BlackwaterDnD

Em:
Welcome to BlackwaterDnD, where good friends tell better stories. Welcome to BlackwaterDnD, where good friends tell better stories. This series, Oblivion, is an eleven part miniseries using the Powered by the Apocalypse system, Godkiller, which was created by Connie Chang, now available on Itch.io for purchase. Our story tells a tale of the end of all things, and follows one prophesized soul who challenges the shackles of fated and foretold divinity. This story is our love letter to fearless storytelling, passionate vulnerability, and incredible creators who challenge us to bring our best selves to the table. For this story, your GOD, everyone else, and the thrum of the Cradle, is myself, Em Carlson, and my GODKILLER is played by Jannes Wessels and Christian Navarro. As this game falls within a holypunk and dark fantasy genre, it may contain themes and depictions that are triggering for some listeners. Please take care of yourself and access support as you see fit.
Content warnings for this episode include:
Heartbreak / allusions of sex / romance / grief / poverty / death / shadows / body horror / getting lost / fantasy violence / fighting / anger / classism / fear of capture / complicated relationships / power dynamics and struggle / rejection / religious overtones / ostracisation / sickness and contagion / rot and decay / the dark / betrayal / falling / references to war / guns as weapons
So sit back and relax, heretic. And welcome to Godkiller: Oblivion.
ARC 1, PART 1: HUNTER

Em: [Music plays here to set the scene, general fantasy music]
So here we are. Welcome to The Cradle. The story of how this last vestige of the world came to be is fraught with fearful misinformation, conflicted insight, and willful ignorance to its march forward. At the beginning of time, there was nothing - a vast empty nothing that swept for ages and ages and stood still with itself. A comfortable silence, a deafening vacuum.

And then, as the universe is wont to do, came light, and from that chaos, and change, and from that divinity. The gods were created to inhabit the universe and effect change within it, spreading themselves and their domains far across the reaches until there was nothing of the silence left. And then, feeling the need for more, the gods descended from their planes, those sacred places they'd created just for themselves and their dominion, through a rift in the weave of the multiverse known as The River, flowing through the liminal space of the Caesura, and there lay what would become the material plane.

They created a world of life, teeming with beautiful individuality. And then mortals, beings who the gods could teach. They taught the mortals how to speak, to build homes and cook and fall in love. They taught mortals what to do and what not to do, how to think and how not to think. They taught mortals to pray, to obey, and to above all, to devote. And finally, after mortals had proven their faith, the gods taught them magic.

Magic sprung through the world and changed over time, through the ages of our multiverse. After times of both peace and strife, war and calm: others were able to claim magic as their own through different means. Nature. Study. Deals and bargains. And even some born with magic in their blood. The gods knew this, and they allowed it all. Once upon a time, in a time now that feels so very far away, the gods loved the mortal world. They loved it for what it gave them, and the strength they wrought from the worship. And then, as the cycle always does, eon after eon, as we crest the sign of time, the river dried up, and the gods were stranded here - cut off from the Caesura, their power and their freedom. Cut off from the plains and their fonts of divine essence, and their magic began to run out.

The name of the first god who died is now lost to the ravages of time, but we do know one thing. The other gods witnessed, and they learned. They learned that killing brought power and magic and pleasure. Soon another god was slain, and another and another. The corpses of the fallen deities of the Lyrician Pantheon now litter what is left of a barren wasteland, serving as monuments to the viciousness of divinity, the utter cruelty of desperation.

At the end of all things, seeking to endure and reclaim the endless nothingness of the void is one god - one known as Archeveleon, the first, the last, and the undercurrent of everything in between. It is the empty and the vast, the hollow and the echoing. It is endless.

As the gods began to die of withering or of outright murder, the world in the middle, The Cradle, began to die too. And it is here we find that here, in a wound that cannot heal, is where our story takes place.

The massive corpses of slain deities populate ruined tracks of land known as the Falloway. The gaps between their bones bristling with beasts and monsters, scavengers and pillagers, mortals and smaller gods. This is a realm both beautiful and desolate. Dark mysteries lurk in every shadow, corners of ruined temples, every desecrated shrine, every gilded promise gone to seed.

The River. the original home of the gods, is now also dead, fully dried up. Legends say it used to glisten across the night sky in a lustrous plume of stars. Now it hangs above our heads like an omen: a warning, a constant reminder of everything we've lost. One day, the river shall shed its final speck of dust and it shall die for good, and the time of mortals and gods shall come to an end. And it is hurtling towards that moment where our story begins.

The last habitable part of The Cradle is known as The Valley, settled between two steep mountain ranges protecting this crescent from the slowly encroaching bleakness that surrounds it. Civilization has gathered around the powerful, the divine, and whatever resources the land has left to offer. Each small town or village is overseen by one of the remaining twenty gods, who hold a tenuous peace, as do the citizens of the valley under their purview. It has been sixty-five years since the last god was slain - Bulock, God of Lies,
cursed the world as he lay dying: ”Until this place is a wisp of dust, thou shalt not tell lies from truth.”

From there, The Valley descended swiftly into mass war and conflict, with thousands of mortals slain in the name of divinity. The war raged for fifteen years, before seven major Gods stepped forward to take the lead and brought an albeit fragile peace. Land was destroyed, and part of the remaining substance of the world was corrupted, and some say it is slowly bleeding away altogether at its edges.

The Fallaway is inhospitable. Barren, irradiated, corrupted, and littered with the decay of dead Gods. Nothing will grow and anything that attempts to survive out there for too long becomes irreparably changed and corrupt - feral and violent, or just withers and dies outright. Some say there are terrifying monsters that stalk and hunt and leagues of ghosts of those who couldn't make it out.

In stark contrast, at the center of The Valley between the last fertile land, and one of the purest water sources lies the City of Glass, a shining beacon of resilience of the people who seek to live and thrive in what is left of the mortal world. Arranged in four concentric circles of increasing wealth and influence, this city seems to almost be a shelter to the rest, this city seems to almost be a shelter to the rest of the struggle that exists outside its walls. The centre beacon, an incredibly tall glass-like tower known as the Chime, stands proud, housing the High Priests, Priestesses, and Priestex of the seven Major Gods, as well as the Speaker of the People. These eight essentially rule The Valley and oversee its domain, trade, commerce, and worship, and strive to sustain a world perilously balanced against oblivion. They preach devotion to their Gods, as well as 12 of the other Gods, each who hold a city around The Chord, the main road that running the length of The Valley. Each God requiring a tithe; each God requiring something to ensure their watchful eyes over the people who love them so much. One God has no city of its own left, no outright worship or devotion, but remains still: Archeveleon. Always present, waiting, reaching the end when it can be alone once more. But more on that later.

We zoom in, through the City of Glass, weaving our way from the Chime through the first, second, third, and finally entering the fourth district. This weaving and maze-like district houses those with the most modest incomes in Glass: a nestled neighbourhood of apartments, small shops, and merchants, people trying to survive with what they have and make the most of it. The dwellings are small, but this is a place where you know and mostly trust your neighbours.

We close in on one small apartment, at the top of a fifth floor tenement. What is left of the sun, the irradiated dead body of Acletolem, shines modestly above, giving what light he has left, buffeted by his sibling, Falir, God of the Dawn. We glance inside and lying in bed, waking slowly… Jannes, who do we see?

Jannes: [music transitions to a theme reminiscent of Inanis, reminiscent of the desert and being out in the wastes.]
You would see Inanis. I think even in his slumber he remains pretty well clothed. He's still wearing his pants. He's not got his boots on. His boots are next to the bed. But he is wearing sort of a white linen sort of shirt with buttons open. Think sort of, I know this is the picture I sent you in the mood board, but think sort of like Brendan Fraser from The Mummy. He has long white hair that he wears, that is at the moment down, that he generally wears up in a sort of a high bun and a big white beard that's very unkempt. He looks and is a man of the road, someone who is always on the move, always travelling, and I think his apartment sort of reflects that fact that he's not here very often. Most of what he has he takes with him. So there's not really pictures on the walls. I don't really think there's any sort of like, it would be sort of modest furnishings, but nothing that is really well thought out or particularly comfortable.

If you were to look a little closer, you'd see his eyes are sort of slightly swollen shut, and he would have sort of a sort of sour smell in his breath, and there's a probably an empty bottle next to the bed on its side as he sort of groggily greets the day.

Em:
And how do you get your morning started here in this apartment before you leave? Because you are leaving today and we'll talk about that in a sec. But what do you do before you leave?

Jannes:
Um, I think he does what he does every morning that he can, um, is he finds some large amount of cold water and he just plunges his entire head into, um, the cold water and just comes up gasping, hair sopping wet, beard sopping wet. And while his hair is wet, I think that's when he sort of pulls it all back tight and sort of winds it into that top bun and ties it with a cord of leather. And at the end of the cord of leather I think you see a small little golden cat skull.

Em:
Hmm. Is he precious about that?

Jannes:
Yeah, I would say there are… probably three things that he is precious about. And that is one of the three.

Em:
I'm sure you'll tell me what the other two are. We'll discover that along the way.

Jannes:
Yes.

Em:
Awesome, okay. So as you finish this morning dousing, getting yourself ready for the day, your gaze moves once more around the apartment. This place feels empty, but then it always does. Your bed empty, your closet empty, very little trace, as you said, that you actually live here.

And as we said before, you are leaving today. You are headed out on one of the caravans that treks around the valley, delivering food, supplies, services, and trade. These large caravans depart three times yearly, and this is the last one of the year in late fall. And this is not the first time that you have been out on caravans by far. What job do you serve or perform? Like, what do you do with your time?

Jannes:
I think generally the sort of like the on paper job that he has is that he provides a little bit of security and sort of just general labour for the caravan. He's an imposing figure… not necessarily in stature but in sort of appearance. He definitely makes people think twice about sort of attempting to get up to any nefarious things. But his real reason for the travel is he's a collector. He's a sort of a bit of a treasure hunter. So going out with a caravan is a very good reason for him to be able to slip away into these radiated zones to try and uncover whatever there is to uncover. Sometimes it's very valuable, sometimes it's very valuable to very few, but relics and things lost from ages before that are now collecting dust and the majority of people are kept away from because of the nature of where they're located.

Em:
So you pull these things, these lost pieces of time from the Fallaway and bring them back maybe to people who might find them valuable or interesting.

Jannes:
Yeah, yeah, is it like to sell, sometimes to curry favor? I think he's found in a world where everything is sort of slowly decaying and ending. The gods have a particular affinity, and those around the Gods, have a particular affinity for the sort of things of when time was good. The sort of nostalgia of like, look at what we once could do, look at what we once had. And I think there's a sort of amount of like, doors that open for him and access that he gains from that, that he would never have experienced in his sort of youth. So I think… It is about the money, but I mean, there's his job sort of escorting the caravans that pays as well. But this is sort of more about the social equity that this would carry.

Em:
And my sense would be that this time you're going out on a purely individual mission. You're not scheduled to work on this caravan. You are going travelling with them so that you can dip off.

