November 30, 2025 • 29 mins
Welcome to the Hollow Men - a dramatised Hunter: The Reckoning solo actual play.
Courtney deals with the fall out from the fight at the Depot, and the fact that the police officer helping her appears wrong to her Second Sight.
All music and sound effects from Epidemic Sound.
Thanks to our voice actors Karen Pope, Heather Haneman, Havilah Coady, Melissa Andres, Jon Cohen and Anna Chapman.
Contact us at:
EMAIL: roll.to.save.pod@gmail.com
FACEBOOK: https://www.facebook.com/rolltosavepod
WEBSITE: https://rolltosave.blog
HOSTS: Iain Wilson, Steve McGarrity, Jason Downey
BACKGROUND MUSIC: David Renada (Find him at: davidrendamusic@gmail.com or on his web page).
TITLE, BREAK & CLOSEOUT MUSIC: Xylo-Ziko (Find them on their web page).
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Iain (00:05):
Welcome to the Hollow Men, a dramatized actual play of
Hunter the Reckoning.
What you're about to hear isthe story of ordinary people who
discover that monsters are realyet choose to bravely stand
against the darkness.
This is a solo game playedusing dice and the roles of
Hunter the Reckoning firstedition.
(00:27):
Every role is real, everydecision matters.
Nothing is scripted.
This show contains maturethemes including violence,
profanity, body horror,paranoia, moral ambiguity, and
psychological distress.
Listener discretion is advised.
The story unfolds as a dicedictate.
(00:49):
Sometimes the heroes triumph,sometimes they fail, sometimes
they die.
The only certainty is that onceyou've seen the truth, they're
forever changed.
It's the eve of the millennium.
Monsters walk amongst uswearing human faces.
Anyone could be compromised.
This is the Hollow Men.
(01:10):
Previously on the Hollow Men.
Courtney Webster thought shewas meeting a whistleblower.
Ed, a worker from ColestoneConcrete, wanted to talk about
(01:32):
irregularities at the plant, butbefore he could speak,
everything went wrong.
A gunman screaming.
Then a voice commanded her.
Open your eyes.
Then she saw the truth.
The man with the gun wasn't aman anymore.
He was a corpse, animated bysomething wrong.
(01:53):
When he shot Ed, Courtneyacted.
Visions flooded her mind,glimpses of futures that hadn't
happened yet.
Two strangers appeared out ofnowhere, and together they
brought the creature down.
The strangers couldn't stay,but they left her a symbol that
she somehow understood meantally, along with a phone number
to get in touch.
(02:14):
Then the police arrived.
One officer immediately rushedto help her, concern written
across his face.
That's when Courtney felt itagain.
The same wrongness.
The cop wasn't human either.
Calvary Bluffs, Missouri,downtown, May 22, 1999, 8 41 pm.
(02:42):
The sense of wrongness wasalmost dizzying.
But the worst part?
He had kind eyes.
Officer Mitchell (02:50):
Hey, hey, you're okay.
You're safe now.
Iain (02:52):
His hand hovered near her shoulder, careful not to touch
without permission.
His name tag read Mitchell, andthe lines around his eyes told
the story of a man in his lateforties who smiled often.
The concern on his face seemedgenuine.
Nothing about this felt right.
Courtney's frazzled mindstruggled to articulate what she
(03:15):
was seeing.
Officer Mitchell lookedperfectly normal, brown hair
going grey at the temples, awedding band on his left hand, a
small coffee stain on hisuniform shirt just below the
badge.
Everything about him seemedordinary, decent, and human.
Except she knew he wasn't.
(03:36):
The wrongness radiated from himlike heat from an August
pavement.
Not the sick, waterloggedcorruption of the thing that had
shot Ed.
Something else.
Something that wore kindness,like a well-tailored suit.
If anything, that was scarier.
Officer Mitchell (03:54):
Can you tell me your name?
Iain (03:55):
Mitchell's voice was patient and gentle.
Courtney.
Officer Mitchell (03:59):
Okay, Courtney.
I'm Sergeant Mitchell.
That's my partner, OfficerReese, by the door.
Iain (04:04):
He nodded to the other cop who was still barking into his
radio.
Officer Mitchell (04:08):
Listen, you've had a hell of a shock.
I need you to take some slowbreaths from me, alright?
In through your nose, outthrough your mouth.
Iain (04:16):
She did.
The shaking in her legs didn'tstop, gnawed at her racing mind.
Behind Mitchell, his partnerfinished with the radio and
strode over.
Officer Reese was younger,maybe late twenties, with the
rigid posture of someone whotook the uniform and his calling
very seriously.
She knew cops like this.
(04:37):
They talked about blue like itwas a skin color.
His eyes swept the scenemethodically, landing on
Courtney with an expression thatwas more calculating than
concerned.
Reese (04:49):
We need to get her downtown.
This is a homicide scene.
She's in shock, Dan.
All the more reason to get herstatement before her memory gets
fuzzy.
Iain (04:57):
Reese crouched down on Courtney's other side, and she
was suddenly very aware of beingflanked.
Ma'am, I need you to tell mewhat happened here.
Courtney's eyes darted to thebody.
No, it was just a man.
Just an ordinary man incornerstone overalls lying in a
spreading pool of blood.
No black eyes, no waterspilling from his mouth.
(05:21):
No wrongness at all.
Had she imagined everything?
I She waved a hand as she triedto compose herself.
Courtney (05:31):
He had a gun.
He shot.
Iain (05:34):
She turned to the booth where Ed had been sitting.
Paramedics had arrived at somepoint.
She hadn't even heard them.
They were working on him, buttheir movements had the
practised efficiency of peoplegoing through the motions that
they knew were pointless.
Fresh tears came.
These ones felt very real andalmost burnt as he trailed down
their cheeks.
(05:54):
Reese jabbed a finger at thebody on the floor beside
Courtney.
The deceased.
Courtney (06:05):
Yes.
He shot the man I was sittingwith.
Iain (06:09):
Courtney's mind raced.
The woman's advice echoed inher head.
I got scared and confused.
This wasn't hard.
She was terrified beyondreason, and nothing made sense
anymore.
Courtney (06:20):
Then people were screaming, and I I just She
looked down at her shakinghands.
Iain (06:26):
There was something dark under her fingernails.
Not quite blood, not quiteanything she could name.
Courtney (06:32):
I tried to stop him.
Iain (06:33):
I grabbed his stool and She stopped and her stomach
lurched.
