305: Monsterfest, FrankenDIE - Thus, It Is Just Mad, Pt. 2 (of 2)

In this terrifying episode, Professor Mouse, the Cosmologist, Teddy, and Prince B resolve their adventure in Victor Frankenstein's manor. 

Episode Transcript

Speaker 1 (00:00):
We go out to unfold the story of Franker Sign,
a man of science who.

Speaker 2 (00:06):
Sought to create a man after his own image.

Speaker 3 (00:11):
Me shock you, I think.

Speaker 2 (00:14):
It will.

Speaker 1 (00:18):
All your.

Speaker 3 (00:27):
Hey, everybody, and welcome back to another edition of Thus
it is just bad Frankin die or how I stopped
worrying and love to learn the mythos. I am your
lord keeper Teddy, And we have our instigating investigators. Say, hi,

(00:48):
instigating investigators, Hi, investigators. Yo.

Speaker 4 (00:54):
Last time in our other campaign we were fire starters.
Now we're instigators.

Speaker 3 (01:01):
There's some themes, some themes happening already to get.

Speaker 1 (01:04):
In, but we instigated it. That's for damn sure.

Speaker 3 (01:08):
You already?

Speaker 5 (01:09):
Yeah.

Speaker 3 (01:14):
Last we went off, we met our investigators. They had
received letters from Victor Frankenstein to attend a demonstration ahead
of a grand event he was going to be throwing
at the Manor. While you all were partying at the inn,

(01:34):
Frank our friend Frankenberry, met Fritz, Victor Frankenstein's long time assistant,
and Fritz had begun to intimate that Victor was not
doing well and that some things were a miss. At
the Manor, you all arrived to see something a little

(01:56):
not right about what was going on, but thought nothing
of it. Certain things were too clean, certain things were
too dirty, but it was a rich person's house until Carmela,
in a fit of snuff induced fidgeting and cocaine induced

(02:16):
I need to go find something and this screenplay idea
is really good, ran around the house and ran into
the laboratory of Victor Frankenstein. After seeing body parts and
a mysterious ichor and lots of large glass tubes, Carmela

(02:38):
rolled their sanity stat and failed the role. With that,
Carmela began to flash back to times before. Was it
a hallucination? We're not sure to find out. Let's do
a role, Carmela. Yeah, what I need you to do?

(03:03):
You've already rolled and failed your sanity roll, so I
need you. I'm gonna roll one second on this table.

Speaker 4 (03:14):
I see that you just rolled A one, A one.

Speaker 3 (03:17):
All right, so we need to roll one more, D
ten and eight all right for the next eight hours, Carmela,
as all of this information begins to flood your mind,
unlocking memories. No, maybe you're seeing something else. It's too
much to bear and you, for the next eight hours

(03:45):
have no recollection of Well before I say that when
was the last time Carmela felt safe?

Speaker 1 (03:54):
Uh, probably last night.

Speaker 5 (03:56):
At the end, she generally worries, Uh, she's also like
undead or whatever. So I don't think she generally worries
about her safety in the in a traditional way.

Speaker 3 (04:09):
Does Carmela know that she's undead?

Speaker 1 (04:12):
Huh? I would think so. I mean, I think it
would be hard to not understand.

Speaker 5 (04:22):
Maybe she doesn't know that she's undead, but she definitely
knows that she's different.

Speaker 1 (04:26):
She's green whereas most people are not, and she.

Speaker 5 (04:34):
Has a sort of hazy understanding of her of her past,
and knows that she and her family, and particularly she
and Franken.

Speaker 3 (04:44):
Barry are.

Speaker 1 (04:47):
Different types of beings and mortals.

Speaker 3 (04:50):
Understood well, between the time that you arrived in the
inn and the moment you saw this laboratory, you have amnesia.
You just it was like you blink. You did a blink.

(05:11):
You were drinking with some cool Swiss dudes and nothing, uh. Frankenberry.
In general, you hear Carmela screaming.

Speaker 4 (05:24):
A general goes going, boy, you're something's go see what's
going on with your cousin.

Speaker 2 (05:31):
I'm already mid walk over there before the general even
says that because I am legitimately concerned for my cousin,
completely separate from my investigative tendencies.

Speaker 4 (05:44):
The General. Since as Frankenberry's walking out of the door,
he's going to join him in a second. But I
want to out of this jacket that I wouldn't let
anybody touch. Take a vial with like a little dropper,
and I want to take some oppers full out of
this vile and put it into the brandy bottle and
like shake that up real good. I'm gonna bring the

(06:05):
brandy with me.

Speaker 3 (06:06):
Oh okay, I like it. As you're shaking it up,
you see you hear footsteps. Fritz is coming, and go
ahead and roll a well, no, that's not too much. Yeah,
actually Fritz and also Victor Frankenstein has burst out of

(06:28):
his office during this commotion. As you're putting these droppers in,
go ahead and roll a sleight of hand for me,
just to make sure no one sees you putting these
droppers in.

Speaker 4 (06:45):
Okay, that's say fifty four.

Speaker 3 (06:48):
Fifty four, all right, succeed, all right, fine, you can
succeed this time, General Mills. You put some dropper, you
drop some stuff in to this brandy bottle and you
rush out as these folks are beginning to rush out. Carmela,
you have no idea why you're screen the you essentially

(07:12):
your experience was you were drinking and there's this loud
noise and you're beginning to realize that's you, and you
don't quite know why. I think you're turned towards the
hallway and you're coming to yourself. And how do uh

(07:35):
from from this knowledge you see Frankenberry come up. How
does Frankenberry find you? Uh? In this moment?

Speaker 5 (07:46):
This is not the first time Carmela has blacked out
and awoke in in a different, strange place, and so
I think that the that like.

Speaker 1 (08:00):
And she doesn't know about this tear episode.

Speaker 5 (08:02):
So all she knows is that she blacked out at
the end and she's waking up in this place and
she sees her cousin and.

Speaker 3 (08:09):
So she.

Speaker 1 (08:12):
Isn't kind of like aware of her surroundings. Everything's kind
of foggy.

Speaker 5 (08:16):
She sees her cousin coming up, and she goes, Cousin,
I I wanted to talk to you about tomorrow and
really stress upon you how much it would mean to
me if you came with me to Victor Frankenstein's.

Speaker 1 (08:35):
Carmela. It is tomorrow. We're here at Victor's already.

Speaker 5 (08:41):
She looks around, realizes she's in a different place and goes, oh, oh, dear,
how did we get here?

Speaker 2 (08:52):
Well, you and General Mills took a carriage here, and
then I followed a few minutes later in my own
carriage Fritz and Vider's saul on behalf of Do you
not remember her arriving?

Speaker 1 (09:04):
You know, Cousin one day, I'm gonna genuinely consider hopping
on the wagon. Well that day is not today.

Speaker 4 (09:16):
So glad to hear it, My dear. Mills has come
into the room and heard this. I see your feeling
a little onto the weather. I'm sure this will make
you feel better, and hands her the bottle of brandy.

Speaker 5 (09:27):
She grabs a bottle, and she doesn't drink it. She goes,
I did something much stronger than this brandy. Do you
have anything, let's say, a little more fragrant.

Speaker 4 (09:52):
My dear, I think you have solved that for yourself,
and gestures to her pocket.

Speaker 1 (09:58):
Oh of course I did.

Speaker 5 (10:01):
She takes it out and then takes this swing of
the brain wash down the copy. At this point, she's zooted, dude,
and I mean kind of crazy.

Speaker 2 (10:13):
Franken says out loud. And it's not like my cousin
to forget she has powdered candy in her pocket. Something
just happened before I walked in with the General.

Speaker 3 (10:23):
And as you're saying that, you see someone arriving. Fritz
comes up behind you, hearing the commotion, and he's beginning
to look worried. And then you see another man. This

(10:43):
is the scientist Victor Frankenstein. He's generally just an awkward
human being and comes off as a little creepy to most.
He comes up and looks genuinely worried concerned Camela, it

(11:04):
seems what seems to be the issue? What's going on?