Jannes:
Yeah, I think so. I think knowing that this is the last one for a while, he knows that if he's going to want, there's going to be a gap between the next opportunity. So I think he's eager to try and find something of particular value.

Em:
Okay. And while this is what you do on the day to day, we both know there is more than that. There is something you hide. And while we don't need to know what that is just yet, what is going through your mind as you set out again on a journey that is always so much bigger than treasure hunting?

Jannes:
I think there is a... for him there is a sort of a growing need to fulfil the thing that he has sort of set out to do. I think he thinks that if he was to complete the task he was given, that there would be a semblance of rest and respite, and that it would sort of no longer be on his shoulders. That he would be able to possibly pursue other things.

Em:
Hmm.

Jannes:
And then I think there, like even under that, there's a sort of a knowledge that that's not true. It's the thing he tells himself when he's like two drinks in before he falls asleep. And then when he wakes up and he shoves his head in the barrel, that's when he realizes that no, there is no escape, even if he completes his task. So I think it's a slowly... It's gaining momentum. I think he has a feeling of verging on desperation to essentially move to the next step. Whether that's rest or not, he needs to move to the next step.

Em:
So there's this pressure in your step. There's this quickness and drive behind your movement.

Jannes:
And I think a certain amount of irritability. Like, I don't think he's… for the task that he has and for the things that he looks to accomplish, he's not a... He appears very gruff and hard, but he is generally well-liked and he is, you know, very amicable to most people. But I feel like that veneer is sort of wearing thin as time passes. So I think he's much quicker to anger. He's much quicker to irritation than he would normally be.

Em:
Do you take any weaponry with you?

Jannes:
Yes, he has, he has, that's one of the other, that's one of the other three things that he values, is he has a rapier. It appears very simple in nature. There's nothing particularly well adorned about it, or sort of flashy about it, but he never, he never goes out without it.

Em:
Is that the only piece of weaponry you carry or do you carry anything else?

Jannes:
He has sort of like a, almost like a bandolier sort of style under the arm holster. He has a dagger that he keeps as well.

Em: [transition to city scape music, with low chatter in the background, depicting the busy streets and markets of Glass]
So you gather your things and you leave your apartment. You head across the rings having to cut through the Chime District to get to the city gate. You are heading towards The Foales today, which will be the first stop on the journey around The Chord. And as you walk through getting up to from, you know, the third, the second, the closest district, the Chime District. You see increasingly lavish architecture. bustling marketplaces, the livelihood of the people here, and despite everything they seem to be enjoying themselves. What is going through your mind as you're weaving through town, or is there anything that you're paying attention to specifically as you walk through?

Jannes:
I think he knows this part of town so well that he knows that what he's looking for is not here. And so there is a sort of, um, a very much a dismissal of this place, um, and of the people here. Um, if you had caught him, you know, a couple months before, it would have been much more interacting, he would know everyone by name, he would greet people as he walked by, but I think at this point he's sort of blinders on, like, I have to get out of the city. Whatever I'm looking for is not here, and I know it is not here. And so I think there's a lot of, like, nods if someone calls out his name or gives him a wave, but he doesn't even really register their faces. There is a… He's very much focused on getting out on the road.

Em: [we hear a soft twinkling above the music]
And there are banners and you see a group of people in the centre square situated around The Chime. There is a slight breeze moving through the city and you assume most of The Valley, which causes a light, soft harmony to kind of sit just audible. And you know that this is from the tower itself, playing the song of The Valley that carries along with the breath of the wind. An ode to a dead God whose name we have forgotten. As you get to the square, you know, you've walked through markets, is there anything that you need to pick up before you go?

Jannes:
I don't think so. Most of the provisions are taken care of by the caravan itself. I think he would probably swing by somewhere and fill up a small flask, knowing what little liquor would be available out on the caravan would be very much rationed and you'd have a certain sort of amount that you're allowed and it's never quite enough for what he's after. And he also knows that there's no better way to win favour or get someone to talk than to share a drink when you're out where it's not as easily accessible. And I think if the road out to the caravan took him that way, I don't think he'd go out of his way for it, but if it took him that way, I think he'd sort of, he'd hope to catch a glimpse of someone if it took him in their vicinity.

Em:
So keeping that in mind as you walk towards the square, The Chime is tall and at the base of it sit individual temples, individual places of worship for each of the major seven Gods. And you're walking through the square and you see a tall lithe woman with gray skin and long curling horns, wearing black priestess robes lined with opulent gold embroidery. She jingles as she walks. Her long white hair is braided intricately into multiple plaits which sit nestled amongst her horns. And even from your vantage point, probably 200 feet away, you see her golden eyes shine bright, catching the glimpse of the small hazy sunlight that filters down.

You know this is the High Priestess of Nepthysaket, Verity Fall, and she stands at a podium, raised, surrounding a group of people, a large group of people who have gathered here today. She is flanked by the other reigning Speakers of the major seven Gods and the Speaker of the People, who you recognized as Halston Beltran. He's an older, dark-skinned human man with short, curly, dark brown hair, and he, unlike the opulence of Verity next to him, and even the other major seven Gods who are all decked out in finery and with iconography, he is dressed more simply. Similar to you, in a plain tunic, brown pants. Speaker Beltran has his eyes trained on Priestess Fall, nodding along as she speaks and addresses the people. In her voice, she presses her hand to her throat to accentuate the volume of her voice, and you hear her speak as you're crossing the square.

Em (as Verity Fall - soft, breathy, accented):

“It is my privilege to stand before you today as we celebrate fifty years of peace across The Valley. Through our faith, our grace, and our devotion to both the Gods around us and each other, we have seen through the darkest times and sit poised towards the radiance of the future. A future where we thrive together in harmony and peace. Myself and my sisters extend our deepest thanks to the Speakers of this Council for their wisdom that has guided us, most especially Speaker Beltran, for his steadfast and unwavering support of the people of the Cradle. We are truly lucky to have him as the voice of our populace, for the peoples beyond Glass and towards the edges of The Valley."

Em:
She leads a small round of applause for him as he humbly accepts it and steps forward, and he begins to take his turn to address the crowd. And you see the other speakers standing behind him all also look expectantly like they're going to be asked to speak at some point.

So what are you doing right now? As you make your way through the crowd, as these speakers start to cycle through very general platitudes about peace, that there has been fifty years of peace across The Valley.

Jannes:
Iinside there is an anger and a sort of revulsion for all of it. But on the outside, he knows that that's not something that he can show. He knows that he can't let others know how he feels about it, unless they draw conclusions about him. But I actually… I'd like to use a Mortal Move if possible.

Em:
Your first move of the game! Oh my goodness, yes, go for it! What move would you like to use?

Jannes:
I'd like to “Feel Someone Out”. I'd like to see whether or not I believe the Priestess of Nephthysaket's words towards Beltran.

Em:
Amazing.

Jannes:
I want to know if they're genuine or if they are sort of a show.

Em:
Okay, so we're going to use your Mortal Move, “Feel Something or Someone Out:. When you try to feel out a person, place or thing, say what you want clarity about and answer one. The GM will give you the clarity you seek as they answer the other. What question would you like me to answer or would you like to answer and would you like me to answer?

Jannes:
I think I would answer the first one, what feels welcoming on the surface? And I think that with the time that I spent close to someone who was involved in the faith of Nephthysaket, the sort of iconography and the sort of the way that they conduct themselves feels comfortable and familiar and a sort of array of happiness in his past. So there's a sort of, on the surface it's welcoming and it feels comfortable and then underneath there's a sort of a sadness and a loss, but there's definitely sort of like a fondness for not necessarily the faith, but the people of that faith.

Em:
Okay, so I will answer the other. What feels dark or unnerving as I peer deeper? As you stop for a moment, as you're in the square, you are… your eyes, you know, centering on Verity Fall and seeing her flanked by the Speakers of the Council and most notably the Speaker of the People, Halston Beltran, you see a ripple of nervousness sit just behind the eyes of Beltran.

You see that Verity fully believes what she is saying. She is convinced that peace will reign and peace will stay through as she has foretold it here. You know, if someone was ever to attempt to manifest something, this is what she is doing. However, your eyes flit to Beltran and you realize that he does not believe the same thing. He is nervous. He knows that just like the name of the city, this peace, this calm is fragile. Everything here is fragile on the precipice of absolute destruction. And he wants to believe what she's saying, but he just can't.

Jannes:
When I see this and I acknowledge it, do I... I would sort of take, I would sort of slow my pace and I would take a moment. Do I get any sort of my ability to sense others like myself? Does that ping anyone here, anyone in his group or even him? Do I get a sense that there is someone else like myself here?

Em:
You do not. You have not felt that sinking, hollow, falling feeling in some time. It has been a while. Very rarely do you come across this feeling overall, but you have never come across this in the City of Glass itself. It's too populated. There are too many people here. You are taking a risk yourself being here.

Jannes:
I think there was like a hope when he saw that there might have been someone else who could alleviate the feeling of burden of being the only one that he's met in a long time, sort of share the weight of it. I think to speak a little bit to what we were talking about earlier in the sort of the feeling of momentum and desperation, I think there's part of him that worries that there is no one else because it's been so long since he's made contact with someone else. I think there's a part of him that worries that he's going to have to carry this burden all on his own.

Em:
Mm-hmm. That feeling of loneliness, that self-imposed, self-isolated loneliness out of fear for your own safety, out of the need to do the job you've been charged to do, whether you like it or not, things beyond your control sits with you as you try and study these speakers, hoping desperately for something that is just not there.

Jannes:
And do I, do I see her?

Em: [Music transitions to a soft, melancholy tune with violin and piano, speaking to the sadness and loss in Inanis]
As you're about to leave, you're walking through the crowd, you're hoping to see her. And it is her who sees you first. You hear her voice ring out from behind you:

“Inanis?” [stronger accent, soft spoken, rounded voice]

Jannes:
I think if when he meets others like him it's a sensation of falling. I think when he hears her voice, it's the sensation of flying. And I think the antithesis juxtaposition of it is almost too much for him in the moment with that. As if he was running down a hill with momentum. It's like his toe catches and he's doing that thing where he's desperately trying to keep his feet underneath him now as the momentum is sort of sweeping him away.

I think he'd look over his shoulder, and he'd see her.

And I think he would… I think he would run. [Em gasps in the background]

I think he would fear that if he would stay. He might never leave, he might… He might say things that he shouldn't. I think he, in that moment… He didn't run when he was entrusted with his task. And that was the weight of the universe on his shoulders, and this is something that he cannot face.

Em:
Your head tips over your shoulder, and we see it as we peer over your shoulder. You see a wide-eyed woman you would know anywhere. She has long, curly black hair that falls down to her mid-back, wild and unruly. Her horns are shorter, almost lost between the curls. Her sharp features, settling around golden eyes, like those of the high priestess, but softer, kinder. Her eyes, as they catch you just for a moment, search your face and you see the hint of a smile pull at her. She wears black robes, gold embroidery, but much plainer. You catch the smell of floral and spice from her taken on the breeze. She has a small prayer book tucked under one arm. And she does truly look both shocked and almost overjoyed to see you.