Was she confessing to murder?
The body in the floor looks sonormal now.
Mitchell shifted slightly,putting himself between Courtney
and his partner's moreaggressive questioning.
Officer Mitchell (06:48):
Sounds like self-defense to me.
Or defense of others, at thevery least.
That's for the DA to determine.
Iain (06:54):
Mitchell shook his head and ignored him.
Officer Mitchell (06:57):
Courtney, I know this is hard, but I need
you to focus.
For me.
Iain (07:00):
He smiled kindly.
Officer Mitchell (07:02):
The man that you fought off?
Did you know that he had a gun?
Iain (07:05):
She nodded.
Officer Mitchell (07:07):
Had you ever seen him before tonight?
Iain (07:09):
Silent shake of the head.
Officer Mitchell (07:11):
What about the other two people who were here?
Iain (07:13):
Courtney's breath caught.
Suddenly, the scrap of paperwith the phone number in their
pocket felt as heavy as a brick.
Officer Mitchell (07:21):
The man and woman who left before we
arrived.
Multiple witnesses mentionedthem.
Courtney (07:25):
I I don't know them.
They just.
They were just trying to help.
Reese (07:30):
Well, they fled the scene of a homicide.
Officer Mitchell (07:32):
She said she didn't know them, Dan.
Iain (07:34):
He turned back to Courtney, and again she saw that
kindness in his eyes, thatpatience.
But most of all, that wrongnessunderneath it all.
Officer Mitchell (07:43):
Did they take anything?
Touch the body?
Courtney (07:46):
No.
They just.
They just helped stop him andthen they left.
I think they were as scared asme.
Iain (07:54):
Mitchell nodded, as if this confirmed something that he
already knew.
Okay, that's good.
Officer Mitchell (08:00):
That's really helpful.
Iain (08:01):
Reese stood up abruptly and snorted.
Reese (08:04):
This needs to be done properly at the station.
Officer Mitchell (08:07):
We need a full statement before we And she'll
give one.
After the EMTs check her outand she's had a chance to catch
her breath.
She's not under arrest, Dan.
She's a victim.
Iain (08:17):
The two officers stared at each other.
Some unspoken tension passedbetween them, the kind Courtney
recognized from years of readingpeople, of understanding the
small hierarchies and powerdynamics that defined all human
relationships.
Reese was younger, more by thebook, obviously keen to prove
himself.
But Mitchell spoke withseniority, and more importantly,
(08:39):
he had empathy.
Officer Mitchell (08:40):
I'll take your statement here.
You process the scene.
Radio for more units to Canvaswitnesses.
God knows enough of them haveappeared out of the woodwork.
Iain (08:49):
He gestured to the crowd of patrons that were clustered
around the doorway.
Greasy's jaw tightened, butafter a moment, he nodded curtly
and turned away.
Mitchell let out a small breathand offered Courtney what might
have been an apologetic smile.
Officer Mitchell (09:04):
My partner's not wrong.
We do need your statement.
But I promise I'll make it asquick and painless as possible,
okay?
Iain (09:12):
Courtney nodded, not trusting her voice.
She wanted to scream, but shefelt like her world might
explode if she opened her mouth.
As Mitchell pulled out his ownnotepad, she found her mind
racing again, trying tounderstand what she was seeing,
trying to reconcile the kindnessin his voice with the crawling
sensation that told us somethingabout this man was
(09:33):
fundamentally wrong.
And behind it all echoed thatvoice that came from everywhere
and nowhere earlier.
So poor Courtney is in a bit ofa jam.
(09:53):
She's got a body next to herthat she technically was
involved in killing, even if shebelieved it was already dead.
She's got an antagonistic copthat wants to take her downtown,
where in her current state shemight end up blabbing about
everything, and no amount of buthe had black eyes and looked
like a dead guy is going to helpconvince the police she's
(10:13):
anything other than a lunatic.
She's also been questioned by acop who, although he appears
nice, also appears very, verywrong to her second sight.
Now, I know what those of youfamiliar with Hunter are
thinking, why doesn't she useher discern edge to find out
more about him?
Simply put, she's in shock.
(10:34):
Yes, she used an edge duringher imbuing, and the keen eyed
amongst you will have noticedthat I also had her discern edge
activate then, but at thisstage, Courtney isn't really
aware that she can do thesethings consciously.
As far as she's concerned, shemight be going crazy.
So, it sounds like the onething that she could do with at
the moment is a friend.
(10:55):
And thankfully, she's got one.
Those of you who listened to,endured, the entire character
creation episode will know thatshe's a point in the background
allies.
Whenever I run a World ofDarkness game and a character
ends up with a background likethis, I never make them define
it at the beginning.
After all, you might end upgenerating someone that never
(11:17):
makes a story.
Instead, I let the players usethe points as and when they
think it might be relevant,usually for the most dramatic
effect.
So, Courtney's going to cash inher point of allies right now
for a little bit of help.
Courtney was halfway throughrecounting the moment the gun
(11:40):
went off when she heard a newvoice cut through the chaos.
Miranda (11:44):
What have we got, Mitchell?
Iain (11:46):
The woman who approached had the steady competence of
someone who was used to crimescenes.
Mid-30s, dark hair pulled backin a no-nonsense ponytail,
wearing jeans and a red blazerover a simple white blouse.
A detective shield hung fromher belt next to her holstered
weapon.
She took in the scene withpractised efficiency.
(12:07):
The body, the blood, theshattered bar stool, the booth
where paramedics were kneelingby Ed.
Her eyes landed in Courtney,and her expression shifted
immediately.
Miranda (12:18):
Jesus Christ, Courtney?
Iain (12:20):
Courtney looked up, her vision blurry with tears.
Miranda (12:24):
Miranda!
Iain (12:25):
Detective Miranda Clements crossed the distance between
them in three quick strides,crouching down beside her.
Courtney (12:32):
Are you hurt?
Nor I I don't think so.
Iain (12:36):
Miranda's hand found Courtney's shoulder, the touch
warm, solid, and blessedlycompletely normal.
The relief Courtney felt atthat simple human contact caused
the tears to start to flowagain.
Officer Mitchell (12:48):
She hasn't been checked out yet.
I wanted to get her initialstatement first.
Miranda (12:52):
Where are we at with that?
Officer Mitchell (12:54):
Got the basics.
Miss Webster was conducting aninterview with the deceased over
there when the shooter enteredand fired.
