseates you slightly, but physically you just feel a little battered and bruised.

You feel your breathing calm and you begin to get up.

As soon as your legs tense, you're grabbed from behind.

You let out a little shout of shock as you're pulled tightly against the bin. Your arms are pulled tightly, leaving your legs to win the struggle. You flail, panicked, throwing yourself about to fight whatever force is pulling you back into the garbage bin.

Your hand slips and lets go of the knife.

Your satchel splits at the seam and falls to the ground.

You put up a hell of a fight, the adrenaline coursing through your body only amplifying your apparent raw strength. For a while you break free, though you're instantly snatched again. But no matter how hard you grind your teeth and growl against the thin, long hands gripping you tightly, your position is doing very little to work in your favor.

Your feet begin to lift off the ground and you shut your eyes tight in reflex to the amount of force you're putting into your fight.

You hear an ear-splitting, ringing bang.

(2/3)

>>1318493
Well shit, Oscar got us.

>>1318493
Heat of the moment I guess, but it's pretty darn absent minded of our character to lean against the thing that shaked itself open, defying the force of gravity, before the encounter with our vanquished foe begun.

Incidentally, didn't realize it was this kind of trash bin, I figured it was a smaller one, that's why I suggested shoving it (and I hadn't forgotten about the shaking, I was kind of hoping whatever was in there would add to the enemy's confusion).
Had I realized it was the kind that gets lifted by trucks, I would have probably made a note to keep away from it instead (who knows what's in there, may be even bigger than the fiend we bested).

File: skinnyblondewithashotgun.png (1MB, 1150x800px) Image search: [Google]

1MB, 1150x800px

>>1318493

You drop to the ground, your knees hitting hard as you're instantly released. You roll over immediately and turn to see an identical creature to the one you just killed standing in the trash bin. It's arms are raised and its mouth is agape in a dark red hole of shock. Your eyes trail down its front and you see that there's a rather sizable hole just below its chest.

It turns to its right, and for a moment you think it's about to jump out... Arms poised threateningly, legs 'tick'ing around in the bin, readying itself for a vault out of the canister.

Then you see its head explode with another 'bang'.

The carcass falls over the front of the bin, its torso splayed out and its thick blood oozing out and over the side. It's dead.

"I thought I heard something."

The haze of panic vanishes from your eyes and you shake your head to collect your wits. Your heart races in your chest, forcing you to physically grip the area and slow your breathing.

Were it not for the bright colors on this human being, you don't think you would have registered their presence.

But you see her... Him? You can't tell at first. You thought that the creature was slender, but this person is close to emaciation. You run your eyes over the stranger quickly, and notice that the exposed midriff has a bit more of a groove to it than what would be normal for a male. This person is a woman.

A smoking, recently fired shotgun is in her hands. She turns it around, using the butt of the gun to push down the corpse in the trash bin before shutting the lid and patting the hard, black rubber. Her head turns to you, and a serpent like grin stretches over her face.

"You're the jackass who wiped out on the street. I saw you from the bar." Her voice is hoarse, and has an odd quality to it that you can't place. "I would have come out sooner, but you made me choke on my cigarette."

You eye this woman's clothes, the first things that you noticed. The shirt is bright, and high on her chest and arms. By the way the neckline is nearly choking her, you can't help but think that it's a child's shirt. Her pants are incredibly baggy, but from the way the fabric folds at her waist you can tell that they're not supposed to have that much give to them. You look at the shotgun, which has cooled down, and you wonder how she can hold a weapon much less fire it.

She's staring at you expectantly, leaning with one arm on the lid of the trash can casually.

A. Say something (Specify).

B. Say nothing.

>>1318535
>A. Say something (Specify).
Do you know what is going on?

>>1318546
Might as well make the question as broad as possible, yes.

>>1318546
More specific then, What event happened to make this place a deserted monster land?
>>1318572

(You chose to speak).

"What..." Your first word is weak, your mind still mentally recovering from being swept up. "...Do you know what's going on?" You begin to pick yourself up.

She scoffs loudly and the corners of her mouth curl. "Hell, I thought someone laced my smokes until I saw you clearing the corner and hitting the ground." Her eyes, low-lidded, examine you. You notice that they're a sickly green color. "But you look real enough. So I guess this isn't a bad trip."

You stand completely, brushing yourself off. You notice that you're not much taller than this person.

A. Say something (Specify)

B. Say nothing.

>>1318604
What event happened to make this place a deserted monster land? I'm still going for this.

>>1318584
I wasn't being sarcastic, I really did mean we know so little we might as well keep the question broad.

She's ignored it though.
>>1318604
Guess we can just pose the question again.
>"Really, do you have any idea what's going on? What happened to this place, what the hell these things are?"

>>1318619
IS THERE ANY FOOD!!!

>>1318660
I think her appearence answers that by itself, unfortunately.

>>1318679
Yeah, one can only hope.

(You chose to speak.)

"Really." You breathe out, locking both of your eyes together. From the way this person looks at you and grins, you can tell that she took it as a challenge. "It's a deserted... Monster land. What happened to this place? What is all of this?"

She shakes her head and shrugs. "Your guess is just as good as mine. Hell, it could really, actually be drugs? Eat anything that tasted weird recently?" She chuckles, then looks on both sides of the alley. She notices the decapitated monster next to you and saunters over to check it.

"Oooh, nice work." Her eyes travel between you and the carcass, glancing over the toned lines of your legs and back to your eyes.

She puts the very edge of the shotgun's barrel against your stomach and runs it up your chest, chuckling under her breath.

...You feel like you should react to this.

A. Panic.

B. Shove it away.

C. Do nothing.

D. Other (specify).

>>1318710
Quickly grab barrel and point it away from body, "Point it at me again and ill make you eat it."

>>1318710
I'd go for a firm "Can you not?" and if she doesn't stop then >>1318728

(You chose to respond aggressively. Emotional statistics currently: >>1314477 )

"Can you not?" You grab the barrel of the shot gun and push it down, the tempered metal going with ease. "Point it at me again--"

You're cut off by her laughing, her mouth stretched open and looking more snake-like than before. It throws you a little off guard but you retain your stern expression... Brow furrowed and upper lip slightly sneered.

"...Out of ammo. Why would I want to kill someone I used two shells to save?" She looks at you and shakes her head, turning to survey the damage she did. "God help the pretty ones, they're always so dim."