And you would know this as Katani.

Jannes:
I think in the sort of like cinematic version of this, you would notice possibly for the first time when you get your sort of over the shoulder close up of Inanis' face that he has one eye that is yellow like hers and one eye that is purple.

Em:
She sees you start to run and you catch the second and you turn before you can see it anymore. Her face starts to fall and she reaches out, dropping her prayer book.

“Inanis, please, wait!”

What do you do?

Jannes:
He stops, but he doesn't turn around again.

Em:
It's almost like the din of the crowd who are still watching the Speakers - they've cycled through a couple others at this point. Everything else kind of slows down and you hear her soft footsteps kind of pad towards you. And I'd love as we sit here in this moment to flash back to the moment that you met Katani.

Tell me about that. How did you meet this young priestess of Nepthysaket?

Jannes:
I think you would see a younger, um, Inanis. He would have, his hair would, still long, but there's a shine and a gloss to it. There's obviously a bit more of a care given to his appearance. Still bearded, but the beard is trimmed and well shaped. Um, and… There is a... the corners of his eyes are lined in a way that indicates that a smile is never far from his face. There... at this point he would… He'd still, he still would be marked, but he… it wouldn't have the same sway on him.

Em:
Mm-hmm would have been early.

Jannes:
It would have been early. For people who grew up religious, it would have been that sort of thing where you belong to it, but you haven't fully bought in yet. You still have a sort of naivete about the darker sides, or the darker side of what you are part of. And I think he...he doesn't see it as really any different than being part of any of the other faiths. It's sort of an edgy, makes him a little bit cooler. And he takes it seriously, but I mean it's like someone else's problem, it's not his problem.

Em:
All your job is to find someone and give them a knife.

Jannes:
Exactly. And he would have a… I think on one of his trips out, he would have found an artifact of Nepthysaket, and upon returning, he would have sort of made it known to people he knew and people he knew know, people who collect, that he had found this artefact and someone had contacted him and said that there was an interested party and this was that meeting of...sort of initial negotiation for said artefact. And I think I would love it if it was one of sort of the… the holy weapons, one of the guns from, and then it no longer functions in the same way. You know, magic is all kind of weird now. And I think it's probably broken, but the purpose of it is not to be used, it's rather to sort of be collected. And I don't think he knows much more about it than that. I don't think he's not very well learned of that particular faith. At this point, I think he probably spent time learning about it after this meeting, but at this point I don't think he knows very much about it other than it belongs to that faith.

Em:
So as you're sitting in this, I would suppose it would probably be a tavern, a public meeting place of some kind, and you are, you know, it is wrapped. You don't want to show something so flashy and opulent out in front of people, but you can't help but look at it. You're curious about it. And you see the bone inlaid within the handle, a piece of it. You don't know much about guns. You don't know much about these holy weapons. You see a place where it looks like there is something missing. Something that could be inserted into it but you're not sure what that is and you're… you brush a little bit of the dirt. That's where you found it: in the dirt. You brush your thumb across it and you see the initials N L carved into the handle. You have no idea who that is. Must be important to these people though. [music transitions to lively talking in a tavern, with some fiddle music played throughout]

So as you're sitting there in the tavern, you hear the bell behind you [bell rings] and you turn to look at the door and you see this same priestess and she is younger as well. And she looks new. She looks very new and young and eager and green and she catches your eye right away and she walks up to you with a purpose. There is like a pep in her step as she walks towards you and she goes,

“Are you the person I'm supposed to be meeting today?”

Jannes:
I think you would, this is where you would, I think you would notice that both of his eyes are yellow. And he turns and… I think he's used to, with these dealings, meeting older, either older priestesses or older men who come to sort of acquire these items. And there's a sort of a smile on his face that instead he is greeted by… someone so young and pretty. And he definitely immediately does that sort of… sort of thing young men do, where… My friend calls it the puff and ruffle, where the chest sort of inflates. And he turns to her and he says,

“Um, I'm not sure, but I could… I don't think there's any reason why we couldn't find something that you're interested in?” (gruff, gravely voice, resonant)

Em (as Katani):
“Well, I'm on a bit of a timeline, sir. However, I have heard that you have something that belongs to myself and my sisters, and I have come to reclaim it and bring it.”

Jannes (as Inanis):
“Hmm. No, I think then you do have the wrong person for... I don't have anything that belongs to you or your sisters yet. Currently, everything I have on my person belongs to me.”

Em:
And she almost gets caught. You see a slight hint of the gullibility just flashed before her before she kind of realizes that you're playing with her and being coy. And you see this, her eyes crinkle before her mouth does.

Em (as Katani):
“Well, if it is yours, then I am going to have to either pay you or convince you to give it to me. Because in the long run it belongs to Her Grace. And people who have been devoted to her from long past. So I am grateful for you finding it and I am elated that we have connected through these channels. However, what is it going to take? I am, I am, honestly I am late for prayers and I need to return this. Please.”

Jannes (as Inanis):
“Um, how long have you been with, uh, with your order?”

Em (as Katani):
“Well, the traditions are still upheld. I was left on the steps of The Chime…”

Jannes (as Inanis):
“Yes, but I mean, you seem to be rather new to this… as a priestess.”

Em (as Katani):
(exasperated sigh) “I took my vows six years ago, but have recently started to take on more responsibility. So…”

Jannes (as Inanis):
“This is your first time coming to collect an artefact.”

Em (as Katani):
“No, actually it's my third. Thank you.”

Jannes (as Inanis):
“Oh, it must be very important to Her Grace for them to send someone so experienced to retrieve it. Must be immensely valuable.”

Em (as Katani):
“You wouldn't have any idea. But yes, very much.”

Jannes (as Inanis):
“I truly don't. Generally, how I've done this in the past as singers, I've done it, oh you know, a handful times more than three. Generally, it's either paid for, but I always prefer if it's paid for in favour.”

Em (as Katani):
“What would you wish the priestesses of Nepthysaket do for you, sir? Because if it is within my power and it will put that relic in my hand, then I can see it done for you.”

Jannes (as Inanis):
“Oh, all right. Perfect, well.”

Jannes:
And I would sort of take it, and I wouldn't unwrap it, but I would just sort of hand it to her.

Em (as Katani):
“A favour, you said?”

Jannes (as Inanis):
“Yes.”

Em (as Katani):
“Before I take it, I feel like it is important to… we are under the same agreements as everyone else here in the city. We cannot, I… there are things we cannot do, and things that would be against our covenants and our scripture to do. And I would ask that if I am making this that you don't-”

Jannes (as Inanis):
“Are you free tomorrow night?”

Em (as Katani):
“Pardon?”

Jannes (as Inanis):
“I said, are you free tomorrow night?”

Em (as Inanis):
“It depends on what time. I have prayers.”

Jannes (as Inanis):
“When?”

Em (as Katani):
Generally before supper and then midnight. But in between is generally free.

Jannes (as Inanis):
Alright, well we can discuss the favour tomorrow over dinner.

Em (as Katani):
“Dinner, is that the favour you're calling in?”

Jannes (as Inanis):
“No, no, that's a business meeting. Discuss the favor over dinner, then decide then what it could be. You're in a rush. You have to get to prayers.”

Em (As Katani):
“Don't we all? Well, if this business meeting is what you seek to fully discuss this favour, then perhaps I should know who I am having dinner with.” [as Em] And she extends her hand to you. [as Katani] “Priestess Katani.”

Jannes:
And he would take her hand and kiss the back of it and peer up at her and say,
“Inanis.”

Em (as Katani):
“Until then, Inanis, I will see you tomorrow. Here or elsewhere?”

Jannes (as Inanis):
“We can meet here. I know a place around the corner.”

Em (as Katani):
“Fine.”

Em:
And she dips her head and she puts her hand on the relic as if there's anything that you're gonna do to stop her from taking this, otherwise she's going to take this gun.

Jannes (as Inanis):
“I don't believe Nepthysaket approves of tardiness. You should probably get going.”

Em:
You hear, you don't speak the language that the priestesses of Nepthyseket do, but you know cursing anywhere. And she takes the gun.

Jannes:
And she's wearing robes, right? Like, like the priestess robes, like down to the floor?

Em:
They would be, yeah, they would be probably down to the floor, yet long, kind of bell-shaped sleeves, you know, modestly, modestly cut across the front. But her hair is loose and long with her, her horns a touch shorter, she is a bit younger, but other than that, she looks exactly the same.

Jannes:
As she turns to leave and gets about halfway to the door. He hasn't gotten out of his seat this entire time. He's sort of just been sitting at his table. He has not gotten up. He's not made any sort of move to almost purposely downplaying her station. And when she gets about halfway to the door, he would sort of call over his shoulder, almost as an afterthought, like he's gone back to what he was doing, and as an afterthought, he thought he would call over his shoulder,

Jannes (as Inanis):
“Oh, and Katani?”

Em (as Katani):
“Yes, Inanis?”

Jannes (as Inanis):
“You might want to wear something a little more… you might want to wear something a little easier to dance in.”

And then he would just turn around and go right back to what he was doing.

Em:
She can't contain it. Like she tries really hard to contain the smile on her face. She doesn't want to, I think this early in whatever this is, let you see that you've gotten her goat at that point. But she, she smiles, you see this small set of fangs set in her teeth and she just tsks and dips her head once more, tucking her new relic, old relic in the bag, and the door dings once more [bell rings] and she is gone. And with that ding we are brought back to a very different moment in the square - both of you changed.

Jannes: [melancholy violin/piano theme fades in]
And I think you see that Inanis…the joy and the sort of ease that he had in that bar is like almost tragically gone. Like it is not, it's not just, it's gone because you know that it was there. Like that's what really makes it. And I think that's what would hit her the hardest is it would be like looking at the face of a ghost. You know, the impression of someone that she once knew but is now vacant of that spark.

Em:
Mm-hmm. And so you haven't turned to face her at this point, and you're hearing the pads of her feet kind of come towards you. And she doesn't move around to meet your gaze. She stands here to pick up her prayer book.

Em (as Katani):
“I assume you're leaving today. Are you going to The Foales, or are you going to Domhan?”

Jannes (as Inanis):
“It doesn't matter. I'm leaving.”

Em (as Katani):
“I suppose not. I did not volunteer to go this time, perhaps next time. Everyone should make their pilgrimage, right? You are welcome to come by anytime if you are in need of.. quiet or solace. Our doors are always open.”

Em:
She's still standing behind you, maybe about a foot and a half from you.

Jannes:
I think she would from her vantage point… she would see a little cat skull. And I think she would… She would know that she never saw it when they were together. She would know that this is something that is after.

Em:
And I think you hear her breath almost hitch as she, she hasn't, she looked, she looks up, you're taller than she is, and she's set… her eyes settle on the back of your head and she cannot help but see it.

Jannes (as Inanis):
“Thank you for the kind invitation. Your Grace.”