Miss Webster acted in defenseof herself and others.
Two other individuals assistedbut fled before we arrived.
Iain (13:06):
Reese materialized from somewhere near the bar.
His expression like that of achild who wanted Mummy to tell
him he'd done a good job.
But before he could speak,Miranda held up a hand.
Miranda (13:17):
I'll handle it from here.
Iain (13:19):
Her voice was not unkind, but it had a finality that was
absolute.
Miranda (13:24):
Mitchell, good work.
Why don't you and Reese helpthe uniforms outside processing
the other patrons?
I'll finish up with MissWebster here.
Iain (13:31):
Reese went to object, but the stare that Miranda gave him
told him that it wasn't up fordiscussion.
After a moment he noddedstiffly and moved away towards a
cluster of shaken bar patronsbeing corralled by uniformed
officers.
Miranda waited until bothofficers were out of earshot
before she spoke again, thistime her voice lower.
Miranda (13:53):
Talk to me.
What were you working on?
I know you.
This wasn't a random meetup.
Courtney (13:58):
I was meeting a source.
He was from Cornerstone.
The guy in the booth?
Yes.
Is he?
Iain (14:04):
She let the sentence trail off, not wanting to finish it.
Miranda didn't speak, but herexpression spoke volumes.
When she saw Courtney was aboutto speak again, she raised a
hand quickly.
Miranda (14:17):
Hey, look at me.
Don't blame yourself.
You can't allow yourself tothink like that, Court.
That way lies madness, trustme.
Iain (14:27):
That nickname, that familiar contraction Miranda
only used over wine after a longday, almost broke her.
Courtney nodded again, nottrusting herself to speak.
Miranda (14:39):
Here's what's going to happen.
I'm taking you home.
You'll give your statementtomorrow after a good night's
sleep.
As far as I'm concerned, you'renot a suspect and you're
certainly not a flight risk.
Iain (14:49):
Courtney nodded mutely, and Miranda pointed at the body.
Miranda (14:53):
What about the people who helped?
Iain (14:54):
Miranda's expression didn't change, but Courtney
caught something in her eyes.
That detective's instinct thatknew there was something more to
her story.
Miranda (15:05):
What about them?
Did you know them or why theyhelped you?
Iain (15:14):
Courtney isn't a bind.
While she doesn't know the twostrangers, she is carrying a
phone number on her thatpresumably belongs to one of
them.
And she also had the weirdexperience of the woman telling
her she was one of them.
The question is, would she tellMiranda?
I don't think she would.
Identifying strange symbols andsaying that her would-be
(15:36):
saviours could see monsters toois a good way to be labelled a
crazy woman.
Therefore, she's going to tryto lie to Miranda.
Will it work though?
I'm going to rule that she'llhave to make a manipulation and
subterfuge check to manage this.
Because Miranda is ahard-bitten detective, I'm going
to make the difficulty seven.
However, I'm going to reducethe difficulty by one for
(15:59):
Courtney being Miranda's allyand another two for Courtney's
fame background.
That brings it to four.
Rolling.
Two sixes, a four, a two, and athree.
That's three successes.
Seems that even under pressure,Courtney is able to keep it
together and lie to her friend.
The lie came easier thanCourtney expected, and she hated
(16:27):
herself a little for this.
Courtney (16:29):
No, I've never seen them before.
Miranda (16:31):
But you say they helped you.
Courtney (16:32):
Yes.
Why?
Iain (16:34):
The question hung in the air.
Courtney could see the woman'sface in her mind.
Things are going to get veryweird very quickly for you.
Courtney (16:42):
I don't know.
I guess I guess they saw whatwas happening and stepped in.
Good Samaritans.
And before you ask, I have noidea why they fled.
Lots of people have lots ofreasons they don't want to be
around the place.
You should know that.
Iain (16:58):
Miranda studied her for a moment that seemed to stretch
into eternity.
Miranda (17:02):
Okay, that's fair.
We'll talk about it moretomorrow.
Iain (17:06):
Courtney took her outstretched hand and stood on
legs that felt like water.
Miranda (17:11):
Miranda, I don't apologize.
Don't explain.
Don't do anything except comewith me.
We'll figure the rest outtomorrow.
Iain (17:20):
They walked toward the exit together, past the body
that no longer looked monstrous,past the booth where Ed had
been so nervous about beingseen.
Past the television that wasstill showing the Cardinals
losing to the Dodgers.
At the door, Miranda paused andturned to face her fully.
Miranda (17:38):
Courtney, I need you to hear this.
Whatever story you were chasingwith that cornerstone source,
it feels to me that it justbecame a lot more dangerous.
You understand that, right?
I know.
Do you?
Because I've given you tipsbefore, fed you leads on
small-time crooks and corporateassholes who needed exposing.
But this feels different.
(17:58):
This feels bigger.
And I know you, but I need youto promise me that you'll be
careful, that you'll call me ifanything feels wrong because I
She stopped and seemed to catchherself.
We need people like you askinghard questions, but not at the
expense of your health.
Do you get me?
Iain (18:16):
Courtney felt the gratitude well up inside of her.
And she wanted to tell Mirandaeverything about the wrongness
that had irradiated from thegunman and from Mitchell too,
despite his apparent kindness,about the symbol and the voice
that had spoken in her head,about the phrase that still
echoed inside her mind.
Open your eyes.
(18:37):
But she couldn't.
Not yet.
Maybe not ever.
Courtney (18:43):
I'll be careful.
Iain (18:44):
The words felt worthless and hollow.
Miranda did not look entirelyconvinced, but she nodded
anyway.
Miranda (18:51):
Good.
Now come on, let's get youhome.
We'll swing by and grab yourcar tomorrow.
Courtney (18:57):
My keys.
Miranda (18:57):
Are you seriously telling me you're in any
condition to drive right now?
Your hands are shaking, girl.
You're in shock, and I'm notletting you get behind the
wheel.
Iain (19:06):
She was right, of course.
Courtney's hands were tremblingmadly, and the thought of
navigating the dark streetsalone suddenly seemed
impossible.
Especially if there were moreof those wrong things out there.
She didn't know what she'd doif she saw another one.
She smiled weakly and nodded,and Miranda's hand found the
(19:27):
small of her back, steadying heras he walked out into the
night.
The street was a kaleidoscopeof flashing lights.
Police cars, ambulances, afiretruck that someone had
called as a precaution.