You don't appreciate any part of that remark.

"...Speaking of which..." The woman mutters, pointing at the trash can, then up at the ceiling where the indention from your assailants foot-spikes held itself. "There it is. I've learned two things from experiencing... This. The first, is that you shouldn't be outside if you're unarmed. The second... There are usually more than two of these things at a time."

You bend down to pick up your knife and satchel.

"All I know about these creatures is that they travel in groups, and they set traps." She bangs the butt of the gun on the trash bin. "I would bet money that we're being watched right now. Hunted." She hisses, trying to apply a cheap sense of pageantry to her words and failing miserably. "Unless you'd like to fight off another horde, you might want to have a reliable place to bunk down."

You have a strange feeling that this is her way of inviting you to come with her. Probably to the bar, if that's where she was before.

A. Go with her.

B. Don't go with her.

>>1318798
>A. Go with her.
Might as well

>>1318798
>You don't appreciate any part of that remark.
Yeah, how dare she call us pretty.
We are most definitely not fappable!

But hey,
>A. Go with her.

>>1318798
What would happen if we ATE the creatures?
Probably something bad, but what would it TASTE like?

>>1318825
(Maybe if you had a bit more vanity you would respond slight different, then...)

>>1318859
(Probably nothing like you've ever eaten before.)

(You chose to go with her.)

You hold on tightly to your belongings, possessively, and follow the stranger. You two walk behind the arcade, and into a massive, empty parking lot leading to the dive bar. You look around... There's no one visible.

She walks you around to the left side of the bar, pulling a key from her pocket and unlocking the glass and wood door. She leaves it unlocked for you, but doesn't hold it open.

You walk in, and sure enough it's a dive bar. Looks like one, smells like one... Even feels like one, and you haven't even sat down yet.

Apart from the long, brown wooden table are a few booths lined with red and green plaid cushioning, various holes and tears in each of them. The lighting is dim, but you're surprised it works at all. The floor is scuffed, scraped from the heavy usage, footsteps, and dragged chairs.

There are windows that give you a pretty clear look of the town around you. You can see the mall... As well as the place you fell. But it looks like the door you walked into is the only one in and out of the place. There's another door on the far left, marked neither with an 'enter' or 'exit'... You assume it could be an office.

In a way, it's cozy. In a much more real way, it's depressing.

"Want some Everclear?" You shake your head, snapping you out of your thoughts. The woman has gone to the bar, stepping behind it and over to the bottles of liquor. "For your hand."

A. Yes.

B. No.

>>1318918
I am now intrigued by what it would taste like.
Yes, prepare for the burn.

Beer would be a good source of carbohydrates, but getting drunk in a situation like this is not a good idea.

>>1318928
>if you had a bit more vanity you would respond slight different
Haha, I suppose so.

It's disinfectant time.

>>1318918
Everclear would make one heck of a firebomb/molotove.

(You chose to disinfect your hand.)

"Go ahead." You nod, rolling back your sleeve. The stranger lifts up a heavy bottle of the vodka from the shelf, grunting a bit, and takes it back around. She's set the shotgun... Probably behind the bar.

She holds the bottle over your hand, tipping out an obscene amount onto your palm. You growl lowly, gritting your teeth and shaking your head as the skin screams out silently-- The alcohol drying out your wound.

You jump a bit, this woman now dosing your feet in the vodka. "Stand still, you're getting that black shit all over my floor." You notice that there's still a fair amount of the monster's blood caked onto your feet. You hold out each foot as she drowns them in the liquor, the blood washing off rather easily.

The bottle's now empty. She doused you with an entire bottle of Everclear.

"Well, now we have something to store our pennies in." The stranger tuts her tongue and sets the empty bottle on the counter. "There's like fifty boxes of Everclear in the back. Whoever was in this bar had a -serious- problem." She looks at you, and you see a straight line on her lips where there was a sneaky grin. "Alcoholism isn't funny. But you know what is funny..." The stranger trails off, wagging her finger and walking back behind the bar. You flex your hand, the flesh still burning from its treatment.

"A blonde walks into a store and sees that alligator leather shoes are several hundred dollars." She pulls out an ashtray from behind the bar, five cigarette butts stamped out in it. She takes a short, red package of the brand from underneath, as well, and a plain white lighter. "The blonde asks the store owner if he's serious about the price. And the store owner says, very much so. She complains because she doesn't have that much money, and not wanting this cheap bitch in his store the owner tells her that if she catches her own alligator she can skin it and make her own shoes. He even gives her a map of the hottest places around to catch alligators from."

The stranger lights her cigarette, letting out a relieved sigh.

"The shop owner closes his store and is driving home when he thinks about the blonde. He feels bad, and decides to see if she's in trouble... Assuming she's taken him up on his advice." The woman walks around the bar, dragging the ashtray along the wooden surface. "He goes from destination to destination, and he sees several alligator corpses along the road. He grows increasingly worried."

You watch as this person sits down, her spindly legs seeming even longer as they reach the floor from the bar stool. "The shop owner hits the breaks and sees the blonde out there, ragged and with a shotgun. She pauses for a minute, and then fires. The blonde wanders into the muck and with unpredictable strength grabs and pulls a mature adult alligator to the surface. She grabs each of its feet, and then screams, 'Fucking shit, this one doesn't have shoes either!'"

(Please specify what you would like to do.)

>>1319050
Lighting cigarette near everclear, VERY BAD idea.
Everclear is almost pure alcohol. The vapors themselves are extremely flamable.

>>1319050
Laugh, spontaneously. People capable of self irony (she's blonde) are awesome and the joke was funny.

>>1319068
Go with laugh, if we don't burst into flames.

(You chose to laugh.)

You step back a little bit, not happy about being next to an open flame when you're soaked in vodka. You sit down at a booth a ways a way from her and listen to the end of the joke. You chuckle and nod, the silent admission of it being quite funny.

"Anyone who can correctly tell a joke will never be killed." She lets the

You notice that she hasn't moved and doesn't seem bothered to be very close to the remnants of the empty Everclear bottle. In fact, her cigarette is poised to where you would believe that she was about to flick it into the pool of liquor.

You can't tell if she's stupid, ballsy, or rather volatile herself.

All you know is that you're seated on the opposite, far side from where she is, and she doesn't really seem to care. She just smokes and blows her straw-like hair out of her face.

(Please specify what you would like to do.)