Em (as Katani):
“You don't have to... The epithets aren’t important. Certainly not now. I know you're probably heading to the caravan now, but...

Em:
And she... You feel something hit your hand? And... A small book? slides within your hand.

Em (as Katani):
“Just take it. Please. You never finished reading it.”

Jannes:
He would take it and… he would sort of half turn his head, not enough to like fully, enough so that it is apparent that he's addressing her, but not enough so that he would have to look at her. And he would say,

Jannes (as Inanis):
“Thank you Goodbye.”

Em (as Katani):
“Goodbye.”

Em:
She lingers and she just waits. She doesn't move.

Jannes:
And I think he would stand there for like a second too long after saying goodbye, and then he would move… first at a walk and then just a run.

Em:
Ok.

Jannes:
And what book does he have in his hand?

Em:
He has her prayer book of Nepthysaket, her annotated copy. You got about 3 quarters the way through it before everything ended. The page, well we know this as we see you running, but you may not at this point. The page is still dog-eared. The same one where you stopped.
And as we see you run, she lingers. And I think there's a moment where she hopes that you would stop and she would turn or she could run. There's a small… very forced smile that pulls at her the corner of her mouth and it is primarily to convince herself that you leaving is okay which both of you know it is absolutely not

Jannes:
And I think as he runs, the dagger in the holster at his side… Because every step he takes as he swings his arms, that dagger rubs against a scar on the side of his body, and every time it brushes across it, he uses it as a sort of a focus to try and drive her out of his mind. He just locks in on that sensation of the dagger and the scar.

Em:
And as this thump, thump against your side hitting the dark scar through your tunic that never fully seems to fade or ache. It aches so much. It matches the pace of your footsteps as you run. You leave The Chime district, the first, the second, and you finally kind of stop to catch your breath as you're entering the third district. You're weaving your way through the streets. And as you catch a glimpse of the far gate, the one that leads towards The Foales where the caravan, at least this part of the caravan is leaving from.

You see it, you see the caravan down the road and you know that the caravan starts about 10am. It is maybe 8.30, 9 o'clock in the morning at this point, and you'll be able to leave with them any time before 2:00. This is a very large caravan, 100 to 200 people often at a time. And the leaving is staggered so people can walk along.

[ominous music starts]

And as you slow to a walk, to catch your breath, it's almost like you missed it. As you were running and I think it starts in your stomach first. You feel a hint of nausea hit you, followed by that weightless feeling.Tthat feeling of floating, the one that you were searching for before but didn't find. It is gutting and hollow. And you take a second and you wonder if this is because of what interaction you just had or is this something else? It is as if you've been pushed off a cliff into freefall, but your feet are still planted.

And as you try and get a sense of yourself, your breathing steadying. You've felt this before. You know what it is. And it is about a moderate level of feeling, closer than anyone else in a while. What would you like to do?

Jannes:
I think he's so confused, like the the interaction that he just had was so intense and it's the sort of feeling that it's the exact interaction that he went looking for and also the last one he wanted to have in that moment. It's like when you pick at a scab or you pick at a wound where it's like, you know you shouldn't, but you can't help yourself. And his mind is sort of, his heart, is sort of reeling from that interaction. And then this feeling, I think he… I think he finds like a wagon or of someone that he knows or has travelled with before and he sort of ducks in the back where there is no one around. And he sort of just like sits on the ground and wraps his arms around his legs and just sort of has like a full-on panic attack. Just like a full on anxiety attack from the like… the incredibly difficult emotional interaction he just had followed by now he's got to face someone from his like order… and it's just in that moment is it is all too much. And I think he just… he just takes a minute, and then sort of… rocks back and forth until everything sort of calms.

And I think with the… with the prayer book in hand, I'm gonna use the moral move, Pray for Guidance.

Em:
Oh my goodness, second move of the session. Okay, so Pray for Guidance. When you pray for guidance, name the aid you seek and answer one. The GM will describe the aid that actually comes as they answer the other. So there are two questions. What kind of God answers your prayers? And what unclear omens or visions besiege me? What aid do you seek?

Jannes:
I think he's looking for… I think he's looking for direction. I think he's looking for... I think in his mind he's like, I'm gonna ask where the person I'm looking for is. I'm gonna ask for where the person who's giving me this feeling is. And I think on a deeper level he's like asking… What do I do? And in the back of his mind, one of the options is to just run away from this. There's like a... He's devout, and so he's calling out in a devout way, but there's a part of him that hopes that the answer will give him an option that he knows is not available.

Em:
Okay, which question would you like to answer?

Jannes:
I think that the God that answers his prayers is the one that's driving him to find the others.

Em;
or the other, then what unclear omens or visions besiege you? As you lie in this cart, this feeling still present in your stomach, you're feeling like you're floating even though you are lying down in the back of a cart, you know, trying to now catch your breath. and you feel… a pull. It is as if something has hooked its finger under your sternum and is yanking in a direction. You feel a drive forward, almost led by your chest. If you started walking, you have a sense that it will point you in the direction that you're supposed to go.

Jannes:
I go.

Em:
Okay. So you meander your way back through the streets, this feeling getting stronger and stronger. There are a couple moments where you are having a hard time standing. It is so intense. And you have met others like you before, but it has never felt like this. There is a sickness to this, a cutting edge of it that has not been present with the others.

The feeling that hook under your sternum leads you to a modest row house on the edge of the third district. Brick and stone that's trimmed with wood. There is a front window but it is drawn. But you can see light from inside. Would you like to do?

Jannes:
I would just knock on the door. I would know that whoever is inside will feel the same as what I'm feeling.

Em:
You knock. You knock once, twice. Nobody comes to the door. The light is still on though. Do you want to try the handle? Do you want to circle the building? What would you like to do?

Jannes:
Yeah, I'd like to sort of, yeah, I'm gonna do a lap, see what I can see on the other side, see if I see any moving shapes in the windows or anything like that.

Em:
Okay, as you move around to the side of the house, you find a partially opened window and as you walk by it, you are thrown into such… like sensory whiplash. The last thing that you remember smelling is Katani's perfume, the spice and the floral. And you are hit with such a sickly, sweet, putrid smell of decay and rot coming from the inside of this house.

Jannes:
Is there a back door?

Em:
You look around and there is a back door as well. Yeah, the window that you just walked by was half open. You could potentially try and pry it or you can try the doors, your call.

Jannes:
I'm gonna try the back door's handle gently and quietly.

Em:
Okay. The handle resists at first, but with a bit of jigging and a bit of elbow grease, you are able to open the door, the lock itself decaying and the wood rotting slightly as you're able to almost lift the metal plate kind of out and move yourself inside. The whole house smells like death.

Jannes:
I'm gonna draw my rapier here at this point.

Em:
This house has a feeling like it's waiting for something to happen, begging for it, begging for death to come so that this place can be purged of this stale breath that it's holding. Inside you come into what is the back door of this house, this first floor. There are stairs that go upstairs. It is a disaster. The furniture is knocked over and broken. There are remnants of a meal lying rotting on the floor. And there does not seem to be anyone on this level.

As you go through, you are someone who is quite, you know, you're astute. You're able, you're quite perceptive. If you could hear Katani's feet walking towards you, you can also hear this wheezing, wet cough coming from upstairs, a death rattle of lungs, like barely functioning enough to draw breath, and you hear it coming from up the stairs.

Jannes:
I would make my way upstairs.

Em:
Okay. At the top of the stairs there seems to be two rooms, one on the left and one on the right. The door on the left is closed and the door on the right is slightly ajar.

Jannes:
in the death rattley sound, any indication as to which side that came from?

Em:
You wait for a moment, almost having to hold your own breath to prevent yourself from retching this awful smell combined with this feeling that is now crushing. The feeling that you have as you climb the top of the stairs is crushing. And the wheeze [wheezing, rasping inhale and exhale] comes again from the right side.

Jannes:
I would make my way into the room on the right.

Em:
As you open the door, it is a simple bedroom. The shades are drawn, everything closed. There's a figure, unclear of their age or of their gender, lying in bed, gaunt and sallow. The hair on their head is patchy, and you see traces of it across the pillow itself. There are flies everywhere. And you see, they seem to be swarming around the lumps you assume to be this person's feet under the blankets. This is a concentration up here of the smell, of the feeling, this rot that you smell downstairs. They wheeze once more. The sound bounces off this empty room and the second that your eyes fully lay upon them, that feeling, that hollow feeling inside is screaming. That falling feeling, that nausea, that empty. And the word that you know, what you call yourselves to each other rattles around inside your head.

Eutoches, Eutoches, Eutoches.

Jannes:
I would look at him and I would say…

Jannes (as Inanis):
“Are you one of us? Are you... ..Eutoches?”

Em:
At the sound of a voice, the eyelids which were closed barely flit open. When you see they dart about the room, their head turning, and it doesn't seem like they're looking at you with their eyes, potentially indicating that they might be blind and no longer can see. And you hear their voice come out.

Em (as They With No Name):
“Is this my end? Did I make it? Did I do enough?”

Jannes (as Inanis):
“What happened to you here, what has befallen you?”

Em:
Do you step closer into the room?

Jannes:
Yeah, I would make my way towards the bed, and I would angle in a way to try and see if I could see if they're wearing a shirt or if I could make out the scar.

Em:
Okay, the blankets are pulled up towards their collarbone, their hands underneath the blanket and they hear you step towards the side of the bed and their head turns slightly.

Em (as They With No Name):
I'm a coward. I couldn't find him, so I thought about leaving. I tried to bury it, give it to another, and it kept coming back. It wasn't my time to give it and I was so selfish. I never should have accepted it in the first place, but I did. [whooping cough]

Em:
This like sick, wet, whooping of a cough rattles out once more.

Jannes:
Do I recognize this man?

Em:
No. No, and you can't discern their gender. It's almost.. And you're not close enough to see anything else.

Jannes (as Inanis):
“What did you give away?”

Em:
You see a couple tears roll out of the eyes that are turned next to you.

Em (as They With No Name):
“You carry yours. Are you him?”

Jannes (as Inanis):
“Am I who?”

Em (as They with No Name):
“The one we are supposed to give this to. The blasted person we are trying to find.”

Jannes (as Inanis):
“I am not him. I too search.”

Em (as They With No Name):
“What is your name?”

Jannes (as Inanis):
“I am Inanis.”

Em (as They With No Name):
“I don't remember my name. I cannot form a clear thought about it. But like you, I know what I am.”

Em:
And with a struggle, you see them pull down the sheet slightly. Their hand is clutched to their chest in the centre, holding a familiar-looking blade, not as ornate as yours, but you would know another one when you see one. They are shirtless, exposing top surgery scars. Their skin is splotched and sunken, bruised and yellow. And your eyes are drawn immediately to the left scar, which instead of the shiny red you'd expect from a scar such as these, from a surgery such as that, you see a familiar inky black chasm. And yours begins to ache, like you have been punched in the solar plexus and you ache.

Jannes (as Inanis):
“Can you draw your blade?”

Em (as They With No Name):
“I tried to give it away.”