Neighbours stood in theirporches, drawn by the commotion.
Somewhere a dog was barking.
Miranda's unmarked sedan wasparked near the corner, and as
(19:48):
she opened the passenger door,Courtney caught sight of her
reflection in the window.
She looked like hell.
Her hair was wild, face pale,makeup there was a blood mess,
and which accentuated theredness of her eyes, and which
lined her cheeks in blackrivulence from her crying.
It took her a couple ofattempts to fasten her seatbelt.
Courtney (20:11):
You okay?
Iain (20:12):
The detective was starting the car.
Courtney (20:15):
No, but I will be.
Iain (20:22):
Somewhere beneath Calvary bluffs, date unknown, time
unknown.
Slowly, but oh so slowly, itssenses started to return.
Then came the sensations, thefirst of which it had not felt
for countless eons.
A reaction to the cold and thedarkness that surrounded it,
(20:45):
perhaps?
What was this strange feeling?
Fear.
The memory of the portalsealing shut, and of the
all-encompassing nothingnessthat surrounded it.
Its only company, the myriaddisembodied spirits that flitted
aimlessly around this cold,windy, featureless void, and who
(21:06):
howled at an uncaring sky theycould no longer see.
All the while the sensations ofregret, despair, and impotent
fury were built like a risinghead of steam with nowhere to
vent.
Regret for its failures,despair at the eternity of cold
nothingness that was itspunishment for failure, fury at
(21:30):
the creatures that had abandonedit and deprived it of its power
and glory, and he had left itto rot.
But all these feelings, potentas they were, were nothing but a
distraction compared to theparalyzing icy barbs of fear
that kept it anchored to thisplace, and which constantly
(21:50):
scourged its formless mind in anunceasing cavalcade of torment,
fear of its jailer'sintentions, fear for its
creations, fear of the eternalmadness that this void would
bring.
Seconds passed, and with themthe dawning realization that the
(22:11):
fear was unwarranted, nothingmore than an old memory, a
reaction to its pastimprisonment.
It was still free from itsjailer.
It'd simply been sleeping.
Time had moved on, that wasall.
What had happened?
The vision surfaced like aswollen corpse bobbing on sea of
(22:32):
memory.
Fires turn night into hazytwilight.
The camp is ablaze, and the airis alive with a rhapsody of
pain.
Its creatures scream and liedying, the last remnants that
survived the pestilence thatflew before the invaders like a
Storm Crow.
All is crumbling, but its mostfaithful have seen that it will
(22:55):
endure.
They take it to the sacredplace, the place where the door
was first opened and lightflooded back into its world.
The place where the coldemptiness was replaced with
warmth, heat, and the stickysweet scent of blood and iron.
The place where the words werefirst spoken.
(23:16):
One of their number places ittenderly and reverently on the
cool polished plinth that wasthe focal point of the sacred
place.
The floor, once rough stone,has been worn smooth by
generations of pilgrims' feetand knees.
Torches line the walls, but thecreature that remains
extinguishes all but one.
(23:38):
It is commanding its fellows toroll a massive stone in front
of the entrance to rejoin theirbrethren in battle.
As the rock snuffs out thelight from the tunnel, the
creature now sits huddled in thecorner, mouthing mantras that
will do nothing but bring it theloosest of comfort.
Soon it will learn that thepower these words once held died
(24:01):
in the fires above.
A tiny sliver of concernmomentarily distracts it.
Is this it?
While its new tomb is nothingcompared to the unending
oblivion of its former prison,the comparison is enough to give
it pause.
Then a thought occurs to it.
The stone being rolled in frontof the tomb.
(24:23):
Weren't the invaders followersof the Nazarene?
It wonders for a second beforeextending its senses to observe
the carnage unfolding above it.
The last of its creatures havefled or are dying, and the
interlopers are picking throughthe ruins of the camp.
One of them kneels near wherethe sacred texts are hidden.
(24:44):
Tall, gaunt, its soul fireflaming brightly, but the others
are mere embers.
Anchoring onto the mortal'sflaming face, it reaches out to
draw the invader's attention.
Yes, the cache of text has beennoticed.
Kneeling, the creature unclaspsthe lock of the chest, throwing
(25:06):
back the lid to reveal neatlyarrayed scrolls of animal
height.
It can almost taste theinvader's curiosity, for the
invader knows that those it hasdefeated don't typically keep
written records.
However, it can sense thecreature's ire rising, its rigid
adherence to the Nazarene'sdogma, threatening to overwhelm
(25:28):
its natural thirst for knowledgewith fire and petty acts of
retribution.
Prince of Peace indeed.
With the last of its willfading, it reaches out with its
voice to the invader.
The Messengers (25:41):
Open your eyes.
Iain (25:43):
It feels as much of an instruction to itself as a
memory, for things are becomingclearer now.
It is still in the tomb, butthe torch has long been
extinguished, and its creatureis nothing more than a pile of
bones scattered in the corner.
Frustratingly, it is still tooweak to do much more than
observe its surroundings.
(26:03):
But it knows that something hascaused it to awaken, so it
reaches out along those chainsof blood and faith, sticky
ephemeral bonds created by thosewho spoke the words of power,
most hang limply, their endslong since severed.
But one still exists that feelsheavy and taut, made strong by
(26:27):
generations of devotion.
The lynx are mostly desiccatedcorpse flesh, but at the end it
finds a mind bright and vibrant.
Another sensation flares, oneit has not felt since the
gateway first opened and drew itback to the land of light and
heat, away from its internalprison.
(26:48):
Hope it reaches out across thestrand of faith, the links
bundling like cold fire, touchesthe mind, and begins to
whisper.
Open your eyes Calvary Bluffs,Missouri.
(27:10):
Courtney Webster's apartment,May 23rd, 1999, 2.03 a.m.
Courtney sat bull upright inher bed, sweat plastering her
hair to her brow, and causingher night dress to cling to her
skin.
The words she'd heard in thebar echoing in her head.
(27:31):
Alone in the darkness, sheplaced her head into her hands
and started to cry.
Thank you for listening to thisepisode of The Hollow Men in
gratitude to our wonderful castof voice actors for adding their
(27:54):
talents and making thispossible.
If you enjoyed what you heard,we'd love to hear from you.
(28:21):
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Way2Save.
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us five stars in your podcastapp of choice or by sharing our
episode announcements on socialmedia.
(28:42):
Every review and share helps usreach more listeners and it
validates our imaginability egosand makes us need to make more
episodes.