Speaker 5 (11:08):
Well, the issue, Victors, I have no recollection of getting here.
And also this is a pardon the parlance, but a
classic sausage October fest.

Speaker 4 (11:22):
Okay, Victor old sport, it's been a long long time.
How are you?

Speaker 3 (11:30):
Ah? I see, I thought I was having a moment,
but you know, it seems that everyone has their own devices. Huh,
good to see you again. And Victor reaches a hand out,
but he's still looking genuinely concerned about Carmela, but he
is genuinely happy to see you.

Speaker 4 (11:52):
General, I'd give him a big handshake and bring him
in for a huh. While I'm doing that, I'm also
like trying to check his pulse and like, like as
I'm hugging and see if he's just take his like
a quick vitals on him. Okay, sitiously, as I can't.

Speaker 3 (12:14):
Roll sleight of hand or a roll sleight of hand
or spot hidden, whichever you prefer.

Speaker 4 (12:21):
Let's go with it probably doesn't matter for this man.
But let's find out. No, they're the same, all right,
So let's say spot hidden okay, sixty eight.

Speaker 3 (12:34):
A fail? Okay, as you're trying to surreptitiously do that,
I mean, there aren't too many places you can try
and find someone's pulse. So he kind of pulls away
before you're able to actually check on his wrist. And
he's going to help up and offers a hand to Carmela.

(13:01):
Frank he you and you and Victor do make eye contact,
but he doesn't really say anything. He is making eye
contact while he's helping Cala. Carmelady accept his help up.

Speaker 5 (13:15):
No, I think that Carmela has assumed Frankenberry. It's like that,
you know that, like like sibling solidarity. And I think
she even clocks the fact that as she's that, he's
not even referenced to Frankenberry. And I don't think he

(13:38):
says anything. She wants Frankenberry to do that, but just
stands up herself.

Speaker 3 (13:45):
It sounds like this was less of a quiet affairs
than I was looking for. Why don't we all let
us retire to the library.

Speaker 4 (13:56):
By all means, Victor, we're very interested to see understand
what you were looking for, in.

Speaker 3 (14:04):
A word, a little more peace. And he leads you
all to the library relatively close to the tea room
and in between. It's basically in between the tea room,
the laboratory, and the office. You enter the library and

(14:27):
you see that in the intermittent time, Fritz has clearly
laid out a lot of food and drink for the
for you all, there is a it looks like there's
a larger spread that is being set up, but there's
no food on there. This is more of a smaller one,
just a sundry like some baked goods, some or dervs,

(14:51):
some things too, like almost like a luncheon type of thing.
Within the library itself, there's just a huge collection of
books and papers. While it's not it's it is clearly

(15:14):
used and not fully immaculate, but it's again not as
dusty as the tea room. And there is Yeah, there's
a lot of books. There's some tables set up, a
little globe with additional brandy. You can smell the smell
of pipe smoke and tobacco that has been used here

(15:35):
a little maybe a little bit of hashish sometimes, but
again it's an older smell, but mostly tobacco. And you
will find yourselves in the library with Victor and Fritz.
Please come at us, everyone, Frankenberry, franken Berry Stein. Please

(15:56):
everyone sit.

Speaker 1 (15:58):
It's Frankenberry, to be very well, to remember that. Now
Frank doesn't acknowledge Victor.

Speaker 2 (16:05):
He just stares him down, sits, but doesn't even like
nod or say his name.

Speaker 5 (16:13):
Now, I think we can all admit that there's a
little bit of tension in the room, and I would
like to break the tension by getting straight to it.

Speaker 1 (16:23):
Why have you summoned us here, Victor?

Speaker 4 (16:27):
Carmela, with her usual lack of tact, nevertheless strikes a
good point what's your purpose here, old man?

Speaker 1 (16:37):
Oh so what I said.

Speaker 3 (16:40):
Very ironic being called old from your old friend.

Speaker 4 (16:44):
Well, we've all both been around a long time. We've
earned it very true.

Speaker 3 (16:51):
Well, as I said, I am tired, weary and have
been looking for the piece that only comes with life.
And Victor Frankenstein looks as you as he says it,

(17:13):
without no role necessary. You can see how wary he is.
He's a little more gaunt than you might, uh, franken Berry,
this is he's a lot more gaunt than you saw
him a few months ago. Things have been wearing on him.
His clothes are oddly mended. They look they look all right.

(17:38):
It looks like he's has money, and he's still just
so tired. Yoza. You see, in our time over the years,

(18:01):
you all may have heard rumors about how I had
to make things happen. You see, when I was a
young man, we had in a state, and this, es said,
began to show properties why I became a scientist along

(18:26):
with you general. But in the pursuit of knowledge, my
father leaned in directions that were not as fruitful. And
I that's right, I clauded back. I made deals I've

(18:48):
worked with governments. But I realize now that they're so
much more than.

Speaker 6 (19:04):
The workings of these petulant fools. I've been a fool
looking for money and glory. It is pursuit, is knowledge,
and I have made.

Speaker 3 (19:19):
Strides. And at this point he makes eye contact with you,
general strides beyond anything we have thought about in the past.
That's why I wanted to show you all, you all

(19:42):
in particular, the expanse of what I have discovered. So
that's why you're here. I want to share what's going on.

(20:04):
And he walks over, picks up a tea cup that
Fritz Head poured and SIPs expectantly.

Speaker 4 (20:18):
Victor, you and I plumbed the mysteries of the universe
together many years ago. I'm so sorry to hear that
you've lost your taste for advancement and adventure and the
play making governments, the play things to our desires. Is

(20:41):
what work could you really ask for? But if you've
gotten in a different direction, I am curious to see.
I think you may be a fool, but I'm always
interested to see new ways of honing our research. So
what did you what did you think You've made? Breakthrough?

Speaker 3 (21:00):
In general, it's not solely about what I think. It is,
what I know and what I have discovered. Bring them up, foolishness, No, no,
no for And as he continues to pace about, he

(21:22):
begins to like pick up this almost like an energy,
something that you haven't really seen before in him. And
what is what is? Clearly? What are these petty spats
between families? You know? If you look, if you look

(21:44):
at every royal family here, they're all these petulant, bickering children.
They're always arguing with one another, These so called anarchist revolutionaries,
these thinkers when it comes to the one in Russia
and all of them, No, they do not see the

(22:10):
bigger picture. There are things so much further beyond what
we were working the ideations of men. And I am
here to show you exactly what science can truly do
with that. Please eat here, and also, if you life,

(22:38):
I need to show you something. And he takes his
tea cup, please follow me, and he begins to walk
out of the library. Fritz has an odd look on
his face as he's trying to follow along Franken Berry,

(23:00):
Carmela and the general General Mills. What do you all
do you follow? Victor?

Speaker 5 (23:08):
Oh, definitely, I hang back. I look to see what
Frankenberry is gonna do and not just do that.

Speaker 2 (23:18):
Yeah, still not acknowledging Victor, I hesitantly follow him. Whatever
he said definitely piqued my curiosity. So, yeah, I'm going
with the General to follow Victor and Fritz, and I
guess my cousin's coming with me.

Speaker 1 (23:38):
Yeah, I'm bringing up the rear.

Speaker 5 (23:39):
Yeah.

Speaker 3 (23:42):
And as you walk from the library, you all make
it to the parlor and you walk up the hallway
cross Carmela. You just walk past the spot you had
to freak out on and General and franken Berry. You

(24:05):
also you notice that where Carmela was before, No, the
wall's a little different, but you can't quite spot why.
And you make it to the parlor and here is
set up for a show, immaculately clean, even though this

(24:29):
event is weeks away. You see it's set up in
almost an auditorium. You can see there's areas for standing,
areas for sitting. Tables are already set up. Fritz has
had been clearly also setting places. And as you all

(24:51):
walk in, Fritz is moving some of the food from
the library into the parlor and there's champagne and chain attended, uh,
intended for the party. The champagne is it's it's strange.
The champagne is behind more glass and there's almost like
a frosting on the glass that you have never seen before.