>>1319170
Ask her if she remembers anything before the appearance of those things.

>>1319170
>*She lets the smoke flow freely from her mouth.

(And so it begins.)

>>1319170
>"Anyone who can correctly tell a joke will never be killed."
Uh, this gave me a deja vu for some reason.

I think we should answer with a joke of our own. Any ideas?

>>1319196
>>1319177
I'm changing mine to tell a joke.
What type of joke should we go with?

>>1319240
How does an elephant get into a cherry tree?

It sits on a seed and waits.

>>1319269
What is black and white and red all over?

A penguin holding its breath.

>>1319240
Whats black and blue and brown laying in a ditch some where?

A brunette who said one too many blond jokes.
Last joke.

>>1319240
How about referencing the Darwin Awards?
>"There was the vet once, big smoker, couldn't put it down. He got called on a farm. Cow couldn't go potty. So he goes, visits the poor thing. Turns out she's built up a perfect blokade in there. Dude put his long plastic glove on, wouldn't want to get dirty right? Gently pushes it in, slowly, slowly until he grabs the offending fecal matter. He pulls that diamond hard turd..."
We step up, walk up to the cigarette butt, grab it with our non-alcohol doused hand and flick it as far as we can.
>"Massive metane fart, burnt alive on his beloved cigar."
Turn back to her.
>"He probably didn't tell jokes."

>>1319286
This.

>>1319286
Of course I guess for it to make sense, our character has to suddenly remember having heard the joke. But that pretty much goes for any of them.

File: joking.png (261KB, 800x550px) Image search: [Google]

261KB, 800x550px

(You decide to tell a 'joke' in return.)

You don't want to risk your hide around this human being whose name you don't even know, and you resolve to put your foot down. You start your 'joke', walking across the room and taking very good care not to step in the liquor on the floor. You deliver the 'punchline', and flick the woman's cigarette across the bar with remarkable accuracy. It hits one of the liquor bottles on the far end, falling onto the floor where it will eventually burn out.

Throughout your process, this woman doesn't break eye contact with you, and when you assert yourself enough to tamper with her property, her face contorts into a tight, tense expression. You didn't notice just how withdrawn her face was until now... Sunken cheeks, crinkled skin... She's not in good health.

Her eyes become crazed, her lips curling up into a smile as the last breath of smoke fumes from her mouth. Her tongue pokes out slightly, and drips just a bit of saliva along with it. Even her hair seems to puff out, although you don't know if that was a literal gesture or just your imagination running a little wild.

No, it actually happened, you see it again. It's not a 'puff' so much as a movement. Her cheeks lift as she smiles, stretching her skin and pushing out the hair framing her face. Those green eyes begin to swim with an intensity that, quite frankly, puts you on your guard.

For a moment, you think that you've just made a big mistake.

But she withdraws the expression, opting for a much lazier face, the half-lidded eyes, and the long smile. Her eyes lose their passion, and she yawns widely to reveal her entire mouth.

"You should probably let me tell the jokes."

>>1319501

(Please specify what you would like to do.)

>>1319503
I'm curious QM: did you not find it humorous, or is it just the character that is not amused?
It was a true story, btw.

>"I'll be serious then. It seems to me that we have several things in common: we both wish to stay alive and we both are not happy about being stuck in this monster infested place, right? So let's help each other out. I'm new here and perhaps I'll be able to provide a fresh perspective. Novel ideas. First, I need you to get me up to speed, tell me what you've learned about this place and what you've tried so far.
But more importantly, I need you to tell me where the fuck in this godforsaken place I may find a pair of shoes! Doesn't have to be alligator."

>>1319612
(Personally I find it kind of in between 'o shit lol' and 'wtf'.

I... Don't want to explain too much of what this specific character is like... Because I don't want to influence any decisions the players make that might involve this character. I act as the character. If I have a problem with something, I'll tell you straight away, and I didn't have a problem with this.

The reason I didn't plug the joke in there was to save text space. I forgot to link the post number, but I'll be more careful and make sure I do that from now on. 3000 characters comes up really fast. So longer custom posts I might sum up (and be sure to link them in return.)

That's partially the reason I put down joke and punchline in 'quotations' is because I wanted to reference what was going on while focusing on the physical aspects.

But the short answer is that it was a technical formatting blunder, not a snarky comment on it or anything.)

>>1319612

(Also you totally flicked her cigarette lol. I'd be a little pissed, too.)

(You chose to level with her further, and try to get information out of this woman >>1319612.)

You sigh, and sit down in the stool next to her. "I think it wouldn't be a bad idea to work together." You watch as she leans back and blinks slowly at you... You feel like she's trying to strip you far past your skin with those murky, swampy eyes, digging inside to see what makes you, 'you'. It disorients you a bit, but you push on despite that lazy look.

"I think we both want to stay alive, and we don't want to be in a place with these kinds of... Monsters." You mutter. You pause for a moment, expecting some kind of interjection but you're met with none. You continue. "I'm not from here, and I think we could benefit from having two points of view. I think we can both be mutually helpful to each other."

"Oh yeah?" The stranger clicks her tongue and holds out her long, bony arms. "I have a safe building. Electricity, heat and air conditioning, thousands of dollars worth of liquor... Can you offer me something that's worth a similar amount?"

Oh, she wants you to answer. You open your mouth, but you're immediately cut off.

"The short answer is no, you can't." ...Maybe she didn't want you to answer her. "Let's not bullshit our way around this, I have the definitive leg up around here." Her smile fades, just barely, and you get the impression that she's being completely serious. Her tone flattens and her lips purse. "I invited you in, and so far I have no hang ups about that... But this is not an equal and fair trade."

You feel... Insulted? Confused? You're not sure what to think. It's like this human being has shifted personalities at least five times since you walked in the door, but underlying all her words is a strong, consistent confidence.

"I'm not from here." You repeat, meeting her stare. "I need you to tell me what you know... What you've done here. Everything."

She fiddles with the ashtray absentmindedly, tapping the tempered glass. "What I've done here? I took three green goblins, threw up, and passed out... Woke up on the south side of the interstate. Huge pile-up... Ridiculously huge. Like every car in rush hour traffic just dropped from the sky."

Is she like you, without memory?

She continues. "I walked until I found a bar that had a gun in it. Owners of these dives tend to be more... Armed and at the ready should something get ugly."