Jannes (as Inanis):
“You know you cannot. You know you cannot do that.”

Em (as They With No Name):
“Not until the end, which I assume is not far now. I don't have much time left.”

Em:
As you look over this person once more, trying to get a sense of what is going on for them, this question that you had, what is afflicting them? As you see them pull down this blanket and you take a seat, like you put it together with their feet and the smell and the stench, you know that this is the Wasting Sickness. Something that you are so careful about as someone who spends time in the Fallaway. The land out there ravages anything that exists there for too long, leaving people corrupted and irreparably changed. Most people with wasting sickness either travel or are taken to the city of Astuce, and pray for salvation and sanctuary from Aipay, Body of Rot, the God of decay and pestilence and disease, and tithe their lives to zem to allow them to pass quickly, rather than with pain and struggle. Wasting sickness is a long, slow death.

Jannes:
Is it contagious?

Em:
Yes, highly. And you become instantly aware of that. You know, the longer you stay here, your chances of contracting it go up like wildfire. This person is so far gone.

Jannes (as Inanis):
I am sorry, but I must go. I will find them and I will give them the blade.

Em (as They With No Name):
“I have sought the Twin Soull my whole life. Never questioned it from a child. So sure of our job, until now, wore my title with pride. Served it well. I saw them spit on us. Call us the slur ‘Voidwalker’. [wet cough] Besmirching our name in the work. I saw them kill our siblings. And I asked myself why won't they accept this end? Why won't they let us do our work in peace? Why must we haunted when it is written in the fabric of the multiverse that all things end?”

Em:
And you see as he gets to the end of it, he is choking out words at this point barely able to contain himself. He's getting escalated. They're getting escalated and it is too much. And you know that the more that they speak… closer you are, this could be very bad for you with respect to the sickness.

Jannes:
I start to back away towards the door and as I leave over my shoulder, I say,

Jannes (as Inanis):
“It is not ours to question. We are the void. We are the inevitable. Be at peace.”

Jannes: And as I make my way down the stairs and out the door, I will… I'm actually going to use a move to do it. I'm going to Act Impulsively.

Em:
Okay.

Jannes:
And I want to take my little flask of booze and I want to set the building on fire.

Em:
Oh my god. Okay.

Jannes:
I want to end, I want to give him peace and I want to also protect the rest of the people from the illness that is in the building.

Em:
Okay, okay. Act, oh my goodness, Act Impulsively. When you act impulsively, describe the emotion that drives you and answer one. The GM will tell you something you didn't notice until now as they answer the other. So what is this emotion driving you? What is, what is at the heart of this as you empty out your flask?

Jannes:
I think it's an understanding of exactly where that they were, like emotionally at that point. I think he feels that falling forward down a hill running sensation and he knows that that's where he could end up. So there's like a deep empathy and then a sort of a sorrow that if it had been up to him, he would have ended it in a much more personal close way. But because of the illness it would have been too risky so I think.. but he does want to provide him with a sense of release uh... and give him some peace because he understands where they're at.

Em:
So it's fear, it's resolution, it's a multitude of these cascading emotions still with that nauseous feeling, trying to manage the smell of that is, you know, you're wondering if it's going to stick to your clothes and your hair as you're starting to leave town. You empty your flask out and what question would you like to answer? What advantage do you seize or what trouble hits you hard and fast?

I think you've answered what trouble hits you hard and fast, so I can give you the other one.

Jannes:
Sure

Em:
Okay. So, what advantage do you seize? You know that if you light this burning, this building ablaze, that the caravan could be called off. It could be deterred as people have to try and prevent a fire from spreading to a city block. So the advantage I think that you see is in this moment is you're able to concoct this the way that you're going to… even though you're acting impulsively, you're able to set it up so that the fire will take a little bit to spread. You could set it inside and by the time it actually reached the point where it was dangerous, it would likely be the case that one, you would be able to clear the sickness, burn it away, as well as the person who carries it, and have yourself be far enough out of town.

So you do so. And as the spark hits the alcohol inside, slowly starts to light a burning on a piece of cloth that you've stuck towards some kindling that will probably take a little while to light and to actually start to burn. And you make your way out of the house.

Jannes:
I think I would also.. I would use sort of my own clothes to start the fire and change into like a spare set that I would have packed, knowing that the smell is never going to come out of the clothes that I was wearing. So essentially just like the shirt and pants are gone. I know they're gone. I change into my like spare set that I would have taken for the journey and let those burn away. And at least...the smell won't cling to my clothes. I know it's probably going to cling a little bit to my hair and my bag and my everything, but at least the sort of fabric aspects of it will not reek of... Because I assume that the Wasting Illness smell is something that the caravan is quite attuned to and sort of like…

Em:
Yes. Everyone would know. Everyone would know what wasting sickness smells like. It is an alarm bell. It is a, what's the reason that they send everyone to Astuce.

Jannes:
And I think the feeling of that falling, the nausea that was induced by the feeling of having another like myself in proximity is what sort of made it so that I didn't put two and two together with the smell. I think it was like the smell was bad, but the nausea was so intense from the other source that it was like it paled in comparison.

Em:
Do you check out the other room in the house before you leave?

Jannes:
No, I think... I think it... Now I want to... No, I think that... That if… No, I really want, Jannes really wants to, but I think that Inanis would have, when he realized that it was Wasting Sickness, he would have tried to get out of there as quick as possible. Was there a light on in the other room, or was it dark?

Em:
No, the door was totally closed.

Jannes:
Yeah, I think he would have just...

Em:
He woulda ran?

Jannes:
Would he though, or would he have checked if he was starting a fire? Now I'm having second thoughts to make sure that the building was empty. I don't want to burn an innocent person. I'm gonna say he had a quick peek. I'm gonna say quick, quick peek.

Em:
Okay. As you go to pull the handle again, it is with a, it'll take a bit of jiggling, but it's that same that wood rot that has now permeated the walls as well. This feeling, the sense of decay, living in the walls of this house. You see, maybe for the first time ever, because normally you have met those like yourself, Eutoches, other Voidwalkers. Out, in the cities. In the wilderness. Even a couple in the Fallaway. But you see in front of you what seems to be a prayer room to Archeveleon. A prayer book lies open in a language that you do not understand. It is splashed with blood. You see manic scribbles in both ink and blood on the walls. Some are in your language and some in languages that you do not comprehend.

Jannes:
Yeah, satisfied that there's noone in here. I think he would not really venture too far in. He would get out and try to avoid getting sick.

Em:
Okay, he had run out of the house. The fire slowly starting. Okay.

Jannes:
Make his way back to the caravan.

Em: [Music changes to wistful travel music]
Okay. So you make your way through the gate, edging back into the fourth district. That feeling subsides slowly. Each step away from the house. The caravan comes into view and you see many merchants, travelers, whole families. You see acolytes and younger holy folk in the garb of the Seven ready to go and provide sermon and faith to the people of The Cradle. You see people ready for trade and ready for an adventure. Some having gone before, some not - some new to this expedition. And the caravan seems to be making its preparations to leave with the time you took in the house. It is nearing 10 a.m. What would you like to do as you approach the caravan?

Jannes:
I think I would make my way to the front of the caravan to try and be one of the first people out of the gate. And then I would also try and find whoever was leading the caravan to hope to chat about the route that they were going to take and the plans of like… where they're gonna stop along the way, sort of figure out where I'm gonna take advantage to… Because I would, I imagine, I would take opportunities to sort of separate from the caravan, go off, look, come back to the caravan. So I think like knowing where they're gonna be and what their schedule and itinerary is a sort of key to being able to come and go and find them along the route. So sort of, get back into sort of the, try and put some of the odd occurrences of the day behind me and get back into sort of the more routine of what I do.

Em:
Okay, so you make your way to the front of the caravan. And the caravans are led by multiple different groups, often generally the folk who are from the first town or city that the caravan is stopping to are often who lead the charge around The Chord. And as you walk up to the front, you see a shorter, tawnier-furred minotaur man, outfitted with a spear and an impressive shield bearing the symbol of Kruha, The Feral Mother. The symbol is two tusks flanked by an open hand with a claw placed in the palm. He and a group of other minotaur, they seem to be of fighting prowess in Kruha's name. And he sees you approach.

Em (as Captain Amorand - broad, masculine voice):
“Hail, traveler, what can I do for you?”

Jannes (as Inanis):
“I'm just curious of where you plan to stop tonight?”

Em (as Captain Amorand):
“Yes, well, we are first headed to The Foales. We will then take livestock and agriculture towards the rest of the towns, the both the named and the smaller villages. We will do the first loop of the lower Valley, as is custom, with part of the group split, with part of the group splitting fromThe Foales to head to Sinc Eile to gather metals and ore for later refinery in Stryogax. Is that the journey you wish to seek? If not, I would take the caravan heading north instead.”

Jannes:
Would I, where would I know would be sort of the best for spoils?

Em:
Yeah, great question. So you've generally been able to head any of the towns that are kind of on the edge of The Valley or where you can scamper up the hills towards the Fallaway to head up and over. You know that the journey to The Foales takes about a day and a half, so you should get there by early afternoon tomorrow. And generally what happens is the caravans, you've done this many times before, will stay in town for three or four days, let people do their business, and then head on out to the next town, which you know would be Hood, which follows after The Foales. And he's also said that there's a group going up to the mines of Sinc Eile, which are slightly more north than The Foales are. There is definitely a path where you could take through a forest which sits right behind The Foales, a large coniferous forest. And you could scramble up the mountains and head over into the Fallaway pretty easy with about an extra day's journey once you get to The Foales and then make your way back before they leave again. That would probably be the easiest point of entry and from there you could decide to head up to Sinc Eile or to head down to Hood, whatever you chose.

Jannes (as Inanis):
I would, yeah.

“Um, no, that sounds wonderful. I will join you for the first part, and then I will probably go off on my own and meet up with you again later.”

Em (as Cpt. Amorand):
“That sounds fine with us, uh…” And he looks at you, and his eyes fall down to the rapier at your hip. “Well, that's a fine blade, sir. Can we count on you if anything arises here on the road?”

Jannes (as inanis):
“It is, I'm not technically working currently, but while I'm with the caravan..”

Em (as Cpt. Amorand):
“Oh, this is something you do.”

Jannes (as Inanis):
“I have been known to travel with some of the caravans keeping order, helping keep things a little bit neat and tidy, but I am happy to assist while I am with you.”

Em (as Cpt. Amorand):
“That is appreciated, so I'm surprised we haven't met.” And he extends a hand for you. And, “Captain Amorand. It's nice to meet you.”

Jannes (as Inanis):
“Inanis. The pleasure's all mine. Have you made this journey before?”

Em:
He cracks a smile. You know that many minotaur are from The Foales originally. And you would know that they often, they are incredible agriculturalists and very, very talented with the way they are able to connect and work with the land and the web of life that surrounds it as is the dominion of Kruha, The Feral Mother. And he laughs and he goes,

Em (as Cpt. Amorand):
“Well, The Foales is home, so I try and go there for a couple days and then leave as fast as I can. You know how it is.”
Jannes (as Inanis):
I feel very much the same way about this city. It is always good to be home and it's even better to be leaving.