(25:13):
I like an unnatural light on the inside. You see. Normally,
that would the level of engineering to this would be astounding.
But it seems like you all can't get over the
fact that on the on a long table at an

(25:37):
angle in the parlor, there seems to be a body.
This is what I wanted to show you. And he
pulls off a sheet from this body and below It's

(26:04):
almost like a joke. And I want everybody at this
moment to roll sanity.

Speaker 4 (26:12):
All right, Uh the general rolls of twenty four.

Speaker 5 (26:15):
All right, m Carmela sixty two, oh okay, sixty six.

Speaker 1 (26:25):
No, that's a sixty nine, Oh okay.

Speaker 3 (26:27):
Sixty interesting? What a what an interesting spread? Carmela and
franken Berry will start with you. You have it's interesting
you failed the you failed the sanity check. I'm gonna

(26:49):
go ahead and roll two D ten all right, double nines, okay.
So on top of that, so on top of the

(27:10):
the amnesia that you have a Carmela seeing the way
this body is laid out is beginning to do something
to you. Same thing with you, Frankenberry. And what you

(27:32):
all see is a corpse covered in mushrooms, purelescent mushrooms,
a rainbow sheene that seems to link it to the
table itself, and you could almost see the table isn't

(27:57):
on wheels. It seems to be rooted within the floor
as well. It seems like this mushroomed corpse is connected
to the house itself. You all, both, Carmela and frank

(28:18):
and Berry, this is how much sanity are you about
to lose? Okay, Carmela, you lose sixteen sanity, and frank
and Berry you lose sixteen sanity. And you now have
an intense phobia of things popping at holes in skin,
so anytime basically you could feel on your skin like

(28:44):
these growths are beginning to really something's really really bothering
you and begin to hyperventilate a little bit. General role
education for me, Okay, this is rolling no basically.

Speaker 4 (29:02):
Seventy six.

Speaker 3 (29:05):
All right, you have from the background of what you
and Victor have been doing. You are just unaware of
why he has done that, like you have you and

(29:29):
Victor were working on life. This is just a dead
body with mushrooms growing out of it. You have no
idea why he's done this.

Speaker 4 (29:40):
Victor, You damn fool. This is we were so close.
I know you started with electricity. You were so excited
about the uh Prometheus and fire and you had the
wrong God entirely, and my research. I if you had
just reached out to me, I could have shown you
all of the incredible things we were doing with crops

(30:03):
and corn syrup. And no, you've made a mockery of
our research and you're just recycling corpses with vegetables. So
close and yet so far.

Speaker 3 (30:15):
Ah. Hey, general, you seem to be forgetting the element, always,
forgetting that one element that I had over you. And
as he says this, he pulls out a giant syringe. Carmela,
in your state, something's peeking through from your amnesia. It's

(30:40):
that ichor that was in the laboratory. You don't quite know.
But Carmela and Frankenberry at the sight of this gelatinous
rainbow like a sheene that is beginning to shift colors,
and he plunged it into the body itself. As he

(31:04):
plunges this ichre deep inside of this corpse. Not just
the body begins to move, but the house itself begins
to creak. You see, we have been so obsessed with

(31:28):
the individual lives. But there's something that I have found,
and that is what I'm going to show everyone, the
inherent into connectedness of nature. Everything can be connected. And

(31:53):
as he puts his hand on the top of this
corpse's head, and you can't quite hear what he's saying,
but he whispers some words, and suddenly a humming light
comes on all around you see in the parlor room,

(32:20):
books begin to shift and move and then set themselves right.
You see dust begin to scoot itself and fly into
the air and seemingly disappear into vents. And you hear
a worrying sound just all around you. And it seems

(32:42):
that this entire house can be controlled from here. You see,
what I'm able to do is connect us all beyond
life and death. It is an inherent connection that bridges

(33:03):
the gap. Please, and he looks down, why don't you
tell us? The corpse turns its head and looks at you. Hello,

(33:25):
please say or stay to command.

Speaker 1 (33:30):
His fritz in the room.

Speaker 5 (33:32):
Yes, dear God, Fritz, what was in that snuff? I
feel like I'm absolutely losing my mind. As the dead
thing talking.

Speaker 3 (33:45):
Fritz is smiling, and he goes, really, I hit a
very similar Ah had a very similar reaction. But it's
quite it's quite fascinating, don't you agree?

Speaker 5 (34:02):
Fascinating is one way to put it. Terrifying the way
that I would put it. I can't possibly stay in
this room one second longer, cousin, I must leave. Carmela
tries to leave the room.

Speaker 1 (34:15):
I'm prized to leave. Well, I don't know if I can.

Speaker 5 (34:18):
I don't know if the doors are locked and the
fucking guy can control the house and shit, and we
just saw that, so I don't know.

Speaker 3 (34:25):
As you begin to leave, one of the portraits with
that same voice goes, how would you rate your service
here today?

Speaker 1 (34:37):
What's the lowest rating?

Speaker 3 (34:39):
Unclear? Command? Unclear? Please restate.

Speaker 1 (34:43):
Oh, this is nonsense. Goes to the door.

Speaker 3 (34:47):
You try the door and it is locked.

Speaker 5 (34:50):
Oh my god, Frankenberry, come over here, Mills, you two
old salty dollars can sit over here and have your
cynical view of the present and talk about life and
death and all of this nonsense.

Speaker 1 (35:01):
But we have to go. This is not to a
place for polite society.

Speaker 5 (35:05):
All I wanted to do was do cocaine and stronger
things and have a nice fun time, not bring the
dead back to life and have a house that's controlled
by electricity and mushrooms.

Speaker 3 (35:18):
This is absurd, as Carmela is going on this rant,
franken Berry, something about this, the icher and the just
the entirety thing. There's something deep within you that has

(35:40):
almost have you frozen to the crown. Go ahead, and
I want you to go ahead and roll. Let's see
roll education to see if you can make heads or
tail of what's happening. This is rolling now.

Speaker 1 (35:59):
Nineteen or sixteen. That is a.

Speaker 3 (36:02):
Sixteen sixteen woof. Some things are beginning to click in place.
Just the Yeah, some things are beginning to click in

(36:24):
place for you. That was an extreme success. The thing
that he used to say about some mysterious experiment that
he and the General used to talk about the connection
between life and death, and well, what is life? Life
is just a set of chemistical and electrical compounds in

(36:48):
the brain. Why can't things be alive? What else can
be alive? What is just death? And in time you've
been seeing as his gauntness and as Elizabeth's gauntness. He
was weirdly not lying. He wanted the ability for people

(37:15):
to continue to pursue. Now, before I say anything more,
you rolled really high. I need you to roll sanity,
and you are trying to get above a thirty four
or you're trying to get below thirty four?

Speaker 1 (37:28):
Uh seven? Seven?

Speaker 3 (37:30):
Wow? Okay, you only lose one point of sanity. And
as you begin to understand this deeply, you also understand
how deeply flawed Victor Frankenstein, your creator, your father, is,

(37:51):
how whatever is happening. You're beginning to agree with Carmela. Yeah,
he might be trying to and he might do have
done something amazing, but it's horrifying and it's time to go.

Speaker 4 (38:12):
Oh, Victor, Victor, you've gone too far, and you're thinking
in the wrong dimension. Interconnectedness. We were connected, we made
life together, we made children together, we broke, we divided
up these poor creatures, brought them back. You continue vertically.
Your legacy is to continue on in your children, not

(38:34):
this horizontal nonsense of bringing everyone together in a hive.
In an interconnected mind. There's no power there, there's no
difference there. How can we achieve anything if we're all
together about legacy, my man legacy, And i'd like Nils
has a sword.

Speaker 3 (38:53):
Yes, let me check your thing, Yes he does.