If you're new to World to Save,welcome.
We've got a whole blackcatalogue filled with other
actual plays like this one, plushistory episodes exploring
classic RPGs, roundtablediscussions, often interviews,
(29:05):
and product reviews.
If you're a fan of Gaming'sGolden Age, you'll find
something there for you.
Until next time, stay vigilantand beware the Holomena.
Welcome to the Hollow Men, a dramatized actual play of
Hunter the Reckoning.
What you're about to hear isthe story of ordinary people who
discover that monsters are realyet choose to bravely stand
against the darkness.
This is a solo game playedusing dice and the roles of
Hunter the Reckoning firstedition.
(00:27):
Every role is real, everydecision matters.
Nothing is scripted.
This show contains maturethemes including violence,
profanity, body horror,paranoia, moral ambiguity, and
psychological distress.
Listener discretion is advised.
The story unfolds as a dicedictate.
(00:49):
Sometimes the heroes triumph,sometimes they fail, sometimes
they die.
The only certainty is that onceyou've seen the truth, they're
forever changed.
It's the eve of the millennium.
Monsters walk amongst uswearing human faces.
Anyone could be compromised.
This is the Hollow Men.
(01:10):
Previously on the Hollow Men.
Courtney Webster thought shewas meeting a whistleblower.
Ed, a worker from ColestoneConcrete, wanted to talk about
(01:32):
irregularities at the plant, butbefore he could speak,
everything went wrong.
A gunman screaming.
Then a voice commanded her.
Open your eyes.
Then she saw the truth.
The man with the gun wasn't aman anymore.
He was a corpse, animated bysomething wrong.
(01:53):
When he shot Ed, Courtneyacted.
Visions flooded her mind,glimpses of futures that hadn't
happened yet.
Two strangers appeared out ofnowhere, and together they
brought the creature down.
The strangers couldn't stay,but they left her a symbol that
she somehow understood meantally, along with a phone number
to get in touch.
(02:14):
Then the police arrived.
One officer immediately rushedto help her, concern written
across his face.
That's when Courtney felt itagain.
The same wrongness.
The cop wasn't human either.
Calvary Bluffs, Missouri,downtown, May 22, 1999, 8 41 pm.
(02:42):
The sense of wrongness wasalmost dizzying.
But the worst part?
He had kind eyes.
Officer Mitchell (02:50):
Hey, hey, you're okay.
You're safe now.
Iain (02:52):
His hand hovered near her shoulder, careful not to touch
without permission.
His name tag read Mitchell, andthe lines around his eyes told
the story of a man in his lateforties who smiled often.
The concern on his face seemedgenuine.
Nothing about this felt right.
Courtney's frazzled mindstruggled to articulate what she
(03:15):
was seeing.
Officer Mitchell lookedperfectly normal, brown hair
going grey at the temples, awedding band on his left hand, a
small coffee stain on hisuniform shirt just below the
badge.
Everything about him seemedordinary, decent, and human.
Except she knew he wasn't.
(03:36):
The wrongness radiated from himlike heat from an August
pavement.
Not the sick, waterloggedcorruption of the thing that had
shot Ed.
Something else.
Something that wore kindness,like a well-tailored suit.
If anything, that was scarier.
Officer Mitchell (03:54):
Can you tell me your name?
Iain (03:55):
Mitchell's voice was patient and gentle.
Courtney.
Officer Mitchell (03:59):
Okay, Courtney.
I'm Sergeant Mitchell.
That's my partner, OfficerReese, by the door.
Iain (04:04):
He nodded to the other cop who was still barking into his
radio.
Officer Mitchell (04:08):
Listen, you've had a hell of a shock.
I need you to take some slowbreaths from me, alright?
In through your nose, outthrough your mouth.
Iain (04:16):
She did.
The shaking in her legs didn'tstop, gnawed at her racing mind.
Behind Mitchell, his partnerfinished with the radio and
strode over.
Officer Reese was younger,maybe late twenties, with the
rigid posture of someone whotook the uniform and his calling
very seriously.
She knew cops like this.
(04:37):
They talked about blue like itwas a skin color.
His eyes swept the scenemethodically, landing on
Courtney with an expression thatwas more calculating than
concerned.
Reese (04:49):
We need to get her downtown.
This is a homicide scene.
She's in shock, Dan.
All the more reason to get herstatement before her memory gets
fuzzy.
Iain (04:57):
Reese crouched down on Courtney's other side, and she
was suddenly very aware of beingflanked.
Ma'am, I need you to tell mewhat happened here.
Courtney's eyes darted to thebody.
No, it was just a man.
Just an ordinary man incornerstone overalls lying in a
spreading pool of blood.
No black eyes, no waterspilling from his mouth.
(05:21):
No wrongness at all.
Had she imagined everything?
I She waved a hand as she triedto compose herself.
Courtney (05:31):
He had a gun.
He shot.
Iain (05:34):
She turned to the booth where Ed had been sitting.
Paramedics had arrived at somepoint.
She hadn't even heard them.
They were working on him, buttheir movements had the
practised efficiency of peoplegoing through the motions that
they knew were pointless.
Fresh tears came.
These ones felt very real andalmost burnt as he trailed down
their cheeks.
(05:54):
Reese jabbed a finger at thebody on the floor beside
Courtney.
The deceased.
Courtney (06:05):
Yes.
He shot the man I was sittingwith.
Iain (06:09):
Courtney's mind raced.
The woman's advice echoed inher head.
I got scared and confused.
This wasn't hard.
She was terrified beyondreason, and nothing made sense
anymore.
Courtney (06:20):
Then people were screaming, and I I just She
looked down at her shakinghands.
Iain (06:26):
There was something dark under her fingernails.
Not quite blood, not quiteanything she could name.
Courtney (06:32):
I tried to stop him.
Iain (06:33):
I grabbed his stool and She stopped and her stomach
lurched.
Was she confessing to murder?
The body in the floor looks sonormal now.
Mitchell shifted slightly,putting himself between Courtney
and his partner's moreaggressive questioning.
Officer Mitchell (06:48):
Sounds like self-defense to me.
Or defense of others, at thevery least.
That's for the DA to determine.
Iain (06:54):
Mitchell shook his head and ignored him.
Officer Mitchell (06:57):
Courtney, I know this is hard, but I need
you to focus.
For me.
Iain (07:00):
He smiled kindly.