Em:
Mmm. He nods with you. And you originally aren't from the City of Glass. You were originally from Riese, which is farther south. And if you continue with the caravan afterwards, you will stop in Riese again as well. And Captain Amorand looks at you and his eyes kind of gesture down the road. You see a couple other minotaur who are similarly decked out - about four or five of them - and they are kind of walking through the group seeming to keep trying to get eyes on everyone and he goes,

Em (as Cpt. Amorand):
“ I only tell you this because you seem to be competent and able to take care of yourself, but if The Screeching Steel bears down on us, our goal is to protect those who cannot protect themselves and fight them off as best we can.”

Em:
You've heard of the Screeching Steel. There have been reports of bands of winged marauders, followers of the Matron of Vengeance, who attack supply caravans and kill for sport. They're quiet and vicious. They wear flying contraptions of metal in the shape of feathers. Sometimes their God flies with them. There seems to be no purpose to the attacks other than sheer cruelty. Despite the tenets, the more reasoned vengeance of their goddess.

Jannes (as Inanis):
I would gladly assist you if you need it. I have heard tale of these. It's always interesting when you are in the city, they preach peace and how wonderful and at peace we all are and then you leave the safety of the city walls. It's a different story.

Em:
He looks at you and regards you, nodding.

Em (as Cpt. Amorand):
“You know, uh, we try our best to be as devout as we can, worship the land, give back where we can. But I've never been a city person myself. I feel much more at home, outside. The Glass is not for me.”

Jannes (as Inanis):
“I don't think there are many people that the Glass are for.”

Em (as Cpt. Amorand):
“Fair enough”.

Em:
He gives you a nod and then he goes to rejoin his group of fellow military prowess folks. So the caravan starts and gets on down the road. It's mostly a walking caravan, so there wouldn't be any use for a horse at this point. The first day of travel goes very, very… peacefully, it's quiet, it's just a lot of walking. You hear snippets of conversation, you hear laughter and joy and sadness and all of the other things that people feel as they try and connect with the people around them while there's nothing else to do. Is there anything particularly that you're doing on this journey, anything you're looking for, anything running through your head as you're walking around?

Jannes:
I think he sort of generally, when he heads out on these things, he… He tries to be… he tries to act like he remembers how to be a regular normal person. Like he sort of falls into that role of, you know, the hardened traveler. And he tells stories around the fire. And it's easier for him to pretend to be like he was when he's not around her. So he kind of falls back into that role, that familiar… sort of position that he takes on these trips. I think he would try and collect as much information about these followers of the Matron of Vengeance as he possibly could.

Em:
It's about a day and a half journey to The Foales, knowing that you would stop probably at the edge of the wood that kind of branches The Foales on like one side. You'd stop at the edge of the wood on the first night and then make the rest of the trip in the morning, which is about another half day's journey.

Jannes:
Yeah, I think he would, um… I think he would, that first night when he gets, they set up camp, I think he would… sort of absentmindedly start paging through the prayer book that he was given. I don't think he would read it. I don't think he has very much interest in that anymore. But he would definitely sort of page through it and just spend time with it in his hands.

Em:
So as you're walking with the caravan, the sun dips, the sky turning from this light hazy blue to this deep inky expanse that stretches across The Valley. You see these pinpricks of light illuminate as, you know, the main feature of the sky arises what is the remnants of The River. It's dried up and desiccated and it's a normally kind of like a dark set of lines against the brightness of the sky is now this cool white threads kind of sewn across the above with flecks of gold and maybe not so long ago it was all gold. Maybe it was not even visible at all. This is the last of the Gods magic and they cannot reach it. And it taunts them quietly as they're stuck here on the material plane.

So as you do, small groups have begin to, you know, coalesce and break off setting up tents and yurts. And there are a few campfires made. It's a well traveled road. We're in a very large group of about that.. it looks to be about 200 people. This caravan is a larger one. There's very little reason to worry about anything dangerous at night other than The Screeching Steel. You would get some snippets, speaking probably with Captain Amorand and a couple other folks, that there have been mostly raids happening near Stryogax on the other side of The Valley, like towards the west. Hitting raids, you know, of machinery and refinery and weapons and technology coming out of Stryogaxt, which is like the main military center. It is like a three large encampments of individuals and their patron gods being Kivok, the Fury; Vosh, the Eversworn; and Nyxal, The Hawk. So the three patron goddesses.

overseeing battle and military prowess. So you are far away from where that is so hopefully that doesn't assail you folks.

[music transition to Katani’s theme]

So as you sit down and set up camp you pull out your bedroll and you start flipping through her book you see her small looped handwriting in the margins as things are underlined and circled. It is written in a language you can understand, but there are translations in her mother tongue. You can almost hear her voice speaking some of the words as your eyes glaze over them before you quickly turn the page trying to avoid them. And is there anything particularly you're looking for other than to spend time with her?

Jannes:
No, I don't think there's anything I'm particularly looking for. I think there is a part of him that's curious if there was something put in there particularly for him. There's like a sort of a... He's a treasure hunter. He's used to looking for clues and sort of seeking out the truth of things and the fact that she gave him something that she would know he might not have a particular interest in makes him curious as to if there's something in the back of the book or that she wants him to see or find.

Em:
Okay, so as you flip to the back of the book you see some blank pages where it would be expected that people could do writing or their own study and on the first page you see a simple drawing. It is a profile of your face. It almost as if she.. it is.. Against the headboard. Of your bed.

You turn a page further, it has her name written in a flowy text. Katani. And on the very back page in small, quickly scrawled writing, much different than the normal loopy writing… It just says “I miss you.”

Jannes:
I think he brushes his thumb over the words. And then he… He closes the book. And... He… climbs into his bed roll and I think he just sort of.. He just sort of quietly cries until he falls asleep.

[music ends]

Em:
As you're climbing in your bedroll, taking off various accoutrements before you try and bed down for the night. [firelight crackles] The din of the firelight probably about 15 feet from you. You're set up near one of the fires, not with a yurt or a tent. You're out under the stars. You feel the sheath of your knife brush against you, against the pang, against your chest.

Your hand instinctively draws to cover it. This fabric, hiding it from view. Even the hilt showing it feels too much, letting people in on a secret they can't see. This beautiful piece of weaponry, a majestic dark steel blade curved to an incredibly sharp point inlaid with shining purple crystal that veins down in and out of the metal. You've heard about the gem, that this seems to be Seracyte: prized by other treasure hunters you've come across, but so very rare. Any of it that is found is often seized immediately and ferreted away by the houses of the Major Seven for their own use: for what, you're not sure. The handle is wrapped in a leather so black that sometimes your eyes can't focus, and you feel your hands absolutely moving across it, that nothing feeling ripples at your fingertips.

And as you go to pull, your blade covered, tears falling silently, wishing they weren't, trying to hold that feeling of her, the knife pangs again. And you find yourself remembering how you found your blade. Your memory pulled there. Where did you get this?

Jannes:
Um, I think that this was, this was one of the, earlier treasure hunts. This would have been, not overly long before he found the gun. That would have happened, you know, decently close, to the discovery of the blade. But I think it was it was discovered.. out in the waste.

I think it was... I think the person that he ran into in that building, I think it was a very similar sort of situation, where he found someone, and they… they gave it to him and sort of inducted him into the cause.

Em:
Mmm. Maybe a little less as far gone, but not by much. You remember this person reaching out their hand towards you and shoving this blade in your hand, almost nicking you with it.

Em (as The One from the Fallaway):
“Sit with it. Sit with it and you will know. It is your time now. Find him. Find the flame.”

Em:
And as you sat with the blade, you took it, and you ran out of fear. As you climbed back out of the Fallaway, almost a sense of attunement with the blade. You started to learn and understand.

Jannes:
And I think for him… I think for him the reason that this was all… so appealing was… I don't think he ever felt like he had a purpose. I don't think he ever felt like he had a reason for being there. There were a lot of people who had Gods that they worshipped. To him it was always strange to worship a God that was like us. Why would you worship someone who was here? Why would you worship someone who you could touch? And the appeal of a God that was still a God, that wasn't physically here, that was like the Gods were supposed to be, powerful and separate, and final. I think that was the appeal. Because I think when you grow up with Gods as your neighbors they lose their reverence. They lose their impact. And so I think the discovery of a purpose and the discovery of the knowledge that there is a way to end the sort of slow decay of the world.

But like I said, when he met her, when he met Katani, it was like, at that point it was very much like, there's a lot of us doing this, I'm probably not going to be the one who has to fulfill this. It's just a... yeah, I'll do it. It's cool, no worries. And then, I think that it grew from there. I think it consumed him more and he… I think a lot of people in this world… They stay in their towns and they stay in their cities. And if they're brave, they venture out on the roads. And no one goes and sees what it's actually like.
And he does. And he goes out in the waste and he sees what will eventually befall everywhere. And it's easy to pretend that everything's okay when you never look further outside of your town.

I think there's a sort of like a PTSD shell shock kind of thing; that the more he goes out there, the more his task feels important, the more his task feels urgent. The more pressing and the more apparent that there might not be someone else who is willing to do it, who can do it. It might have to be him who finds them.

Em:
Would you have ever asked Katani about Archeveleon?

Jannes:
I don't think so. I think that when they met he was so paranoid about being discovered still that I think he would have felt it was too obvious to draw attention to that God. If he had been asked about Archeveleon and he would have been like, well I don't know who that is. He would have doubled down on the ignorance of it. I think she definitely… thought it was strange that he was so… Like I don't think he ever let her see the scar. And so it would have been quite the balancing act to always have it hidden, to always have an excuse for not revealing it. And so I think, yeah, and just like even small things, like it's not uncommon for someone to take a shirt off when they change or when, you know. it's not like a part of your body that you really look to hide normally for propriety purposes. So I think it would have seemed strange that he was always very adamant about no I can't take my shirt off or you know like that kind of thing. And also just like he would never have allowed her hands to discover it. So there would have been, I think, times where he would have stopped the progression of things if it seemed like she might discover.

There was definitely, like, she would have been able to read into that. That something was weird. I don't know if she would have made the connection. Or she would have just thought him... You know, all bravado, no follow through. He definitely, I think, it was a balancing act for sure.

Em:
So as you lie there on your bedroll, hearing the conversations around you, wiping the last of the salty tear away from your face. You turn and your face looks towards where the fire is to try and turn yourself towards the warmth as it's gotten a little bit more chill as fall is coming. And all of a sudden you look around and you realize that you are immediately alone. There is no one. The caravan is gone.

[ominous music begins]

The fire burns in front of you still, but it is black, dark, inky, and deep. You feel that nausea, again, the pit of your stomach, and now behind your eyes. It seems to be pulling you forward, that hook under your sternum, again, entreating you forward towards the flame. What would you like to do?

Jannes:

I would like to Do As I’m Told.