Speaker 4 (38:57):
Okay, I would like to try to uh chop off
Victor's hand to disconnect him from the body that he's
like attached himself to.

Speaker 3 (39:09):
Okay, go ahead and roll.

Speaker 2 (39:14):
So just to be clear, the General uh opposes what
Victor's is experimenting with and trying.

Speaker 4 (39:23):
The General thinks of himself as a very very good
father and wants to see his creations continue and succeed,
and he wants to be involved at all times. But
not a complete meshing of talking houses is too much.

Speaker 1 (39:44):
I drive the loses dun master. If I'm hearing correctly,
Victor wants to fuse excuse me, excuse me, keeper, were
not in a dungeon, sorry, uh keeper Uh.

Speaker 2 (39:56):
Victor wants to fuse himself with the house and any
I guess plant life that is around the house?

Speaker 1 (40:04):
Is that correct? Or is it just the house?

Speaker 3 (40:07):
What an interesting observation. I'll answer that question in a moment. General,
go ahead and roll a D one hundred for me.
We're rolling opposed D one hundreds fifty four thirty one.
You see as the demonstration is commencing, as you try

(40:31):
and lunge for your old compatriot, you get close but
not quite. Victor's eyes turn perlescent white, and as he
speaks that murkhy, that perlessent fog begins to come out

(40:55):
and he goes not quite old friend, not quite, and
he doesn't actually need to dodge. As you lunge, it
seems like part of the floor it becomes almost like mud,
and your foot gets stuck and you just kind of

(41:18):
miss your decks. Was pretty you started off because you
pop this off. Let's go ahead, and I want you
all let's check out everyone's decks. Terra tah. What is
everyone's decks?

Speaker 1 (41:33):
All right?

Speaker 4 (41:33):
The General's dexterity is.

Speaker 1 (41:35):
Sixty, okay, I'm seventy and Carmela sixty.

Speaker 3 (41:41):
All right, So those with a lower stat go first.
You started off a kind of a surprise, So we're
going to go in order, starting with the General. Then
we'll get Carmel, Then we'll get Carmela, and then we'll
get Frankenberry. What do you do?

Speaker 4 (42:01):
Have I done this my turn already? Or do I
a new turn?

Speaker 3 (42:05):
Okay?

Speaker 4 (42:06):
So my foot is currently stuck in the floor. Yeah, okay,
and about how far away from Frank or Victor am I?

Speaker 3 (42:20):
I would say, looking at the map, you're about ten
feet away.

Speaker 4 (42:31):
I let's see this is a middle aged man at
the time. He definitely has something on his person to
smoke with. I would like to try to light a
match from and or like take a book of matches

(42:53):
and I sort of light them all and then throw
them at the mushroom body in an attempt to set
it on fire.

Speaker 3 (43:02):
Interesting, roll strength for me, okay, and this one is
going to be I think, yeah, this one's gonna be
a little more high stakes. Sure, so I'm going to

(43:22):
need you to hit a.

Speaker 4 (43:26):
Fifteen okay, oh eighty six.

Speaker 3 (43:35):
As you're about to throw, you feel something arrest your
hand and you look down a mud almost mud, but floor.
It's almost like the floor itself, and like wood and
mud have grabbed your wrists, and a impression of Fits's

(43:59):
face appears in the floor beneath you and goes, well,
is it would be very rude, don't you think? Go
ahead and.

Speaker 4 (44:09):
Roll sanity for me sixty nine?

Speaker 3 (44:13):
All right, you lose do do?

Speaker 1 (44:20):
Oh?

Speaker 3 (44:21):
That's a I s a big amount. All right, I
you lose sixteen sanity as this is beginning to get
you've experimented with dead bodies before, Roll a D ten
and tell me what you got.

Speaker 4 (44:41):
Okay, seven?

Speaker 3 (44:45):
All right, so that seven years with this bout of madness. Okay,
I'm gonna roll one more D ten. You are about
to flee? All right? Uh for the next for the
next seven rounds. Yeah, it's time to go. So you

(45:09):
stumbled back and what is Yeah, you are now needing
to flee in a panic.

Speaker 4 (45:16):
Okay, I'm just gonna start screening. Carmela the door. Carmela
the door, now a note, and I don't We'll see
how we want to play this. The liquid that I
put into the bottle that I gave to her to
drink is short story, massive stimulant. In my thought, it

(45:41):
is basically just pure corn syrup because as a plant
based yeah, as a plant based cereal creature, they can
derive incredible energy from hyperctose corn.

Speaker 7 (45:56):
Syrup, as is the basis of my serial research. So
she should be like extra jacked of to give her
whatever bonuses.

Speaker 1 (46:06):
That cyanide or something.

Speaker 7 (46:09):
No, man, I have a protector and a guardian that
I'm looking out for her, damn it, drugging her to
the gills.

Speaker 3 (46:16):
You you begin to feel like your heart palpitations are
going higher and a little bit more. Carmela, you're up.

Speaker 5 (46:25):
I'm Carmela creeper, I'm zooted, I'm tuted, I'm off to
the mooded, and it's time to go the I've already
fled across the room and I've tried the door.

Speaker 1 (46:42):
It was locked.

Speaker 5 (46:43):
I'm going to note that General Mills is fleeing sense
that Frankenberry wants to flee. And I don't know if
mechanically we can combine our turns, but I'd give a
shit about dealing with any of the extraneous stuff. I'm
trying to for the door down and get the hell
out of this room.

Speaker 3 (47:05):
Understood, understood, roll strength for me.

Speaker 1 (47:11):
This's the beetlejuice.

Speaker 3 (47:12):
Die.

Speaker 1 (47:12):
We haven't used this yet. Forty eight.

Speaker 3 (47:18):
All right, it is in fact a door. Wow, you
are strong as hell.

Speaker 1 (47:25):
I got the cord syrup in me.

Speaker 3 (47:28):
And with that you just kick. You've you've probably been
in rooms with strange men saying weird stuff and you're like, Nope,
time to go, and you kick right where you know
the lock is right around that the lock itself strong
section around the lock not strong. You kick through the door,

(47:51):
and uh, you have destroyed this door.

Speaker 1 (47:55):
Okay, I look back. He so pustn't. Let's go and
I just go down the hall.

Speaker 5 (48:01):
I don't know the geography of the landscape of this
place because I don't remember even coming in here, so
it just scattered. I'm just running into all the way.

Speaker 3 (48:12):
Would Carmela have visited the Frankenstein manor in her past?

Speaker 5 (48:17):
No, her family thinks the Frankenstein's are freaks, like she
only saw her cousin when her cousin visited them, So
absolutely not.

Speaker 3 (48:30):
All right, I want you to roll navigate for.

Speaker 1 (48:34):
Me sixty.

Speaker 3 (48:45):
Ooh yeah, it's a big.

Speaker 1 (48:53):
Can I use luck?

Speaker 3 (48:55):
All right? This is the perfect perfect time to use luck.
You're trying to get you're trying to get a forty.

Speaker 1 (49:04):
Oh okay under the role under a forty.

Speaker 3 (49:07):
No, you're you're you can spend the luck points you
have are spendable.

Speaker 1 (49:11):
Oh I see, okay, so then I can.

Speaker 3 (49:17):
Or you could push the roll.

Speaker 5 (49:19):
Wait a second, So I want to use I want
to use all these mechanics that eventually.

Speaker 1 (49:24):
Oh sure, So explain to me how luck works, So
my luck is a forty? What does that have?

Speaker 3 (49:31):
Forty points of luck to spend on a roll? So
let's say you rolled like if in two contested roles,
I set a difficulty at like fifty and you rolled
a seventy, you could spend twenty luck to get it exactly.

(49:51):
Or if you're like, oh, I spent almost to my
extreme success, so I'll spend to get an extreme success instead.

Speaker 1 (50:01):
Okay, so I rolled a sixty on Navigate? What do
I need to get a success?

Speaker 3 (50:06):
You'll need to you needed to get a forty, Okay.