Officer Mitchell (07:02):
The man that you fought off?
Did you know that he had a gun?
Iain (07:05):
She nodded.
Officer Mitchell (07:07):
Had you ever seen him before tonight?
Iain (07:09):
Silent shake of the head.
Officer Mitchell (07:11):
What about the other two people who were here?
Iain (07:13):
Courtney's breath caught.
Suddenly, the scrap of paperwith the phone number in their
pocket felt as heavy as a brick.
Officer Mitchell (07:21):
The man and woman who left before we
arrived.
Multiple witnesses mentionedthem.
Courtney (07:25):
I I don't know them.
They just.
They were just trying to help.
Reese (07:30):
Well, they fled the scene of a homicide.
Officer Mitchell (07:32):
She said she didn't know them, Dan.
Iain (07:34):
He turned back to Courtney, and again she saw that
kindness in his eyes, thatpatience.
But most of all, that wrongnessunderneath it all.
Officer Mitchell (07:43):
Did they take anything?
Touch the body?
Courtney (07:46):
No.
They just.
They just helped stop him andthen they left.
I think they were as scared asme.
Iain (07:54):
Mitchell nodded, as if this confirmed something that he
already knew.
Okay, that's good.
Officer Mitchell (08:00):
That's really helpful.
Iain (08:01):
Reese stood up abruptly and snorted.
Reese (08:04):
This needs to be done properly at the station.
Officer Mitchell (08:07):
We need a full statement before we And she'll
give one.
After the EMTs check her outand she's had a chance to catch
her breath.
She's not under arrest, Dan.
She's a victim.
Iain (08:17):
The two officers stared at each other.
Some unspoken tension passedbetween them, the kind Courtney
recognized from years of readingpeople, of understanding the
small hierarchies and powerdynamics that defined all human
relationships.
Reese was younger, more by thebook, obviously keen to prove
himself.
But Mitchell spoke withseniority, and more importantly,
(08:39):
he had empathy.
Officer Mitchell (08:40):
I'll take your statement here.
You process the scene.
Radio for more units to Canvaswitnesses.
God knows enough of them haveappeared out of the woodwork.
Iain (08:49):
He gestured to the crowd of patrons that were clustered
around the doorway.
Greasy's jaw tightened, butafter a moment, he nodded curtly
and turned away.
Mitchell let out a small breathand offered Courtney what might
have been an apologetic smile.
Officer Mitchell (09:04):
My partner's not wrong.
We do need your statement.
But I promise I'll make it asquick and painless as possible,
okay?
Iain (09:12):
Courtney nodded, not trusting her voice.
She wanted to scream, but shefelt like her world might
explode if she opened her mouth.
As Mitchell pulled out his ownnotepad, she found her mind
racing again, trying tounderstand what she was seeing,
trying to reconcile the kindnessin his voice with the crawling
sensation that told us somethingabout this man was
(09:33):
fundamentally wrong.
And behind it all echoed thatvoice that came from everywhere
and nowhere earlier.
So poor Courtney is in a bit ofa jam.
(09:53):
She's got a body next to herthat she technically was
involved in killing, even if shebelieved it was already dead.
She's got an antagonistic copthat wants to take her downtown,
where in her current state shemight end up blabbing about
everything, and no amount of buthe had black eyes and looked
like a dead guy is going to helpconvince the police she's
(10:13):
anything other than a lunatic.
She's also been questioned by acop who, although he appears
nice, also appears very, verywrong to her second sight.
Now, I know what those of youfamiliar with Hunter are
thinking, why doesn't she useher discern edge to find out
more about him?
Simply put, she's in shock.
(10:34):
Yes, she used an edge duringher imbuing, and the keen eyed
amongst you will have noticedthat I also had her discern edge
activate then, but at thisstage, Courtney isn't really
aware that she can do thesethings consciously.
As far as she's concerned, shemight be going crazy.
So, it sounds like the onething that she could do with at
the moment is a friend.
(10:55):
And thankfully, she's got one.
Those of you who listened to,endured, the entire character
creation episode will know thatshe's a point in the background
allies.
Whenever I run a World ofDarkness game and a character
ends up with a background likethis, I never make them define
it at the beginning.
After all, you might end upgenerating someone that never
(11:17):
makes a story.
Instead, I let the players usethe points as and when they
think it might be relevant,usually for the most dramatic
effect.
So, Courtney's going to cash inher point of allies right now
for a little bit of help.
Courtney was halfway throughrecounting the moment the gun
(11:40):
went off when she heard a newvoice cut through the chaos.
Miranda (11:44):
What have we got, Mitchell?
Iain (11:46):
The woman who approached had the steady competence of
someone who was used to crimescenes.
Mid-30s, dark hair pulled backin a no-nonsense ponytail,
wearing jeans and a red blazerover a simple white blouse.
A detective shield hung fromher belt next to her holstered
weapon.
She took in the scene withpractised efficiency.
(12:07):
The body, the blood, theshattered bar stool, the booth
where paramedics were kneelingby Ed.
Her eyes landed in Courtney,and her expression shifted
immediately.
Miranda (12:18):
Jesus Christ, Courtney?
Iain (12:20):
Courtney looked up, her vision blurry with tears.
Miranda (12:24):
Miranda!
Iain (12:25):
Detective Miranda Clements crossed the distance between
them in three quick strides,crouching down beside her.
Courtney (12:32):
Are you hurt?
Nor I I don't think so.
Iain (12:36):
Miranda's hand found Courtney's shoulder, the touch
warm, solid, and blessedlycompletely normal.
The relief Courtney felt atthat simple human contact caused
the tears to start to flowagain.
Officer Mitchell (12:48):
She hasn't been checked out yet.
I wanted to get her initialstatement first.
Miranda (12:52):
Where are we at with that?
Officer Mitchell (12:54):
Got the basics.
Miss Webster was conducting aninterview with the deceased over
there when the shooter enteredand fired.
Miss Webster acted in defenseof herself and others.
Two other individuals assistedbut fled before we arrived.
Iain (13:06):
Reese materialized from somewhere near the bar.
His expression like that of achild who wanted Mummy to tell
him he'd done a good job.
But before he could speak,Miranda held up a hand.
Miranda (13:17):
I'll handle it from here.
Iain (13:19):
Her voice was not unkind, but it had a finality that was
absolute.
Miranda (13:24):
Mitchell, good work.
Why don't you and Reese helpthe uniforms outside processing
the other patrons?