Em:
This is probably my favorite mortal move, and I'm so glad you're using it in this situation. When you Do As You’re Told, say how you show submission and answer one. The GM will show you a glimpse of their true intentions as they answer the other. The questions are how are you rewarded and what vulnerability do you reveal? So your choice and I will answer the other.

Jannes:
I think the vulnerability that I reveal is that I'm at a point that when it comes to things to dealing with Archeveleon that I have very little self-preservation left. That I see a dark, spooky fire in the middle when no one's around me, and the pull that I know is Archeveleon says, go into it, and I say, sure, I don't question why or how it could harm me. I just do.

Em:
Okay, so with the other question, how are you rewarded? As you feel yourself drawing closer and closer, that self-preservation mechanism absolutely fading away, the voice inside you telling you this is dangerous, all but silent. You realize that the closer you go to this, the more knowledge you will have. The times that you have met other Eutoches have been fraught, quick, dangerous, or like the one you just met at an end, with very little information to go by. The reward you will have here is probably, more than you ever have before, knowledge.

So as you climb out of your bed, your bed roll and go towards the fire, what would you like to do?

Jannes:
The fire is like burning black?

Em:
It sure is.

Jannes:
I would, uh, put my hand in it.

Em:
Yeah. So as you stick your hand inside the fire, you feel a pulsing, a sucking, and an immediate explosion outward as you are blown backward. You expect to hit the ground behind you, but instead you hit stone. You hit a flat stone floor landing on your back, and you suffer one strain.

You hit the ground with a slamming thud. You feel some of your bones crack, not fully broken. But another hit like that and they sure would. You are looking upwards and it's as if you're at the bottom of a well. It is so dark with just the light of the stars illuminating the top of the well, which looks maybe 300 feet above you. That nausea grows stronger, this void-like feeling, the same one that you had in the house, the same one that you have been wrestling with most of the day, the same feeling. Voidwalkers, other servants of Archeveleon: The Nothing, The Empty, The Void.
[wind rushes]

And all at once, that hard feeling beneath your back is gone as it is if the well is turned upside down and you are now falling, falling face forward and you fall down, almost reaching terminal velocity. You are flying past pockets of darkness and blackness in the shape of hands creeping out of the walls and trying to grab you. They reach out at you and try and slash at you. What would you like to do?

Jannes:
I would fall and I would scream:

Jannes (as Inanis):
I am here. What more do you need?

Jannes:
As I fall, I would sort of… there would be a sort of a complete surrender of just do it, just do what you seek to do with me. I'm not gonna fight.

Em:
As you fall, one hand reaches at you and as you scream it retracts immediately. And as your voice echoes down they all retract. For a second there is just silence. The whistling of wind as you plummet further down. You manage to put yourself at least on your back because you know if you land on your front that's it.

Em:
And after moments, who knows how long, you land again. But rather than with a thud, you seem to slow down and are suspended, held aloft. It is neither enjoyable nor painful. You are just held. And maybe for the first time since you've got your knife, it feels like home.

[wind ends, rumbling begins]

Em:
And it is then that you hear the rumble around you, low and guttural, surrounding you and from no direction in particular. As the voice begins to speak, your head begins to swim and every part of your body feels like a live wire.

Em (as Archeveleon - deep, gravelly, gutteral):
“Welcome Nothing. Welcome.”

Jannes (as Inanis):
I am here to serve.

Em:
Would you like to roll to Recognize a God?

Jannes:
Ooh, Yes, I would.

Em:
Okay. So, maybe a first divine move? When you want to recognize the signs or influence of a god of the cradle, roll 2d6. Add one for each true statement. You're in or near their domain. Absolutely. You're familiar with their gospel. Yes you are. And it would be bad if you didn't know. It sure as shoot would. So you can roll 2d6, your first roll, and add plus three.

Jannes:
That's not great. Um, nine.

Em:
Okay, nine is a hit, and on a hit, the GM will give you a clear interpretation of the omens. You may ask your GM a single follow-up question of your choosing, and they must answer honestly.

So as you hear this rumble around you, this inky blackness, this feeling of home, the nausea subsiding. You see or don't see Archeveleon. You feel it around you. It is an empty, hollow space. You Recognize your God.

What question do you have? For me as your GM or for Archeveleon themselves?

Jannes (as Inanis):
“How much longer must I carry this burden?

Em (as Archeveleon):
“Your concept of time is different than mine. I have been waiting eons for this. Your life is but a blink to me. It is not much longer for you now.

Go to her. Hear it, and you will know. Go to her, and I will see you again when you are ready.”

Em:
And just like that you are let go. [rumbling stops, wind rushes] And the falling feels real this time. The air is cold and you are panting for breath and you are racing for what you assume to be the actual ground at this point. You see The River come across the sky again and you realize you are back on the material plane. You don't know how high up in the air you are. What would you like to do?

Jannes:
Well fuck.

Em:
Likely this is going to be a Tempt Fate move: trying something perilous.

Jannes:
When I look down, how wide of an area do I see?

Em:
Okay. So as you're trying to figure out what to do, you whirl onto your, what you would be, your stomach down towards the ground and you see forest around you. You can actually see a couple of the campfires from far away. You're probably a hundred and.. maybe 300 feet above the ground and you are hurtling towards the surface.

Jannes:
Do I see anything that's flying?

Em:
No, you do not. But you do see a bunch of trees below you.

Jannes:
All right. I'm going to see what I would like to try and do is I would like to try and. I don't have any of my cloak or anything on me, I was just sleeping.

Em:
I would say you would have probably kept your cloak around you for warmth.

Jannes:
Okay, yeah, I'm gonna try and sort of like billow it as much as I can to try and slow as much as I can. And then I'm gonna aim for sort of a tree to try and use like, billow it so that I'm falling as if it's a makeshift parachute kind of thing. And then at the last moment, I want to flip onto my back and sort of hit the top of the branches of the tree back first to try and sort of slow my descent through the branches.

Em:
Fantastic. Okay. So on a Tempt Fate roll, when you try and tempt fate with your actions, say what perilous feat you're trying to accomplish, which you just did, and roll 2d6. Add one for each true statement. A skilled ally is lending you a hand. No. You have no other options. I would say yeah. I would say you don't have any other options at this point and you're far from any God that wishes you harm. I would say yeah. So that would be a plus two.

Jannes:
Uh, that's a nine.

Em:
Amazing, another hit! So on a hit, you get through it mostly unscathed: the fates spare you for now. So you do as you've intended - you flip this cloak over top of you and it manages to buffet a bit of… Providing you a bit of drag as you move down towards the tree and you use it to steer a bit and you're managed to crash kind of into a particular clump of tightly together
coniferous trees as you manage to like kind of bash your way down towards the forest floor and thankfully it is the fall and as you have you know… gotten together with a clump of tightly packed trees there is a lot of leaves on the forest floor so you hit some branches on the way down and you cascade down to the ground and you suffer one strain and it would have been more if you had not tried to mitigate it somehow. So well done.

Jannes:
Alright, that's two.

Em: [spooky ambient forest music]
That is two strain. So as you sit up and regain your composure, you are in the center of the woods, which you assume to be the same ones that are off the path from where the caravan was, dropped just a little off target from where you were before. And as you try and orient yourself to head back towards the caravan, you notice that, I mean, it is the middle of the night. I would say it's probably about 10 or 11 in the evening and you notice that it is getting brighter like a very bright light is shining somewhere deeper into the forest behind you/ And it is not sunlight it is an incandescent bright white light that shines almost brilliantly from you're not sure how far back behind you and as this light starts to get brighter, you feel the trees shake and a group of deer sprint past you in the opposite direction away from the light. What would you like to do?

Jannes:
is away from the light roughly towards where I was?

Em:
You're not quite sure. You can't truly catch sight of the road at this point. You're pretty deep in the forest with the tallest coniferous trees. You're not sure of your orientation at this point. You would have to go and take a look.

Jannes:
I think I'm gonna move away from the light. I've had a bit of an ordeal, and I see these deer are trying to get away. So I think I'm gonna move away. Do I have my rapier or any of my weapons on me?

Em:
You have your rapier and your knife. As you start to get up and move with the deer. The words of Archeveleon echo in your brain. You know you are so injured. But what it said: Go to her. Go to her and know. You asked for knowledge. This feels like you'll know.

Jannes:

Em:
It sure does! Well done! Following through on your fate absolves you of your strain. Clear all of that strain, I believe.

Jannes:
That is as the rules as written.

Em:
Amazing. Well done. So you stand up and this resolve comes over you that drive that motivation that is something that you are so used to putting first above everything else above any feelings that you may have above any things that you may want. And as you start you walk towards the light in the woods. You walk for about 20 minutes with the light getting brighter and brighter and you see that there's an edge of a clearing ahead. The light is coming from the clearing. Would you like to keep walking towards it? Do you want to stop and try and find like a vantage point to look around?

Jannes:
No, I think at this point I'm like... We go on faith at this point, and just barreling into the light.

Em:
As the thought goes through, “We go on faith.” It's not your voice that that's in. It's in hers.

So as you approach the edge of the clearing, you see that the light is coming from what you think at first might be a pond or a body of water, but you take a bit of a closer look and it seems to be glass. It's a mirror, a mirror the size of a lake. There is a light that seems to be hovering right above it, its surface in the center, which is what is reflecting and refracting the light upward. And you now see that this light shines upward like a beacon and you keep going.

And as you go to broach fully past the tree line, to step towards this piece of glass, this mirror in the center of the wood, in the center of the woods, you hear it first before you see it. The whooshing sound and you barely get a glimpse of it as hurtling down from the sky is a massive bird, not made of flesh or feather, but of shadow. It is in a free fall dive, and it hurtles itself directly into the mirror.

The shockwave ripples up and out as the mirror shatters, a crash so loud, the cracks separating the large plates accompanied by a scream of pain. You have to steady yourself backwards as this shockwave rolls over you, almost throwing yourself into a tree. You crumble down into the ground, not hurt, but reeling from this. You see this large bird shadow try and pull itself up and away, but it whirls around and tries to fly up before screeching in what sounds like confusion or pain, before crashing through the woods beyond the clearing. You hear the sound of trees splintering and bending and breaking under something, a shadow that should not have weight.

The entire piece of glass, this mirror, the size of a lake is shattered in front of you. And you stand there. What would you like to do?

Jannes:
How far has the shadow gotten away?

Em:
I would say as you're able to kind of get your bearings, it has disappeared into the tree line. Probably… with how big it is? I would say probably a kilometer away. It's big.

Jannes:
Oh wow. I would go see where the shadow made impact with the mirror.

Em:
Okay. As you leave the treeline and you begin to approach the mirror, you see that ball of light, the thing that was shining so brightly, is fading quickly. And between the pieces of shattered glass, you see a silver, viscous fluid running. It hits your boots, sticking to them.

This is blood. Shining silver blood.

Jannes:
Can I use a Divine Move?

Em:
Absolutely you can. What would you like to do?

Jannes:
Can I see if I can Recognize a God?