Speaker 5 (50:10):
So if I spend twenty luck, then I succeed, yes.
And if I spend forty luck, then I super succeed yep.

Speaker 3 (50:20):
But you don't get more luck.

Speaker 1 (50:23):
So it's a two shot baby, I'm spending all my luck.

Speaker 3 (50:27):
All right? What you spent all your luck?

Speaker 1 (50:31):
Yeah? I spent forty luck, so cute?

Speaker 3 (50:37):
You get a twenty Okay, yeah, I like it. Let's
do this and you don't have anything in Navigate, so okay. Cool.
So Carmela has no more luck. But with that, you
through the amnesia and the haze. There's some type of

(51:01):
connection to this house on a certain level. But to
the ground and the earth and the materials around it.
And you don't quite know why, but it doesn't matter.
Something within you, because you rolled this, let something within

(51:23):
you that that I want to talk to your manager energy.
You storm forward and you're zooted and you just go,
I'm getting out of here. And with that, something connects
to the house itself, something reverberates on the inside. And

(51:48):
you see from the library through the hallway almost all
the way out, a passageway open up, crossing through several rooms,
crossing through everywhere. And because you're old so well, it

(52:09):
looks like there's even some now a ramp and a
slide that goes straight out of the manner. You just
have to get there. And when you do that, Victor screams.

Speaker 1 (52:25):
I'm on my way. I'm on my way to the
jungle gym in the middle of this house.

Speaker 3 (52:32):
And you start running. You can't quite make it there yet,
but as you're darting out of the let me look
at the map real quick. As you're darting out of
the library, it's like going through walls. It's like going
through you can see the outside and you're running towards it.

Speaker 1 (52:49):
And let me be clear, this is like a luck roll.
I don't know. I've lucked upon this passage and I've.

Speaker 5 (52:56):
Seen seen this like crazy way out of this don't
know if it's like I'm gonna empty out into the
rocks below and I'm gonna die. I'm in a state
of panic and like damn near insanity. I'm just running.
There's no logic guiding this mad dash and.

Speaker 3 (53:15):
You and dash you do, Frankenberry, it is now your role.
You've just seen after your cousin kicks the door. Before that,
you saw your cousin's something or other try and swipe
a sword at your father. A thing popped out of

(53:39):
the ground, grabbed his wrist, and then he freaked out
and started booking it. Fritz is just standing there with
a big old smile on his face. The per lesson
and the lumit. The lenticular image is that Sheen is
very present everywhere now. And as you turn to the can,

(54:00):
as you look, your cousin just did a thing and
suddenly there's a hallway that just has not been there before,
going straight outside. What do you do?

Speaker 2 (54:12):
I turned to Victor and I start yelling at him
and say, Victor.

Speaker 1 (54:19):
You've gone too far.

Speaker 2 (54:20):
Now you already were profiteering off war, and you already
played god when creating.

Speaker 1 (54:28):
Life that you should have.

Speaker 2 (54:29):
But now you your ego has gone beyond and your
hand of God must be severed.

Speaker 1 (54:36):
So I pull out a fountain bend from my.

Speaker 2 (54:39):
Jacket pocket that okays as a blade, and I like
to sever his hand with it that he just put
on the house or whatever that you said.

Speaker 3 (54:49):
You want to sever or stab?

Speaker 1 (54:54):
Let's do stab?

Speaker 3 (54:58):
You know what? Sure you can make a move towards
it despite the idea roll Yeah, despite your phobia now
of this body covered in mushrooms and holes, you bear
it and you run towards Yeah. What I want you

(55:21):
to do is go ahead and roll either strength or.

Speaker 1 (55:26):
Power d Yeah.

Speaker 3 (55:30):
Yeah. And you're trying to get above a fifteen.

Speaker 1 (55:38):
Seventy nine? Is that seventy?

Speaker 3 (55:41):
Sorry? Below a fifty? Remember you're always trying to get
under a certain amount. If your roll above that's a fail.
You say all that and you want to you want
to stab into it?

Speaker 2 (56:01):
Is there any way I could use my luck to
stab him?

Speaker 3 (56:06):
Yeah? You certainly can. You have twenty five luck? How
much luck do you want to spend on it?

Speaker 1 (56:12):
Uh?

Speaker 2 (56:15):
Let me, I have twenty five luck points, right, I
want to spend it all, big spender.

Speaker 1 (56:22):
You don't have to spend it all to succeed.

Speaker 3 (56:25):
Yeah, you only need to spend twenty or you can
always push the roll and try and roll again. It'll
just get worse if you fail.

Speaker 1 (56:34):
Is it meets it beats it? Or does he have
to get fifty nine?

Speaker 3 (56:37):
I beats it, beats it?

Speaker 1 (56:39):
Okay, So then you have to spend nineteen. Okay, so
let me spend nineteen. Then all right, that leaves me
with six.

Speaker 3 (56:50):
I love it. So you spend nineteen and for a moment,
it's the seams of your scar begin to throb, and
it's almost like something within the house. Is that draw
you felt earlier is trying to welcome you in, and

(57:14):
it's beginning to burn a little bit. But you shake
it off because something deeper within that connection is driving
you forward. And you go ahead, and you stab into
Victor's hand, and you sever a nerve which would make

(57:38):
him release, But you stab into the control of this house.
The entire house begins to rumble and shake as you
stabbed into it. Do you want to do anything else?
You cross the room, so you have a little bit
of movement left. You won't be able to quite make
it out of the room, but you will be able

(57:58):
to move. But you will be able to move.

Speaker 1 (58:02):
Okay, you said I cannot make it out of the room.

Speaker 3 (58:04):
Not quite yet, but you can. Ah, you you are
able to clear some of the distance.

Speaker 2 (58:13):
Okay, So I start to move towards the exit Carmelo
is taking and say to her to escape and get out.

Speaker 1 (58:26):
Even if it means that I have she can't save
me as well.

Speaker 3 (58:31):
Yeah, yeah, Carmela has been moving.

Speaker 1 (58:35):
Right, She's still running down that passage right yep.

Speaker 3 (58:39):
And now, fair investigators, it's the creature's turn.

Speaker 1 (58:46):
Yikes. Is the creature Fritz or does it have a
different name?

Speaker 3 (58:53):
I mean, the creature certainly incorporates Fritz. Yes, the creature
is going to use one of the skills. The creature
is going to use the skill called flesh magnet.

Speaker 5 (59:12):
No, oh, no, hey, some people call me a flesh magnet.

Speaker 1 (59:20):
That was Carmela talking.

Speaker 3 (59:21):
Yeah, amazing, still gross, but amazing. And two do flesh magnet.

Speaker 1 (59:31):
A different movie?

Speaker 2 (59:32):
It's definitely better to be accused of necrophilia.

Speaker 3 (59:36):
Whoa, okay, oh the creature, Oh, it's just the thing. Okay, yeah,
who has a size rating that one fifth of their
size raising? So the third stack in there that is
below a ten.

Speaker 4 (59:54):
My size is fifty, so one fifth is exactly ten.

Speaker 3 (59:57):
Okay.

Speaker 5 (59:59):
We got eleven for franken Berry and twelve for Carmela.

Speaker 1 (01:00:03):
Carmela is the largest one of all three of us.

Speaker 3 (01:00:07):
Yo, Carmela's did like just stacked.

Speaker 4 (01:00:10):
Yeah, now I'm building like that anymore.

Speaker 3 (01:00:20):
Carmela, Victor, Carmela, franken Berry, and General Mills. As you
all are trying to make it out, you feel a
segment of your skin tear and attach itself to the

(01:00:42):
house and it is per per around Okay, yep, and
it's not too much, but it is a segment of
your skin has just detached itself and is being absorbed
into the house an undulating You all didn't really touch
the walls too much, but it's beginning to pulsate and

(01:01:04):
move not with light, just like a living creature. So
you all take one hit point worth of damage?

Speaker 1 (01:01:16):
Just what?

Speaker 3 (01:01:17):
Yep? Just one? And question how much of the food
and drink have you all been consuming today?