Her eyes have scoured you from your head, now resting at your feet. She lifts her leg gently and shakes her own bare foot. Neither of you have any shoes. "If you're looking for someone from this town, you're shit out of luck."

(Please specify what you would like to do.)

>"I'm planning on finding some proper clothing."

>Sarcastically add "As much as I'm sure the Jacket and Shorts look totally suits me, I'd rather be in something more comfortable and protective. Preferably with a surplus of pockets."

>>1319683
>(Also you totally flicked her cigarette lol. I'd be a little pissed, too.)
I was under the impression it was a cigarette butt (consumed down to about the filter) she'd abandoned carelessly. I take the blame for not being more attentive.

>>1319635
>technical formatting blunder
Seems I made one too.
>>1319612
That last line? I forgot to make it green. I meant for the character to say it, as one more attempt to alleviate the mood. Different color probably made it look like I put it there as a joke between us instead.
I'll try again.

Gotta point out though, I never suggested we may be as useful to her as she could be for us, I only suggested ways in which our presence could benefit her.

>>1319683
>"For fuck sake. What is it with this place and the scarcity of shoes?
>Just before you found me, I was trying to get into the mall to see if I'd find any. Specifically I was thinking of finding something heavy enough to break the glass but not too much that I wouldn't be able to lift and throw it. With a second pair of arms, that weight limit can be upped considerably. Think we may have a shot at this?"

And another thing I want to specifically ask:
>"So wait, how about leaving? I imagine you must have made some attempts. I've seen chasms filled with some kind of black goo. Are they so frequent that we're trapped in here?"

>>1319927

(I don't think I can go into this new character's psyche without influencing players. If you want a direct rebuttal to what she says, then you can certainly ask her or try to correct her. But I can't really go any further than that as a qm.)

(You chose to continue the conversation >>1319720, >>1319927)

She reaches a hand over to her neck and scratches her skin, and you can tell that her hair is rather thin. Without a cigarette she takes to biting on her nail. "For fuck sake. What is it with this place and the scarcity of shoes?" You mutter, shaking your head. You look up to see if that elicited any response from the stranger, but if anything she just looks bored. You attempt to lighten the mood has failed on this human.

You continue. "I was trying to get into the mall to see if I could find any proper clothing." She nods.

"I saw that, too."

"Well... I was thinking of finding something heavy to break the glass. Something I could lift and throw, but with another pair of arms it could be a heavier object." You look at her arms again, and you think that your wrist probably has more girth. "...Think we've got a shot?"

She lets out one laugh, just a bursting 'HAH'. You... Agree. There's no power in those arms. There might be a little speed, but there's no strength. Come to think of it, you haven't really tested your own strength outside of that combat situation. That was life or death... Adrenaline does strange things to a body. You don't know how strong you are at a baseline.

"If all you're going in there for is shoes, you need to reevaluate your thought process. That place is swarming with those things." She leans forward and begins to fidget with her cigarette box, flipping it over and tapping the bottom. "There are a few more rounds of shotgun ammo in the office, but not enough to defend yourself in that building. Unless you think you can take them all on with your bare hands. Which... Actually might be kind of cool. I'd watch it."

"I'd rather have something more comfortable and protective than what I have on." You pull at your current clothes to emphasize that point. "And with a surplus of pockets."

"Well, I guess it's up to you."

You wait for her to say something else, but she stays quiet. You continue what feels like an interrogation at this point... She's not making conversation easy for you. "What about leaving?"

"What do you mean, 'what about leaving'?"

"I imagine you must have at least tried to get out of town." She shakes her head.

"No, I haven't. It's quiet, here. And I had a lot of noise in my life." A low chuckle fills the space between you. "It's almost like a little vacation."

"What about the chasms?" You press further. "I've seen... Those holes, they're filled with black goo. Are we trapped because of them? Is that why you can't leave?"

All you get out of her is, "I don't know what you're talking about."

(Please specify what you would like to do.)

>>1320477
>"I saw on the map that there was a tailoring place right around the corner. Have you checked it out?"

>>1320477
>"Really? You haven't seen any giant holes in the roads? Look I have a map, let me show you where I found them."

While we are showing her the map, let's also ask if there's any place that could have shows/clothing that she hasn't tried yet.

(You chose to continue the conversation.. >>1320556, >>1320550)

"Really?" You ask, beginning to take the map you found out of your waistband. "You haven't seen any giant holes in the roads?" You part the edges of the map, then hold it out for the stranger to look at. She arches one of her thin, blonde brows. "Look." You point to the red squiggles you drew on the map, indicating where you found these drop offs. "Here."

She leans back. "I still have no idea what you're talking about. I haven't seen anything like that." She folds her legs in to sit with them crossed. For some reason it reminds you of a mantis.

"What about the place I was in?" You ask. "The tailoring business... Have you been in there?"

Every question you ask makes her lips stretch out further into that maddening smile. "I don't think they've got what you're looking for in there."

The stranger swivels her chair to look at the window, then back around to you. She digs into her pack of cigarettes and lights another.

For some strange reason, you have a feeling that any authority you may have had has just been lost.


(Please specify what you would like to do.)

>>1320775
>What about the place I was in?

*What about the place I was -by-

>>1320775
No I don't, because I never entertained any notion of having authority.
But I will admit this conversation is doing an excellent job of killing my enthusiasm and interest.

>"Alright then, let's put it this way... I have no wish to stay here. You do. That means we have different goals. Given that your objective is to heke a living here, I can't of course expect you to provide me with assistance and supplies as I attempt to get the fuck out. I mean, I'd appreciate it of course, a lot, but I realize scarcity is a big fucking deal in a city devoid of human life AND populated by monsters. And attempts to leave are bound to be met with danger as well. So how about this: I'll make my attempts to leave by myself, unless you wish to assist me, and in the meantime, so that I'm not a freeloading leech, I will assist you in whatever you could use my help with. Reasonable things. For example, I imagine going out to gather resources is a pretty important and dangerous regular activity for you. Having a second pair of eyes and a knife to back you up against those things would probably be nice."