Em:
Absolutely you can. So to recognize a God, when you want to recognize the signs or the influence of a God of The Cradle, roll 2D6 and add one for each true statement. You're in or near their domain. Yes. You are familiar with their gospel.

Jannes:
I don't think so.

Em:
I would say as someone who lives in the City of Glass, it would be impossible for you not to know part of their gospel. And would it be bad if you didn't know? It wouldn't be hugely bad if you didn't know. Plus two.

Jannes:
Uh six.

Em:
Okay, so on a miss, unfortunately, the GM will tell you only the most common legends about them and nothing more.

So you hear as you move through this, you heard that screech of pain and it did not sound discordant. It sounded almost musical. It sounded like a song. And as you're walking through trying to put this together. You remember.. A pamphlet, some teachings, things you might have learned when you were young about the Major Seven. And you would remember Allseia, the goddess of fate, intuition, prophecy, and her tie to music. [stringed music piece starts] How she weaves the song of ages, weaves the fabric of the universe, weaves the notes of time and fate.

And you put together that you are standing in the dying body of a god.

Jannes (as Inanis):
“He told me to come find you.”

Em:
There is a pause. The light, the small dimming light in the center of this now shattered mirror almost seems to turn and shine on you. And you hear a soft voice. It is gasping and choked, but still harmonic. Every step you take through the mirror is as if a note plays a melancholy tune of strings and voice. You know what a hymn sounds like. Katani has hummed them over and over, and though they are to a different goddess, the feeling is the same.

You assume that there could be words of prayer to this song, but none are said now.

Em (as Allseia - breathy, musical, slightly echoing, femme):
“Inanis... I am sorry I could not come in time. Have you found him yet? Your flame? Have you found him?”

Jannes (as Inanis):
“I have... no I have not. How do you know who I am?”

Em (as Allseia):
“So do you not know who you are? Is that not why you are here?”

Jannes (as Inanis):
“I was sent here by…”

Em (as Allseia):
“My mother said she would help. I thought she would know what to do. Inanis, you have to look at him.”

Jannes (as Inanis):
“Look at who?”

Em:
As this last part of her voice comes out, a piece of mirror brightens about 10 feet to your left.

Jannes:
I would go over to it and look at the mirror.

Em:
Peering in and looking down, where you should see yourself reflected with the same body posture and movements and facial expressions. You see another man, handsome, but gaunt, similar to you. Shorter than you by a couple inches. His face is stark, stoic, angular. There is tension held in his movement, your movement, as if you or he could explode with strength or agility if needed, as if electrified. His hair is long, loose, dark, and wavy, with eyes that are curious and concerned. They are brown, flecked with amber and gold, and hold a sadness that strike true to the heart of you. You know that feeling, because you carry it yourself. He wears simple robes, the color of adobe clay, soft yellows and gray. And he stares back at you like you stare back at him.

Jannes:
I think in this moment.. Inanis would… not necessarily want to admit it to himself, but he would know kind of what this means.

Jannes (as Inanis):
“Um, no, no. I am supposed to give it to someone else. I'm supposed to... it's supposed to be done when I do that.”

Em:
Who do you say this to?

Jannes:
I would say that sort of to no one, to just out. And then I would turn back to the light, the figure.

Em:
As you start saying this too, with your face still kind of looking at the mirror below you, you see your face, his face contorts in confusion and dismay. And you do hear a voice, but it is not your voice that is saying this. It is quieter, pointed, powerful. And it is familiar even despite the fact that you've never heard it before. It is saying your words back to you.

Jannes:
I would, I think this would make him angry. And I would turn back to the bright object that is the dying God.

Jannes (as Inanis):
“There is some mistake you are you are supposed to have answers for me. Supposed to tell me what to do.”

Em (as Allseia):
“I do have answers for you, but they are not the ones you want. It is you. Inanis, half of you is here, and half of you is beyond where he waits for you. I did not want to die. I could see my own. I could not see my own, but I could see yours. I have been watching you since I found out. It was early, but the weave keeps the metre. I just read and interpret. I tried to figure out what to do, and I am sorry. I am so sorry.”

Jannes (as Inanis):
“Who, who did this to you? Who did this to you?”

Em (as Allseia):
“I saw her plummet at the last minute. She knew I could not see her. The Hawk, poised and ready to strike. I could not see her.”

Jannes (as Inanis):
“Surely, surely you are... you can recover?”

Em (as Allseia):
I was open. And I am shattered. I was calling for you. I knew you were close by. I wanted you to see him and know. I'm sorry.

Jannes (as Inanis):
“You have shown me truth that I did not want to hear, but you have shown me truth. And for that you have my thanks.”

Jannes:
Question for you.

Em:
Yes.

Jannes:
Inanis would know that when one God kills another, they gain power and pleasure from the kill.

Em:
Mm-hmm.

Jannes:
If she was to die, the Matron would get her power.

Em:
You don't know that's the Matron.

Jannes:
Well, whoever the other Gods, because only Gods can kill Gods, right?

Em:
Yes. As far as you know.

Jannes:
The God would get her power.

Em:
Some semblance of it. It is not as if they entirely absorb the other's power. They would seize some semblance of it or...

Jannes:
But they would benefit from it. They would benefit from the death.

Em:
Yes, they would likely gain a bolster to their own powers. They would likely gain a bolster to their own powers rather than absorbing the abilities of another God or their domain.

Jannes:
I think Inanis would know that. If he just let things run their course, whoever did this would benefit.

Jannes (as Inanis):
“I am sorry that I cannot help you more.”

Em (as Allseia):
“It is not your fault.

Jannes (as Inanis):
“Is there anything I can tell, any message you want me to relay to someone? Any goodbyes you want me to give?”

Em (as Allseia):
“My mother will feel me go.”

Em:
You know that Allseia's mother is Halinaea, goddess of light and stars, the most prominent god of the Major Seven.

Em (as Allseia):
“I don’t know why she called her.”

Jannes (as Inanis):
“Your mother did this.”

Em (as Allseia):
“I see it now. After I have seen what she did. My mother... I told her… the prophecy coming early.. about you being here early, and my mother said she would take care of it. She said she would fix it.”

Jannes (as Inanis):
“She seeks to avert the prophecy.”

Em (as Allseia):
I know it was not my fault that the prophecy came early, but I did not think she would take action. She has been in consort with The Hawk more frequently as of late, and I… She will not have gone far. My curse will linger on her. Inanis”

Jannes (as Inanis):
“Unfortunately, I do not think you will have the benefit of the curse, for I will not allow the benefit of the boon. The void is inevitable.”

Jannes:
And I would like to try and Kill a God.

Em:
[gasps audibly] You're gonna kill her.

Jannes:
I'm not gonna let the other one get the benefit of it.

Em:
Okay, so she is... she is already dying. Like she is...

Jannes:
That's what I mean. If she dies, then the other, the whoever did this will benefit. And I want to rob them of their kill.

Em:
Hmm. Oh my goodness. Yeah. Okay. I'ma let you do that.

Jannes:
Or trying to.

Em:
Okay, we're out here killing gods. Yeah, so you're trying to. So when you confront a god in their true form and exploit their downfall to kill them, describe how you slay them and roll 2D6. On a hit, you see something, they see something vital from you as well and you name what vital part of yourself you lose. On a strong hit, their death transforms, liberates or shields an aspect of the cradle. Describe what and how. On a miss, they bestow a curse on you with their dying breath. Regardless of your role, you seize a semblance of their power.

And this is a straight roll and there are no additions to it.

Jannes:
I would much as possible in the form that she is in, I would take her in an embrace of sorts. And I would say...

Jannes (as Inanis):
“I do not do this out of malice. I do this to protect. I do this to make sure that what happens, what needs to happen, happens. I am sorry.”

Jannes:
And I am going to draw the blade.

Em:
Yeah.

Jannes:
And I'm going to sort of like… out of mercy and to end the suffering, but also to prevent the benefit to someone else. I am going to use the dagger that I have been told is capable of killing the ultimate God, assuming that it will work to kill any God.

Em:
Okay, roll your 2d6.

Jannes:
Two sixes, that's a 12.

Em:
That is a 12, holy moly. Okay.

Jannes:
That is a 12.

Em:
On a strong hit, their death transforms, liberates or shields an aspect of the cradle. Hmm. As you drive your blade into the beacon of light at the center, your eye catches a piece of glass. As you're moving in a quick strike, you see the glimpse of part of a face, probably just above the nose to the forehead. Small petite features with white freckles across rosy skin that shine her eyes gray and bright. She does not wince. She does not flinch, despite what she knows is coming. And as your blade strikes the light, it enters into it and the light circles up your arm once, twice, three times and it hits you square in the face. And you hear her whisper once more in your ear. A dying breath:

Em (as Allseia):
“Let me give you this. What is left of me. When the light fades, it is yours. And I will take you to him. Find him, Inanis. Not for the god you follow, but for me. So that your song sings true to what the fate has written. Then you make your choice... About your charge. Your half of the twin soul has much to learn and much to decide.

Em:
These words echo through as your blade plunges in.

Jannes:
I think that I know I had a strong hit.

Em:
Yes.

Jannes:
But I think that… I think that Inanis does lose something vital as well.

Em:
Mmm. I was about to ask you what's, what is changed or transformed? And I think reasonably we could say that if you are changed and transformed, you now being a vital part of The Cradle, the first being ever to kill a god.

Jannes:
Name what vital part of yourself you lose. And I think that by doing this, by… proving that he can kill a god by setting himself apart from other mortals. I think it just really solidifies to him that he is just a weapon, that he is just nothing other than the one who brings the nothingness. And that flicker of hope, that spark, that whisper that this could all be done and he could go about his life, is completely gone. There is only service to the void. He is now himself an inevitability.

Em:
The light hits you square in the face and encompasses your vision. You feel your hand gripping the knife and bleeding down. Your blood drips from your hand mixing with the blood of Allseia, the Reasoned Sister. And as your vision becomes overtaken with this new divinity surging through you, as you have taken the life, the last moments of life from a God, but still been gifted her power.

You are nothing but light.

[‘Something & Nothing: Inanis’ Theme’ begins, composed by Sean McRoberts]

Em:
Godkiller: Oblivion is performed by Em Carlson, Christian Navarro & Jannes Wessels. Special thanks to our campaign artist, Mischi. You can find her at @Mischiart on Twitter, as well as to Sean McRoberts, for our composing Something & Nothing, our main theme for this episode. Music and effects by Epidemic Sound. For more stories, come follow us everywhere at @blackwaterdnd, and make sure to check out our Main Campaign on Monday nights at 8pm PST at twitch.tv/blackwaterdnd. To play your own campaign of Godkiller and dive into your own divinity, go support Godkiller by purchasing the ashcan on itch.io today. This show is made possible by our patrons, and sponsors who graciously support us playing pretend and having feelings about it. You too can come join us on Patreon, where you can check out behind the scenes info, our talkback show Chatwater, as well as exclusive series like this one! Head on over to patreon.com/blackwaterdnd for all the info.

See you next time, heretics, and to all the gods out there, be safe!