Speaker 1 (01:01:30):
Finger sandwiches that Fritz brought out? I can't remember.

Speaker 3 (01:01:33):
Did you eat the food, yes or no.

Speaker 4 (01:01:36):
Jile did not, but he did drink the tea.

Speaker 3 (01:01:39):
You drank the tea, Carmela, how much food did you eat?

Speaker 1 (01:01:42):
Two big swigs of Well, I didn't drink the tea.

Speaker 3 (01:01:46):
Okay, So Carmela, it's just your skin that slops off
and something deep within your veins begin to throb. But you're,
you know, limping towards General Mills and frank and Berry.
Are you feel alerching in your stomach? And everybody go
ahead and roll sanity for me.

Speaker 1 (01:02:08):
Oh my god, we're about to get fucking diarrhea.

Speaker 4 (01:02:12):
General rolls thirty four.

Speaker 3 (01:02:15):
All right, and that is you have not have you
lost no sanity? General?

Speaker 4 (01:02:21):
Uh no, he's he's seen a lot of weirdness. Oh no,
you know you're right, you're that's true. I lost that
last big one with the reveal of the mushroom Beast.
So I was at twenty nine from a starting of
forty five.

Speaker 1 (01:02:36):
Frankenburry rolled Sony ooh, I rolled Carmela sixty one.

Speaker 3 (01:02:44):
Okay, everybody, let's see what we do with your sanateare.

Speaker 4 (01:02:51):
And eight we're losing like the difference between our role
and not that would be so much.

Speaker 3 (01:02:58):
That would be no. So essentially what happens is when
you roll above. When you do that sanity, you lose
a certain amount per round and it's basically one over
the D eight roll. Well, so I rolled the D
ten on the sanity table. So now what happens is

(01:03:26):
you all are physical hysterics. You know, everything's been a day.
This has been a day. So you all a mixture
of crying and rage and just having emotional outbursts as
you are panicking and trying to leave, and you lose.

(01:03:53):
So this is predicates how much sanity you're about to lose.
You all lose eleven sanity.

Speaker 1 (01:04:00):
Um, yeah, I'm fully insane.

Speaker 3 (01:04:03):
Okay, you're you're fully insane, Carmela. As you begin to
run and as you're trying to hop out with this
emotional outburst, you begin to ah. You want to weep,
and you want to gnash your teeth. You're zooted, you're angry,
and you want to begin to wipe away the tears

(01:04:25):
that are coming down. And it's not tears, it's a
much deeper color of this ichor that you've been seeing.
It's beginning to seep out of your eyes and it
moves and instead of being released as a body would,
it shoots back inside of you with an immense amount

(01:04:45):
of pain, and as you lose the sanity, you go
back to that place, shattering your amnesia, back to where
you are seeing outside of your body. You see the manner.
You see all of its shrubbery and mushrooms, and it's
trees and leaves, everything that is pulsating with this lenticular
lend this lenticular sheen around it. And you begin to

(01:05:09):
zoom out and you see a giant tower of metal.
It seems like it has been struck. And you zoom
out and you see the entirety of your country. You
zoom out and you see from the ionosphere the entirety
of your continent. And you zoom out and out. Your
mind is beginning to connect to something greater through the
darkness of space. A great light rims, a giant blackness

(01:05:41):
all around in three sixties, so large, larger than any planet,
larger than you don't know what the system is. But
outside of Earth and these things that you've been hearing
about planets, you see, outside of all of this, on
the arms of a great gas le see the Milky Way.

(01:06:03):
Why is it this way? You see the shapes of
a ghost. You see the shapes of bats and constellations,
all being sucked into a super massive darkness, rimmed with
light that cannot escape. And what is it? It seems

(01:06:24):
so much, so big, and it's turns and looks at
you and through all of that, Carmela, Creeper, you understand
what Victor was saying. We are all made of the

(01:06:48):
same unknowable forces. And as you continue to roll forward,
you are already forward. You are already fully connected to everything,
to all of this, to your cousin, to your now
understanding General Mills, wasn't your creator. Nothing is created, nothing

(01:07:13):
is destroyed. You are connected inherently, no matter what perversions
he might try and put forward. It is because of
a lack of understanding. You are connected to this place
with that skin that has slopped on. You're now a
part of an unknowably large network. And it seems that

(01:07:37):
your creator and your cousin are not connected yet. Carmela,
It's time to get them connected. And with that we're
gonna go over to Frankenberry. Frankenberry and General Mills, how
do you all do on your sanity roles?

Speaker 4 (01:07:56):
I have eighteen sanity left?

Speaker 3 (01:08:00):
Heeats it? Okay, I have And what did you roll earlier?

Speaker 4 (01:08:04):
A roll of thirty four?

Speaker 3 (01:08:07):
So okay, yeah, you lost eleven points of sanity. Everything's
terrible and you're trying to leave. Carmela seems to have
stopped moving. And now that the monster has gone it
is now back to the general. It is your turn.

Speaker 4 (01:08:25):
Okay, everything's gone wrong. Victor has extended his nonsense far
beyond where I can follow him. I want to my legacy,
my reputation is all about my creations and my children,

(01:08:49):
and I want to see them succeed and escape. And
so all right, everything's awful. Where am i in relation
to that spread? They were like they were setting up
drinks and foods and.

Speaker 3 (01:09:10):
Yeah, you're pretty close to it. It's off to the right.

Speaker 4 (01:09:14):
Okay, yeah, try this one more time. I want to
like try to flip the table in front of so
like everything crashes, and I want to just make as
big of a mess as possible between me, to put
junk between me and the creature so I can get

(01:09:38):
the door the other way.

Speaker 3 (01:09:39):
Sure, go ahead and roll strength for me. Okay again,
this is a table. But things are beginning to get
a little goofy and melty. So sure I try and
get above forty or below forty four, all right, and
with that you everything over. And because it's a success,

(01:10:04):
not an extreme success, but a success, we will say
that there was some heating elements under some of the
food that was for you all, just a little bit
of alcohol that they have lit up in like a
little bit of a gel to keep the food going.
And as you knock that over the floor is beginning
to catch something about this icker is still catching you.

(01:10:27):
Hear a great wailing Carmela. You feel like once again
General Mills has burned you. But yeah, okay, you have
successfully begun to light this light this candle. Do you
want to take any more movement?

Speaker 4 (01:10:47):
Yeah, with the rest of my movement, I want to
am I near Frankenberry at this point.

Speaker 3 (01:10:54):
Let's see, Uh, yeah, you should be. Frankenberry was running
towards you. So when you do that, you took a
moment to launch this. So you all are kind of
next to each other.

Speaker 4 (01:11:04):
Okay, I'd like to reach out and like try to
grab like the collar of his jacket and kind of
just yank him with me.

Speaker 3 (01:11:12):
Sits.

Speaker 4 (01:11:12):
So we're running towards the door together.

Speaker 3 (01:11:14):
All right, let's say that I'll give him extra movement
as you all are running great, all right? And with that,
Frank and Berry, it is your turn.

Speaker 1 (01:11:25):
It's my turn.

Speaker 3 (01:11:27):
No, it's oh, it is your turn. Okay, Carmela, Uh,
it is your turn. You want It's time for these
two to understand.

Speaker 1 (01:11:38):
I understand.

Speaker 3 (01:11:39):
Okay.

Speaker 1 (01:11:40):
That's why I was like, do not skip me. I'm
coming in hot, all right, what do you want to do?

Speaker 3 (01:11:50):
You do have an occult skill.

Speaker 1 (01:11:52):
I finally realize.

Speaker 5 (01:11:55):
I'd heard the sort of echoes of what my cousin
told me of you save your cell if you can't
save me, And I realized that I can actually save
both of us, and not just both of us.

Speaker 1 (01:12:07):
I could save all three of us.