>>1320775
>"Alright then, let's put it this way... I have no wish to stay here. You do. That means we have different goals. Given that your objective is to heke a living here, I can't of course expect you to provide me with assistance and supplies as I attempt to get the fuck out. I mean, I'd appreciate it of course, a lot, but I realize scarcity is a big fucking deal in a city devoid of human life AND populated by monsters. And attempts to leave are bound to be met with danger as well. So how about this: I'll make my attempts to leave by myself, unless you wish to assist me, and in the meantime, so that I'm not a freeloading leech, I will assist you in whatever you could use my help with. Reasonable things. For example, I imagine going out to gather resources is a pretty important and dangerous regular activity for you. Having a second pair of eyes and a knife to back you up against those things would probably be nice."
This, but a little less antagonistic.

>>1320951
I'm okay with that because I hadn't meant to be antagonistic at all. But if you see any parts that need to be changed because they come off that way, please do.
Honestly I thought I was being rather conciliating by basically saying "Ok, I'd like your help but I realize you have your lot to see to. I'll pay rent by helping out and try to leave in my free time".

>>1320951
>>1320971
Shit, not used to figuring out what a character should say, or think. We could apologize for abruptness, and then tell her we lost all our memories.
And as we talk we turn frustrated and then what you said>>1320887

(Whoops, forgot to use my handle on the last post.

No drawings today. I've got walking pneumonia and don't have the patience for that work right now.)

(You chose to continue the conversation.

>>1320951 >>1320971 >>1321010 I'm... Uh... Gonna do the best I can to combine all of these things to fit into a narrative.)

You sigh, low and long. "If you want to stay, that's fine, but I don't. I don't expect you to supply me without assistance." You've noticed that throughout the course of your two sentences, she's been slowly pushing her tongue between her teeth and past her lips. "I'll leave on my own, that's fine... And I'll find some way to compensate you if we do work together. We've got dangers regardless of our goals."

You would offer money, but you realize that you don't have any cash on you. You don't know if any of the other things you've found are worth anything.

"Compensate." She repeats the word, tilting her head in a lazy, quick motion. "You gonna put out?"

"Gathering resources, for example." You raise your voice a little bit, trying to talk over her. "Actually reasonable things. It can't be easy for one person to get supplies. Another pair of eyes and a weapon... That can help, can't it?"

She chuckles. "Reasonable, huh?" The stranger drags out her cigarette, and snuffs it into the ashtray. She goes for another one, and you notice that they're rather short. Condensed... It's probably a quicker, stronger hit rather than a gradual one that most cigarettes provide. She holds up the hand that's not in use and drags her middle finger down the corner of her eye to wipe away the crust.

"I suppose part of me is adjusting to not being in my town." She pauses until the corner of her eye is completely clean. "I don't stress much, either. I forget that other people can get tense in these kinds of situations. Danger, and all." Her lazy eyes wander to the ceiling and squint at the lights before shifting down to you. You sit through a brief period of silence before she shifts to a more socially appropriate position.

"Give me your knife." She demands, holding out her hand. You pause for a moment, not comfortable with the idea of handing over your only weapon. She lets her tongue nudge her upper lip before opening her mouth slightly. "I'll give you the shotgun for it. There's too much kickback on that gun for me, but you're build pretty solid. If you want to have that kind of partnership, then you should be playing to both our assets. I don't know about you, but I'm quite capable in close range."

Her tone still bears that confidence. She jerks her head back to the unmarked door in the bar. "More shells in the office. I'll go get them for you if you want it."

The stranger wants you to exchange your knife for her shotgun. (Knife 1d4 +2 per turn... Shotgun 2X 1d6 per turn with reload... Each shot does 1d6, may attack twice per turn, after two shots need one turn to reload... Shotgun requires ammunition).

A. Trade with her.

B. Keep your weapon.

(Also. For lines of dialog that are this long >>1320887... Conversations aren't text dumps, especially not in narratives. I'm trying to exchange as much between characters as I can and still keep as much of this in as possible, but when there's this much of it some is just going to have to get cut out.)

>>1322078
This is quite unexpected. We found this knife in a kitchen drawer. It's completely ordinary, not even a combat knife. Shouldn't be hard to come by, just break into an apartment and you should have good odds of finding another. Yet she wants to trade it with a shotgun?

I'd say let's go for it. I'm optimist we can at least find a blunt bat-like object before we run out of bullets.

>>1322305
Yeah, I can understand that, don't worry.

By the way, if she is starved for sex, do we decide how our character feels about that? Or is that one of the feelings that are out of our control?

>>1322315
Of course there's the matter of: how do we do this trade?
Like, do we trust her enough to hand over the knife before she hands over the shotgun? And if not, how do we handle that? "You first" or "simultaneous trade plz" is obviously distrustful, but I don't think there's a way to request either without it coming off that way.

Maybe we can tell her about our amnesia and to let us try holding up the shotgun to "see if we get a feel for it".

>>1322329
(Something like that would be dependent on your discipline, however that meter isn't high enough for an automatic response to trigger. High discipline would warrant an immediate refusal, low discipline would warrant an immediate acceptance (in this situation). Currently, the player would get to decide. Automatic responses kick in when there's a significant amount of points on one meter and will always be notified.)

>>1322465
(And what you choose, if prompted with a direct decision, would influence that meter as well.)

>>1322078
A. Trade with her.
And ask if she has any ammo.

(You chose to make the trade.)

She leans over in the stool, nearly knocking the thing over, and straightens back up with the shotgun in hand. She slams it on the table, though you have a feeling the forceful noise was her not being able to handle the weight in that position, and slides it down. You move slightly, not trusting how she's handling this weapon. However, when you pick it up and turn it over it seems to be in good condition. At least, as far as you could tell.

You probably shouldn't over abuse it, though.

As soon as your inspection is over, you place the knife on the table with the hilt facing the stranger and slide it over in a similar fashion. It makes it about halfway across, and she has to stand up to get it. She takes the knife off the counter, then goes to the door. You see her take out something, probably a key, and tamper with the lock on the door. She slips inside for a few minutes, then comes back out with a small box.

"This is all the owner kept. I've torn this place to shit and didn't find any more of them." She sets the box down in front of you. You open the box and quickly thumb over the contents.

You see that there are 15 rounds in this box.

You put the ammo in your broken satchel. (7/8 remaining slots)

"Aw, you broke your bag." The woman snorts out a soft laugh. "That sucks. I don't know anything about tailoring, but you could probably fix it." She reaches out, holding the strap and squeezing it, never mind and permission you would or wouldn't have given her. "It looks like the thread was weak. The fabric didn't rip, it was whatever was holding it together."