I'll finish up with MissWebster here.
Iain (13:31):
Reese went to object, but the stare that Miranda gave him
told him that it wasn't up fordiscussion.
After a moment he noddedstiffly and moved away towards a
cluster of shaken bar patronsbeing corralled by uniformed
officers.
Miranda waited until bothofficers were out of earshot
before she spoke again, thistime her voice lower.
Miranda (13:53):
Talk to me.
What were you working on?
I know you.
This wasn't a random meetup.
Courtney (13:58):
I was meeting a source.
He was from Cornerstone.
The guy in the booth?
Yes.
Is he?
Iain (14:04):
She let the sentence trail off, not wanting to finish it.
Miranda didn't speak, but herexpression spoke volumes.
When she saw Courtney was aboutto speak again, she raised a
hand quickly.
Miranda (14:17):
Hey, look at me.
Don't blame yourself.
You can't allow yourself tothink like that, Court.
That way lies madness, trustme.
Iain (14:27):
That nickname, that familiar contraction Miranda
only used over wine after a longday, almost broke her.
Courtney nodded again, nottrusting herself to speak.
Miranda (14:39):
Here's what's going to happen.
I'm taking you home.
You'll give your statementtomorrow after a good night's
sleep.
As far as I'm concerned, you'renot a suspect and you're
certainly not a flight risk.
Iain (14:49):
Courtney nodded mutely, and Miranda pointed at the body.
Miranda (14:53):
What about the people who helped?
Iain (14:54):
Miranda's expression didn't change, but Courtney
caught something in her eyes.
That detective's instinct thatknew there was something more to
her story.
Miranda (15:05):
What about them?
Did you know them or why theyhelped you?
Iain (15:14):
Courtney isn't a bind.
While she doesn't know the twostrangers, she is carrying a
phone number on her thatpresumably belongs to one of
them.
And she also had the weirdexperience of the woman telling
her she was one of them.
The question is, would she tellMiranda?
I don't think she would.
Identifying strange symbols andsaying that her would-be
(15:36):
saviours could see monsters toois a good way to be labelled a
crazy woman.
Therefore, she's going to tryto lie to Miranda.
Will it work though?
I'm going to rule that she'llhave to make a manipulation and
subterfuge check to manage this.
Because Miranda is ahard-bitten detective, I'm going
to make the difficulty seven.
However, I'm going to reducethe difficulty by one for
(15:59):
Courtney being Miranda's allyand another two for Courtney's
fame background.
That brings it to four.
Rolling.
Two sixes, a four, a two, and athree.
That's three successes.
Seems that even under pressure,Courtney is able to keep it
together and lie to her friend.
The lie came easier thanCourtney expected, and she hated
(16:27):
herself a little for this.
Courtney (16:29):
No, I've never seen them before.
Miranda (16:31):
But you say they helped you.
Courtney (16:32):
Yes.
Why?
Iain (16:34):
The question hung in the air.
Courtney could see the woman'sface in her mind.
Things are going to get veryweird very quickly for you.
Courtney (16:42):
I don't know.
I guess I guess they saw whatwas happening and stepped in.
Good Samaritans.
And before you ask, I have noidea why they fled.
Lots of people have lots ofreasons they don't want to be
around the place.
You should know that.
Iain (16:58):
Miranda studied her for a moment that seemed to stretch
into eternity.
Miranda (17:02):
Okay, that's fair.
We'll talk about it moretomorrow.
Iain (17:06):
Courtney took her outstretched hand and stood on
legs that felt like water.
Miranda (17:11):
Miranda, I don't apologize.
Don't explain.
Don't do anything except comewith me.
We'll figure the rest outtomorrow.
Iain (17:20):
They walked toward the exit together, past the body
that no longer looked monstrous,past the booth where Ed had
been so nervous about beingseen.
Past the television that wasstill showing the Cardinals
losing to the Dodgers.
At the door, Miranda paused andturned to face her fully.
Miranda (17:38):
Courtney, I need you to hear this.
Whatever story you were chasingwith that cornerstone source,
it feels to me that it justbecame a lot more dangerous.
You understand that, right?
I know.
Do you?
Because I've given you tipsbefore, fed you leads on
small-time crooks and corporateassholes who needed exposing.
But this feels different.
(17:58):
This feels bigger.
And I know you, but I need youto promise me that you'll be
careful, that you'll call me ifanything feels wrong because I
She stopped and seemed to catchherself.
We need people like you askinghard questions, but not at the
expense of your health.
Do you get me?
Iain (18:16):
Courtney felt the gratitude well up inside of her.
And she wanted to tell Mirandaeverything about the wrongness
that had irradiated from thegunman and from Mitchell too,
despite his apparent kindness,about the symbol and the voice
that had spoken in her head,about the phrase that still
echoed inside her mind.
Open your eyes.
(18:37):
But she couldn't.
Not yet.
Maybe not ever.
Courtney (18:43):
I'll be careful.
Iain (18:44):
The words felt worthless and hollow.
Miranda did not look entirelyconvinced, but she nodded
anyway.
Miranda (18:51):
Good.
Now come on, let's get youhome.
We'll swing by and grab yourcar tomorrow.
Courtney (18:57):
My keys.
Miranda (18:57):
Are you seriously telling me you're in any
condition to drive right now?
Your hands are shaking, girl.
You're in shock, and I'm notletting you get behind the
wheel.
Iain (19:06):
She was right, of course.
Courtney's hands were tremblingmadly, and the thought of
navigating the dark streetsalone suddenly seemed
impossible.
Especially if there were moreof those wrong things out there.
She didn't know what she'd doif she saw another one.
She smiled weakly and nodded,and Miranda's hand found the
(19:27):
small of her back, steadying heras he walked out into the
night.
The street was a kaleidoscopeof flashing lights.
Police cars, ambulances, afiretruck that someone had
called as a precaution.
Neighbours stood in theirporches, drawn by the commotion.
Somewhere a dog was barking.
Miranda's unmarked sedan wasparked near the corner, and as
(19:48):
she opened the passenger door,Courtney caught sight of her
reflection in the window.
She looked like hell.
Her hair was wild, face pale,makeup there was a blood mess,
and which accentuated theredness of her eyes, and which
lined her cheeks in blackrivulence from her crying.
It took her a couple ofattempts to fasten her seatbelt.
Courtney (20:11):
You okay?
Iain (20:12):
The detective was starting the car.