Speaker 5 (01:12:09):
And so I turn around part of my fleshy entanglement
with the house, and I pull that towards the sword
that I have on me, and I pick up the sword,

(01:12:29):
and I take a look at my cousin running the
wrong way, and I say, Cousin, I begged, I pleaded
for you to come here. I begged, and I pleaded
for you to come and accompany me to see your father,

(01:12:51):
and you spurn me in this way, Cousin, you're going
the wrong way.

Speaker 1 (01:12:58):
And I take a swing at an.

Speaker 3 (01:13:02):
Okay, we are doing some more PvP, franken Berry, both
of you all are. You are doing some browel So
roll your D one hundred and check your skill for
under the brawl. Uh So for Carmela, roll roll your

(01:13:25):
D one hundred. You're trying to.

Speaker 1 (01:13:26):
Get that's a success. I got a forty three.

Speaker 3 (01:13:29):
Oh, okay, you got a forty three. Now, franken Berry,
your cousin is now trying to swing a sword at you.
I want you to try and roll dodd.

Speaker 1 (01:13:37):
You want to get under a thirty.

Speaker 3 (01:13:40):
So that's very much over thirty. I'm gonna say that's
a pretty bad failure. Bail and as you feel this, uh,
as you, Carmela, when the sore connects with his neck,

(01:14:01):
it gets lodged. And as it gets lodged in the
icker that was initially on your hand shoots from the
sword into your cousin. Frankenstein Frankenberry, What images does Frankenberry
begin to see as the icker within him begins to

(01:14:26):
connect to the icker within you.

Speaker 5 (01:14:30):
I know that my cousin has been trying to understand
that he has at his core an agency, or at
the very least that he has aspirations, George, an agency
that self contained, that is something reminiscent or even a
hint of free will. And when yeah, yes, when I'm

(01:14:56):
in contact with his neck, he sees the continual abstraction
of scale that not only reaffirms his deepest fear that
he has no control, but also in a very deterministic

(01:15:17):
way that realizes all of his fears, makes him realize
that he not only doesn't have control, but that he
is insignificant, almost to the point of worthlessness, and that
it at this moment would be better to submit and
to give up defeated, than it would be to leave

(01:15:41):
and face the inevitable, which is a lifetime of feelings
of smallness, lack of control, and a total absence of
free will, which is destined to contend with for the
rest of his life.

Speaker 3 (01:15:57):
Now, I will say, Frank, and as you begin to
connect to these emotions and images, these images of scale,
you have six luck and you can roll sanity. This
is going to be a because you rolled a seventy
six over the thirty five. Again, real uh reill fail there.

(01:16:27):
You need to roll an extreme success under your current sanity,
which is one thing under under thirty four.

Speaker 1 (01:16:40):
You got to roll it four.

Speaker 3 (01:16:42):
We'll round up. I could be a little nice.

Speaker 1 (01:16:46):
You have to roll a five or lower on a
D one hundred twenty four. Damn dog, Oh that's you
almost did.

Speaker 3 (01:16:57):
Oh like, hey, here's an opportunity. You can push the
roll and roll again, or you can roll luck because
you have six left. If you want to succeed and
still try and break out of this grasp, you can.

Speaker 1 (01:17:13):
But minus six it would be he would have rolled
in eighteen and he said he needed an extreme success.

Speaker 3 (01:17:20):
Oh right, Oh no, this is to for the city. Yeah, yeah, okay,
you can roll again. You can push the role if
you like. It's going to get worse, and so basically
you roll again and whatever that number is. If you
don't succeed this time, it's going to be even worse
than the last thing I'm about to do.

Speaker 4 (01:17:40):
I don't know how much worse it can get for
having been chopped in the neck and infected with mushroom maker.

Speaker 5 (01:17:47):
I mean, I mean, this is like the moment in
which you do do this kind of role, because yeah,
for sure.

Speaker 1 (01:17:53):
Like, why not, let's push the roll.

Speaker 2 (01:17:59):
Seventy ah, yeah on some black mirror.

Speaker 1 (01:18:04):
Shit just can't get any worse.

Speaker 3 (01:18:08):
Hold my beer, Frankenberry, You're at peace. As you connect
in to this icker, you don't just see the scale up.
You begin to see the scale down in the connections

(01:18:29):
of the roots, in the connections of the icker itself,
and how things are connected. You see the inside of
both you and Carmela simultaneously, by the way that Carmela's
wrist begins to twitch and move from an icker that
was never her blood, it is never your blood. And

(01:18:52):
you begin to continue to zoom in on truly, what
are the differences. Yes, there is some chemical makeup between
you and the sword, you and Carmela, but you and
Carmela are so alike. You are an amalgamation of all
of these body parts. And yeah, these are amalgamations, are
from different people, different lives, but there's still people. And

(01:19:16):
as you zoom in more and more, you begin to
see these people are just connections, connections of cells, connections
of proteins, connections of everything. And as you zoom in
more and more, the differences between the sword and you
as an organic being are as nothing more than atomic distance,

(01:19:38):
and you shrink in more and more, and you can
see within the connections, this electricity that has brought you
and your cousin life is connecting once again through these
atoms that never touch. Clouds of the miasma of this
linking positive and negative charge are connected once again over

(01:20:04):
nothing more than distance, nothing ever touches. Truly. This sword
might have severed some bonds, but on a fundamental level,
they were never connected to begin with. Clouds of charge
were the things that were severed. And you are at
peace because you are a piece of a hole going

(01:20:26):
deeper and deeper of space and nothingness. You are now
out of sanity, and your last thing is the General.
He's running towards you all, and it's now the creature's turn.

Speaker 1 (01:20:46):
Well it's Frankenberry's turn.

Speaker 3 (01:20:48):
Oh, it's now Frankenberry's turn. Frankenberry. You're connected, You're at peace.
The only thing left is the General. What do you do?

Speaker 2 (01:20:59):
I realized the control and autonomy I thought uh was
here all along if I just embraced the piece that
Carmela brought me. So I try to uh uh infects
and or kill the General, whatever whatever works.

Speaker 3 (01:21:22):
All right, You're going the General? How yeah, go ahead, and.

Speaker 1 (01:21:27):
So both me and Carmela control the mud.

Speaker 3 (01:21:32):
You're now connected.

Speaker 2 (01:21:34):
Okay, so we try to uh hole in the general
with tree roots mud. So that's my my what I
like to do.

Speaker 3 (01:21:48):
Okay, I'll go ahead and roll for me just because
and I think it'll be cool. You're gonna roll okay, Yeah,
you're gonna roll a cult, but you're gonna use Carmela's
a cult stats. That's cool.

Speaker 1 (01:22:09):
Okay. Yeah, still roll D one hundred.

Speaker 3 (01:22:12):
Yep, D one hundred. If you roll a fifty, there's
a general success and things will connect them. Oh sorry,
if you roll a sixty, things will connect. If you
roll a thirty, something more intense will happen. And if
you roll a twelve, we'll do something a little special.

Speaker 1 (01:22:33):
Uh seventy five wow, all right.

Speaker 3 (01:22:40):
You are so linked in to this you're lost in it.
And he pushed the roll. Yeah, if you want to
go ahead and roll again.

Speaker 1 (01:22:53):
What's that gonna do? Dray age in or go crazier?

Speaker 4 (01:22:59):
So in this kind I tak seventy five is a
failure at trying to eighty one?

Speaker 3 (01:23:04):
Damn? Okay, yeah.

Speaker 1 (01:23:07):
You have.

Speaker 3 (01:23:11):
Yes, this will be how it is, uh general, you've
worked with this icker before. It's been not in your
processes as much, but you've been around it. It's been
on your clothes, it's been in your hair. It's over
and something about that. Like two magnets of the same charge,

(01:23:35):
you see this new connection rip up through the ground
and as a mud and wooden arm hand, you're not
quite sure it's reaching. It's tentacally. It's my cilium, I think,

(01:23:56):
is something that Victor has thrown about before. It tries
to connect itself to you, and like those magnets, it
just quite can't quite reach generally. So that was Frankenberry's turn.