You notice that the stranger has taken one of the long drawstrings of her pants and has tied the knife against her hip with it. It doesn't look sturdy, but the knife seems to be staying in place with her slight movements.

(Please specify what you would like to do.)

>"Well, I guess I better check out Pine Street doubly now. Get some new threads and some actual thread to patch this baby up."

>>1322635
>>1322992
Back to Anna's tailoring? I suppose we might, she said it's unlikely that we'll find better clothing and shoes, but we should find something to fix the satchel at least (we don't want to start dropping items without noticing, especially our shotgun shells).

We made an agreement with this woman though, so before we decide what we want to do next we should hear what her plans are and if she wants us to help.

So I guess we should do that: stand up by the map and ask her "So, is there any place you think we should head off to? Or can I help you with something here?"

>>1322465
Interesting. So are you saying our character is straight but would be willing to be flexible if we prompted it?
Otherwise I'm not sure why having high discipline would translate to "Nope, don't wanna get laid".

>>1323597
Actually I just realized I'm not sure where we are.
We walked past the arcade, then a parking lot to get to the bar. Is it the unmarked building between LouAnne's Bakery and the Community Park? (It's supposed to be residentail, but I guess there could be a bar within an otherwise residential building. Or the map could not have been quite up to date).

>>1323623
We should be in the place "Love's"

File: mapedit3.png (87KB, 353x269px) Image search: [Google]

87KB, 353x269px

>>1323623
>>1324007

(You're in Rupert's, the bar. A green space is like a grass lot, the other blank spaces are cement. Marking out every parking space would have been redundant and would have crowded the map even further. Believe me, I got about halfway done before I realized it was far too cluttered.)

>>1323597
(Discipline doesn't mark your sexuality. It's less of sleeping with a woman, and more of having sex with someone when hell is outside.)

(Have you decided to go to Anna's Tailoring?)

>>1324150
Got it.
Shure, maby they have some clothing that might fit.

>>1324150
Mh, so that's the path we've taken. While walking across the street, did we glance north and see the chasm of black goo?

>having sex with someone when hell is outside
Ah, okay. But see, the way I was thinking of this was more like "Okay, to be welcomed in this refuge I can either 1 go out to gether food and fight monsters 2 sexytimes" (not on a regular basis of course, sex can't replace food).
Could be seen as whoring oneself out, but that's only the case if our protag isn't into it too.

>Have you decided to go to Anna's Tailoring?
I'm okay with it, unless our new friend has different plans that require our assistence. Like I said, we made a deal so first we help her out then we can durther our own goals.

>>1324206
(The chasm is a little bit east of where you wiped out. You saw that it was there >>1317498 but you didn't investigate it further.

If you're going to try to put out, it could go a couple of ways seeing as how unstable and inconsistent this stranger has been.)

(You chose to go to Anna's Tailoring.)

(Still pretty sick, art will be scarce.)

"I'm going to the clothing store." You decide, standing from your seat. The woman tries to hold back a chuckle, but fails. "I need to get this fixed." You hold up the split satchel.

"...Yeah, that makes sense." The stranger nods. "Now... Do I want to go with you...?" She says, voice indecisive as she trails off the last word with a croaking tone. "...I might. I think I will, this time. I'm choking in this." She tugs at the high neckline of the child's shirt and you can see just how tightly it's setting into her skin.

Despite the face that she's probably nothing but skin and bone, she has the frame of an adult woman. You wouldn't be surprised if she was older than you were.

She pushes her cigarettes and her lighter into her pocket, lighting one beforehand to sustain her on the trip. You have a feeling that her usage stretches a little bit farther than just a habit.

You don't know how you feel about being around or fighting alongside this human, but you don't think you have a choice at the moment. You decide to see how things go this time and continue from there.

You fashion a temporary leash from the satchel and tie it around your waist. It won't hold forever, but it will do for now.

You and the stranger are exiting Rupert's and walking to Anna's Tailoring.

You walk through the parking lot, armed with the shotgun and 15 rounds. You're walking behind the stranger, who is armed with the knife.

A. Quietly continue to the tailoring shop.

B. Examine or approach a different location (specify).

C. Engage in conversation with the stranger (specify).

D. Other (specify).

(We're still in semi-tutorial mode, if you can believe it. There's one more piece to this quest that I have to introduce you to, which is why she's coming along. You'll get the option to refuse or accept help in the future.)

>>1324298
>C. Engage in conversation with the stranger (specify).
>I'm assuming you already checked the bakery over there for food, right?
(Lou Anne's Bakery)

>>1324298
>C. Engage in conversation with the stranger (specify).
What >>1324377 said

Since the mall is a no go, why don't we head to the hardware store?

>>1324440
Abe's Hardware? That's pretty far away. We can definitely keep it in mind for later though.

(You chose to engage in conversation.)

You speak up from behind the stranger. "Have you checked the bakery over there for food?"

"No." Comes the simple, flat reply. "I don't like bread."

...For a moment you feel like she's going to say more, but she doesn't.

You cross the street, and enter the small pathway by the arcade.

You notice that the two monsters that had ambushed you earlier are gone. Their corpses, and their blood, have vanished from the streets. It throws you a little off guard, but if you want to pay it mind you'll do so later. You want to focus on getting into the tailoring shop now.

You remember that the back door was either locked or stuck so tightly that you couldn't make it budge a single inch.

A. Try the back door again.

B. Look for another entry into the shop.

>>1324644
>B. Look for another entry into the shop.
But proceed carefully.

>>1324661
Yup.

(You chose to look for another way in.)

You grip the shot gun tighter and begin to walk around the east side of the building, the stranger falling back until she's behind you. You come out of the small gap between the two buildings to your left and right until you're facing Pine Street. The street is empty.

You look around the front of the building and see that it's a very cottage-looking, red brick structure. There are windows, but behind them are curtains, pink and green gingham obscuring any chance of checking the inside. The front door is wooden, and a gold inscription reads, "Anna's Tailoring".

The outward appearance is inviting. You take a look at the surroundings. Three payphones are stationed to the left of the building, in between this and the one next to it... And to the right is a dark, cast iron lamp post, set up on the corner of the street. You can also see that there are a few parking spaces painted on the north side of the building.

The stranger is too busy lighting another cigarette to care about what you're doing at the moment.

(Please specify what you would like to do.)

(Tip: Whenever you're traveling with someone you can consult them about what to do to overcome an obstacle. Even if they don't have the direct answer, they might see something that you don't. Or they could be completely useless.)