Courtney (20:15):
No, but I will be.
Iain (20:22):
Somewhere beneath Calvary bluffs, date unknown, time
unknown.
Slowly, but oh so slowly, itssenses started to return.
Then came the sensations, thefirst of which it had not felt
for countless eons.
A reaction to the cold and thedarkness that surrounded it,
(20:45):
perhaps?
What was this strange feeling?
Fear.
The memory of the portalsealing shut, and of the
all-encompassing nothingnessthat surrounded it.
Its only company, the myriaddisembodied spirits that flitted
aimlessly around this cold,windy, featureless void, and who
(21:06):
howled at an uncaring sky theycould no longer see.
All the while the sensations ofregret, despair, and impotent
fury were built like a risinghead of steam with nowhere to
vent.
Regret for its failures,despair at the eternity of cold
nothingness that was itspunishment for failure, fury at
(21:30):
the creatures that had abandonedit and deprived it of its power
and glory, and he had left itto rot.
But all these feelings, potentas they were, were nothing but a
distraction compared to theparalyzing icy barbs of fear
that kept it anchored to thisplace, and which constantly
(21:50):
scourged its formless mind in anunceasing cavalcade of torment,
fear of its jailer'sintentions, fear for its
creations, fear of the eternalmadness that this void would
bring.
Seconds passed, and with themthe dawning realization that the
(22:11):
fear was unwarranted, nothingmore than an old memory, a
reaction to its pastimprisonment.
It was still free from itsjailer.
It'd simply been sleeping.
Time had moved on, that wasall.
What had happened?
The vision surfaced like aswollen corpse bobbing on sea of
(22:32):
memory.
Fires turn night into hazytwilight.
The camp is ablaze, and the airis alive with a rhapsody of
pain.
Its creatures scream and liedying, the last remnants that
survived the pestilence thatflew before the invaders like a
Storm Crow.
All is crumbling, but its mostfaithful have seen that it will
(22:55):
endure.
They take it to the sacredplace, the place where the door
was first opened and lightflooded back into its world.
The place where the coldemptiness was replaced with
warmth, heat, and the stickysweet scent of blood and iron.
The place where the words werefirst spoken.
(23:16):
One of their number places ittenderly and reverently on the
cool polished plinth that wasthe focal point of the sacred
place.
The floor, once rough stone,has been worn smooth by
generations of pilgrims' feetand knees.
Torches line the walls, but thecreature that remains
extinguishes all but one.
(23:38):
It is commanding its fellows toroll a massive stone in front
of the entrance to rejoin theirbrethren in battle.
As the rock snuffs out thelight from the tunnel, the
creature now sits huddled in thecorner, mouthing mantras that
will do nothing but bring it theloosest of comfort.
Soon it will learn that thepower these words once held died
(24:01):
in the fires above.
A tiny sliver of concernmomentarily distracts it.
Is this it?
While its new tomb is nothingcompared to the unending
oblivion of its former prison,the comparison is enough to give
it pause.
Then a thought occurs to it.
The stone being rolled in frontof the tomb.
(24:23):
Weren't the invaders followersof the Nazarene?
It wonders for a second beforeextending its senses to observe
the carnage unfolding above it.
The last of its creatures havefled or are dying, and the
interlopers are picking throughthe ruins of the camp.
One of them kneels near wherethe sacred texts are hidden.
(24:44):
Tall, gaunt, its soul fireflaming brightly, but the others
are mere embers.
Anchoring onto the mortal'sflaming face, it reaches out to
draw the invader's attention.
Yes, the cache of text has beennoticed.
Kneeling, the creature unclaspsthe lock of the chest, throwing
(25:06):
back the lid to reveal neatlyarrayed scrolls of animal
height.
It can almost taste theinvader's curiosity, for the
invader knows that those it hasdefeated don't typically keep
written records.
However, it can sense thecreature's ire rising, its rigid
adherence to the Nazarene'sdogma, threatening to overwhelm
(25:28):
its natural thirst for knowledgewith fire and petty acts of
retribution.
Prince of Peace indeed.
With the last of its willfading, it reaches out with its
voice to the invader.
The Messengers (25:41):
Open your eyes.
Iain (25:43):
It feels as much of an instruction to itself as a
memory, for things are becomingclearer now.
It is still in the tomb, butthe torch has long been
extinguished, and its creatureis nothing more than a pile of
bones scattered in the corner.
Frustratingly, it is still tooweak to do much more than
observe its surroundings.
(26:03):
But it knows that something hascaused it to awaken, so it
reaches out along those chainsof blood and faith, sticky
ephemeral bonds created by thosewho spoke the words of power,
most hang limply, their endslong since severed.
But one still exists that feelsheavy and taut, made strong by
(26:27):
generations of devotion.
The lynx are mostly desiccatedcorpse flesh, but at the end it
finds a mind bright and vibrant.
Another sensation flares, oneit has not felt since the
gateway first opened and drew itback to the land of light and
heat, away from its internalprison.
(26:48):
Hope it reaches out across thestrand of faith, the links
bundling like cold fire, touchesthe mind, and begins to
whisper.
Open your eyes Calvary Bluffs,Missouri.
(27:10):
Courtney Webster's apartment,May 23rd, 1999, 2.03 a.m.
Courtney sat bull upright inher bed, sweat plastering her
hair to her brow, and causingher night dress to cling to her
skin.
The words she'd heard in thebar echoing in her head.
(27:31):
Alone in the darkness, sheplaced her head into her hands
and started to cry.
Thank you for listening to thisepisode of The Hollow Men in
gratitude to our wonderful castof voice actors for adding their
(27:54):
talents and making thispossible.
If you enjoyed what you heard,we'd love to hear from you.
(28:21):
Drop us a line atroll.2.save.ollet.gmail.com or
find us on Instagram andFacebook by searching for
Way2Save.
If you want to support theshow, you can do so by leaving
us five stars in your podcastapp of choice or by sharing our
episode announcements on socialmedia.
(28:42):
Every review and share helps usreach more listeners and it
validates our imaginability egosand makes us need to make more
episodes.
If you're new to World to Save,welcome.
We've got a whole blackcatalogue filled with other
actual plays like this one, plushistory episodes exploring
classic RPGs, roundtablediscussions, often interviews,
(29:05):
and product reviews.
If you're a fan of Gaming'sGolden Age, you'll find
something there for you.
Until next time, stay vigilantand beware the Holomena.
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