(01:24:18):
I'm gonna have the creature, which is the house. It's
gonna use flesh magnet and it's going to siphon. But
you are covered. You do have the icker. So I'm
gonna roll. And if this is a below of fifty,

(01:24:41):
nothing will happen. No. No, If it's a below of fifty,
something happens. If it's above fifty, nothing happens. And you
see more and more of this mycilium. I'm still probably
gonna have you. No, I guess you don't have to.
You've seen some weird stuff. Hands and arms start reaching

(01:25:05):
out towards you, the missing, the servants that you assumed
had been let go. You can now see they are
reaching out towards you ghastly expressions, like ghastly expressions of
the decomposing, reaching out of walls, trying to grab you,

(01:25:27):
and they just can't quite reach. You do lose some
of your some more of the skin begins to slough off,
and you get a terrible stomach cramp. But your skin
begins to connect again to a patch in the wall.
But you are able. You have a voice despite its

(01:25:49):
Bett Steppard, the cosmic, disgusting horror is just not quite
able to hit you. General Mills, it's your turn.

Speaker 4 (01:25:58):
Okay, on my uh, I've been to this home before
a long time ago. I've worked with his research. I
know Victor, some of Victor's tricks. I would like to

(01:26:19):
try to make it to the lab.

Speaker 3 (01:26:23):
Okay, yeah, give me a quick navigate Okay nine, whoa
an extreme success? Alright? You have been in this house
ah so long, and there's always been something about Victor

(01:26:46):
just started creating this serum years ago. That's part of
how the reanimation worked with the lightning. Yes, but the
serum is there's something connected to this land. And because
it's about what was connected to this land, you're looking

(01:27:07):
for all the stuff that was brought in from elsewhere.
You dash over to the lab. You find you find
barrels of ethanol, you find petroleum, you find jumper cables.
You find some things that you're not quite aware of.

(01:27:28):
It looks like copper wires around a wheel. You see
some weird tube that has copper around it. It has
some writing on it that you don't quite understand, but
it looks like there's some electricity here. There's stuff, there's
there's stuff. And you are a scientist. You have been
working with these chemicals before. What would you like to do?

Speaker 4 (01:27:54):
Victor's gone too far. I'm getting the I understand enough
of what he's trying to do that it's all connected
the man I missed the man I used to know.
That man's long gone. And the only way to save
my children and my legacy is to make sure this

(01:28:17):
doesn't make it any farther. I want to any switch
that has an all position, I'm flipping on. I'm opening
all the barrels, dumping the jumper cables into and I'm
going to attempt to explode this entire house.

Speaker 3 (01:28:35):
Amazing for my benefit, just role and education or an intelligence,
just to see how well you're able to do this quickly.

Speaker 4 (01:28:45):
Sure, I rolled a two.

Speaker 3 (01:28:48):
Who what.

Speaker 4 (01:28:50):
I am going to spend a point of luck to
get to the critical one? You can get zero?

Speaker 3 (01:29:04):
Sure, yeah, that's an extreme Okay, Fine, you're now down
to fifty three.

Speaker 1 (01:29:14):
You rolled the straight crit one.

Speaker 3 (01:29:16):
General, you are a scientist, but you're also a soldier,
and in this mad dash, a certain amount of that
old must something from your naval buddy crunch, really resonates

(01:29:40):
with you. Sometimes you let your hands do the work
for you. As you dash into this laboratory. There's some
the amount of ichre that was around, and siphon seems
to be protecting this space from the rest of the house.

(01:30:01):
And you mix and you begin to put together a
large barrel of noxious fume smelling, and you set it up.
So with that extreme success, I'll say you successfully set

(01:30:22):
up a little timer so you can give yourself enough
time to go. And also I'll give you that there's
something about the raw, the icker, the difference between it
being inside something organic and it being braw and concentrated.

(01:30:44):
It seems that that pre purlescent white vapor as it
swirls around. There's something about that, but at this point
it doesn't matter. You smash the vial of icer, covering
yourself in a layer of it, and it seems that

(01:31:05):
you will be almost invisible as long as the icker
stays on you, and you can set up a timer.
You have a you have a little timer before this
power turns on and this entire house goes up. This
may be pre electricity, but it is not pre gaslight.

(01:31:26):
This house is filled with gas going to every room,
every portion, even some of the service court, servant quarters,
some of the gardener's quarters outside further out in the villa.
And with a deft hand, you've turned the Frankenstein manner

(01:31:50):
into a crater waiting to happen. What do you do
on a two? I'm just going to give you another
You can narrate from here. All might have your roll
one more time to see how well this all pulls off.
But yeah, I have a pretty sweet setup.

Speaker 4 (01:32:06):
Okay, jeez, what would the general do in this case?
So I don't need to worry about them all escaping?
At those point, it's that's flawn. The entire house is
going to go open everything in it.

Speaker 3 (01:32:22):
To your knowledge, everything that everything with that she you know,
the manner, and anything within the manner will be destroyed.

Speaker 4 (01:32:32):
Yes, okay, I can't go back and to get the
research that would be I'm going to in the in
the cloakroom. On my way out, look for any you know,

(01:32:56):
a discarded broom, any sort of large stick, anything I
can do to to help so that when I leave
and shut the door behind me, I barrow the door
to make sure that the nothing can come out with me.

Speaker 3 (01:33:11):
Understood, Go ahead and make a spot hidden roll for me.

Speaker 4 (01:33:16):
Okay six?

Speaker 3 (01:33:18):
Oh yeah, I hey, there's a broom in the coat
like you know the yeah, you can find a broom.

Speaker 4 (01:33:29):
So coughing and choking on all of this, and with
tears in his eyes that are partially the acrid, horrible,
noxious smell of the chemicals, partially he's sorting through, in
his half crazed state, twinges of what could have been

(01:33:53):
nostalgia for these connections that he hoped he would have
with these creations of his connections he could have had
with Victor. There is a longing and he sees a
certain piece in the eyes of Carmela and Frank and

(01:34:15):
Berry even in there and in the misshapen faces of
all of these houses. There's something tempting about all of this,
and he can't let himself be pulled into this morass. So,

(01:34:35):
stalking out, slams the door behind him, bars the door
and looks around. Let's see there are carriages here, looks for.

Speaker 2 (01:34:50):
Now.

Speaker 4 (01:34:50):
It doesn't even trust any living creature at this point,
anything could be infected. He's paranoid and manic, so bars
the door and starts taking off at a run until
he gets a couple one hundred feet away and turns
to wait for the timer to go off.

Speaker 3 (01:35:07):
Okay, let's make one last roll, and this will be
to see if you escape the explosion, to see exactly
how long the timer you set for sure, So I
want you to just roll a straight intelligence.

Speaker 4 (01:35:23):
Okay, sixteen, that's.

Speaker 3 (01:35:29):
Under a fifth general. You take your time after At
first you were nervous, but you walk. There's no need
to hurt yourself, and you walk, and as you walk away,

(01:35:51):
you hear the house. At this point, it's been a
little longer than you might have expected. Did. It's beginning
to hit dusk, and a little bit of mist is
beginning to operate around and that that per lesson you

(01:36:13):
see your old friend, not Elizabeth to the first Elizabeth.
Just watch in the mist. And as you begin to
exit the grounds you go from this loot, this lenticular
almost rainbow machine, there's, as you said, a peacefulness. And

(01:36:37):
you step out and it's still gray. The color is
just a little more muted. The trees haven't been getting
sunlight and they're less vibrant. And as you continue to
make your way down the path, orange a lights your

(01:37:03):
back and Frankenstein's manor is a creator in the ground,
and that's where we'll end our session.

Speaker 4 (01:37:20):
The prerogative of the creator. I brought them into this world,
I'll have to take them out.

Speaker 3 (01:37:27):
Thanks everybody so much. This has been another episode of
Thus it is just bad. Thank you all so much
for joining us. And we'll see you're on the next one.
Bye oo oo Po po