>>1324793
Try the door, if it's locked we ask her:
>"What do you think? Break the glass? Or have you learned yourself some lockpicking in your time here?"
Then mutter:
>"Hell, I probably should try learn it myself."

I'd actually give it a shot if we had anything remotely suitable for the task.

>>1324829
Seconding

(We're going to cut it a little bit early tonight, I'm really sick. This post... And maybe one more from me and that's probably it for the rest of tonight. If the thread is still around tomorrow I'll post here, but if not keep an eye out for a new one with part 3.)

(You chose to try to open the door.)

You place your hand on the door handle, a brass carving of leaves and flowers surrounding it, and try to pull and push. It doesn't move. you look over the handle and see that there's no semblance of a lock or a keyhole. It must operate from the inside.

You sigh and turn to the stranger, who has found the phones and seems to be busy trying to figure out how to get the coins out... At least, that's what you've guessed from the tip of the knife shoved into the coin retrieval slot.

"What do you think? Break the glass?"

You would ask her about picking the lock, but there seems to be no outer lock to pick.

"What?" She shouts from her position, not hearing you... And by the flippancy in her tone, you don't think she really cares about anything other than what she's doing.

"Hell, I probably should try learn to pick locks for myself." You mutter, frustrated with your environment.

The stranger growls, then lets out a loud laugh of success... Followed by a prominent, "Son of a bitch!" and a groan. Judging by the lack of coins around the area you guess that her attempt to rob the phone was unsuccessful. She lifts her leg with a surprising amount of poise and slams her foot into the metal box.

She doesn't make any noise or expression as if she were in pain, but the clang sounded like it probably would have hurt if you did it.

(Please specify what you would like to do.)

>>1325015
Hope you get better.

>>1325015
Look for something we can hurl at the window.
Say:
>"What do you need the coins for?"

(You chose to see if you can enter forcefully.)

You look around to see if there is something you can use to break the window. Aside from the various paper napkins and tissues on the ground you see nothing.

You look over to the stranger, who has given up trying to assault the phones. "Why do you need coins?" You ask her. She looks over to you and shrugs.

"It's money. Things cost money." You don't know if you can agree with that in this circumstance, but you're not going to argue with it right now.

You're facing the tailoring store. Both of the doors are locked.

(Please specify what you would like to do.)

(That's all I've got in me for tonight. I'll check back tomorrow, but it looks like the thread is on auto sage so I'll probably be making a new one tomorrow if it dies. Thanks for everyone who's stuck with this, I hope you're all enjoying this quest. See you next time in, "I'm up.", the qm has the plague edition.)

>>1325857
It's cool QM, don't worry we'll wait.

Mh, wonder if we could unload the shotgun (for safety) then, holding it by the barrel, thrust it (stabbing motion, not like a bat) at the glass to try and break it.

(Oh hey, it's still alive.)

(I think we're in auto-sage. Not starting a new thread today, but we may in the near future. I am recovering from the plague thanks to gallons of water and coffee, and I'm working on illustrations now.)

(One more thing, if any of you are in the south, especially Louisiana, stay indoors and stay safe. It's like all the bad weather in the world just singles you guys out every year.)

(Alright, let's sum up what's going on, just kind of collect ourselves. You met the stranger, whose personality and goals are both rather shoddy and inconsistent. You've proposed a sort of partnership to help her collect supplies to stay in this town while you try to leave. She hasn't given you a direct yes or no, but the two of you are partnered up to go exploring Anna's Tailoring... A shop on the corner of Main and Pine Street. You want to try to find new clothes and thread to mend your satchel, and she wants to find a shirt that won't choke her half to death like the one she's wearing now.

The stranger has given you a shotgun and 15 rounds in exchange for your knife.

She does not know your name, you do not know hers. You also do not know your own name due to the amnesia.

You're currently trying to find a way into the tailoring building. Both of the doors are locked and the windows have curtains blocking any view inside.)

(Please specify what you would like to do.)

>>1329167
>Please specify what you would like to do.
>>1326851
Fingers crossed the shotgun doesn't snap in half (I figure at worst, nothing is gonna break, not the glass but neither the gun).

(You chose to attempt to forcefully enter the shop by breaking the glass.)

(Please roll a 1d20, highest number will be taken.)

Rolled 17 (1d20)

>>1329325
Rolling

>>1329385
(Taking 17.)

You line the butt of your gun up with the left window, turning your head and closing your eyes tightly before trying to plunge it through. You hear a crack, then a shatter as the glass breaks. You hit the end of the gun against the glass repeatedly until a substantial hole is made, then knock out the remaining shards of glass bit by bit.

You break out as much of the pane as possible, leaving just a few tiny pieces of glass intact. The might snag on your clothes, but they probably won't do much if any harm to you.

You now have a glass-free left window, the gingham curtain still blocking most of the view inside. Despite that, you can see clearly that the interior is dark. There appear to be no active lights at the moment.

You're standing at the front of Anna's Tailoring.

A. Try to climb in the window.

B. Look in the window.

C. Check on the stranger.

D. Other (specify).

>>1329448
First take a few steps back, then
>C. Check on the stranger.
then approach again and
>B. Look in the window.

>>1329448
>C. Check on the stranger.
Reach in and pull the curtain out.
Allows light to inter, and gives us a better view.

>>1329678
That's what I assumed Look in the window meant, so we are in agreement. Let's proceed cautiously of course.

>>1329448
WAIT!
Did we unload the gun before smashing the glass?
If so reload immediately after we take a step back!

File: anna1.png (268KB, 900x618px) Image search: [Google]

268KB, 900x618px

>>1329859
(The gun has no ammo in it, you have 15 shells, but the stranger gave you an unloaded gun and you've yet to load it.)

(You chose to check on the stranger.)

You look over at the scraggly blonde, who seems to have succeeded in getting a handful of quarters out from the middle phone. She pockets them before stamping out her cigarette and going to work on the final payphone.

She seems occupied, so you turn your attention to the window. Mindful of the glass, you reach out to pull back the gingham curtain and look inside.

It's still very dark. The outside light only does so much to illuminate the interior, but you can see that this appears to be a dress shop. And from the sign in the back, they're prom dresses.

You remember the stranger laughing and saying this store didn't have what you needed.

There's a door with slants towards the back, leading to a room that's apparently much darker. The carpet looks like a dark red, and the wallpaper is some hue of brown.

This is all you can make out with the limited light the environment has provided. There may be more on the right side of the store, but you simply can't see what it is from where you are.

(Please specify what you would like to do.)

>>1330062
>>1329859
What he said. Load the gun.

(You chose to load the gun.)

You load the gun after taking a moment to figure out just how to do that. It's not very difficult, and you can do it with no problems in the future.

You have 2 shells equipped, 13 remain in your satchel.


(Please specify what you would like to do.)

>>1330080
Yep.
Then after that,
>>1330062
let's try to tear down the curtain completely. Might allow more light in and perhaps serve as fabric at some point.

>>1330144
Yes, remove the curtain.

>>1330144
>>1330150

(The curtain is hung from the inside. >>1324793 You would have to put your torso inside or at least reach inside the building to attempt to remove them. Do you want to do this?)

>>1330215
Don't calmly remove, remove with a vengeance.
Grab it with all your strength and weight, and pull it down.

(Please roll a 1d20.)

Rolled 4 (1d20)

>>1330260
hope nothing grabs us.

>>1330286
Well shit, looks like SEVERAL somethings grab us.

Rolled 1 (1d20)

>>1330260
Yaahh!

>>1330377
SHIT!

>>1330377
O.o
We crippled now.

(Fortunately for everyone here, the 4 sustains as the highest number and the 1 is disregarded (lol)... These are still the earlier stages of the game so this rule applies.

4 still isn't that great, though...)

(Taking 4 as the highest roll.)

You wrap the curtain in your hand and begin to pull, but it's not coming off. You place your shotgun on the ground and tug with both your hands, feeling your muscles flex to capacity, but good golly miss Molly that thing is ON there.

You actually slip on the slick cement, falling on your rear end. Ouch. You let go of the curtain in the process and slowly stand back up.

You're glad you put the shotgun down before.

"What are you doing?" It's a very dry inquiry. The stranger is standing over you, another cigarette in her mouth and hand jingling a pocket full of quarters. You stand, and she goes to the window to look inside. "I told you this place wasn't what you were looking for.

While you rise to your feet you think to yourself. You had to shatter a window to even get a glimpse of what was inside. How did this stranger know? Was she previously acquainted with this store? Did she see another way inside?

Or maybe she was just jerking you around. With the serpent-like smile seemingly always stretched across her face you don't doubt that's an option.

"Maybe I'm wrong, though." The woman shoves some of the broken glass away with her bare foot.

You consider yourself lucky that you didn't cut yourself. You don't want to even try to pull the curtain down any longer... You have a feeling that if you do the same thing is just going to keep happening.


(Please specify what you would like to do.)

>>1330569
Uh. That went better than expected.

>"Okay, I'm going in."

>>1330668
(Perhaps...)

(You chose to attempt to enter the building.)

"Okay." You huff, looking at the window. "I'm going in."

You try to find the best way to do this. You start to go in head first, but you get your shoulders just barely in the frame before you realize this isn't going to work. The window isn't big enough to you to fit through this way. You try raising your leg, but the window is far too high for you to climb into. Your knee just doesn't bend the way you want it to bend, and you feel the remaining glass shards scrape your legs. You're not bleeding but it's not comfortable. Besides, even if you could get your leg in, you don't know about the rest of your body. That would put you in a rather compromising position.

The stranger has been watching you this entire time with mild amusement. You conclude that you're not going to be able to enter through the window.

(Please specify what you would like to do.)

>>1330829
Hey, stranger, think you could lend us a hand? or entire body?
Try and get her to slip in. She is thinner than us.

(You chose to attempt to send the stranger through the window.)

"Hey." You say, putting the pieces together. "...Do you think you could..." You point to the window, then at the emaciated figure of the stranger. She seems to understand and shrugs.

"I can try." She chuckles. "Hang on." The stranger starts smoking even more vehemently than before, taking in a visibly long drag before exhaling. An incredibly satisfied moan leaves her lips as her muscles relax. You wait patiently until she walks over to you.

"...Did you get cut?" She asks, pointing to your right hip. "Is that blood?" You look down immediately and see that there's a dark red stain against your green jacket. Strange, you don't feel as if you've been hurt... You instantly pull up your jacket and check the skin. There are a few bruises, but no punctures, slashes, or even a scrape.

Then you remember. Your hand dives into your pocket and slowly comes out with a completely destroyed [Red Marker]. The ink must have burst and leaked against your skin when you slipped.

In any case, it's completely destroyed and utterly useless. You toss the broken [Red Marker] on the ground. Until you find some other writing utensil you won't be able to make marks of points of interest on your map.

Turning back to the task at hand, the stranger places her hands on the parts of the ledge that don't have glass. You kneel and wrap your arms around her legs, shocked at how much room there is between the fabric and her skin. You actually have to move up to her hips because you can't get the balance you need with how skinny her thighs are.

You slowly lift up the stranger, who ducks her head and looks around inside. It's not even a challenge for you to pick her up and push her through, her legs bending when needed and body twisting to fit through the opening.

This human being is incredibly nimble.

Eventually you get her all the way in-- And you hear a loud crash. Feeling the absence of her in your arms, you surmise that she fell in. "Goddammit, my quarters!" Comes the grumble.

You can just barely see her in the dark as she gathers the contents of her pockets and stands up. She looks around, then turns and stares at you.

(Aaaand that is where we stop in this thread. Apologies for delays in replies, everyone, I'm just starting to get over being sick. Things should be business as usual tomorrow, illustrations, proper paragraphs, the works. Thank you for sticking with this quest, I hope you're all enjoying it and I really hope to see you in part 3.

I'd say look for the new thread in about 14-ish hours, because I have been sleeping a lot and I do need to get a couple more things done. And of course I'll link it here. Here's a small list of what will be in next thread:

-Player combat sheet
-Partner combat sheet
-Quest log (will be thoroughly explained in the next thread)

Again, thank you guys for participating. Good night, and see you tomorrow.)

>>1331268
No problem, getting better is first priority.
If you don't, then this quest dies, and we'll all be sad.
Sad about you dying, yes.
And good quest too.

>>1324150
I just realized our comfy homebase is right in front of the mall.
The mall which is apparently crawling with monsters and the backside of which held something so terrible we run away from it.

No bueno.

NEW THREAD IS EARLY:

>>1332075
>>1332075
>>1332075