C.M. Simpson's Blog, page 138

Babes in London: Act Three, Scene 1A (Part 1: Meeting the Artist)

SCENE 1A: MEETING THE ARTIST

The artist wasn’t in his Islington studio; staff there directed you to Camden. After a bit of a juggle with transport and traffic, you arrived in Camden and, after asking a few questions about unicorns and painters, you are standing in front of the gate that will take you into the rooms, secondary gallery and studios of one David Markovin—fantasy artist and painter of unicorns (among other things). The pocket-sized front lawn is bordered by a neat array of lavender, roses and low-growing somethings, and divided down the centre by a path leading to the patio and front door, where a unicorn set in stained glass waits to greet you. Below it, a small, brass plaque announces: ‘Welcome to the Markovin’s Madness: Please, come in.’
Give PCs a brief moment to react.
If they decide to try to enter in a more surreptitious manner, read or paraphrase the following: The windows on the lower ground floor appear to have been boarded up from the inside and there is no way to reach the rear of the gallery as it shares a wall with the buildings on either side. The only other alternative entrance would be the green-doored garage, but it is closed and locked. There are balconies lined by large, closed windows on the second floor, but you’re sure you would stand out against the cream-colored walls of the gallery if you climbed them, and it wouldn’t be long before a passer-by called the police.
If PCs decide to try and enter by the back way, play it by ear. There is a small garden area behind the gallery, which contains a couple of fruit trees and a small table and chairs beneath a miniature gazebo similar to those found in public gardens. The back door is unlocked, and the Setite assassins will have entered by the time the PCs have located the back yard. When they enter, go to scene 1B, adapting it to the PCs location and responses, and the battle to rescue the artist from the Setites.
If PCs decide to enter through the front door, before looking for a rear entrance, read or paraphrase the following: The unicorn doesn’t speak, of course, but a small bell tinkles as you open the front door. The room you enter is the professional face of David Markovin. It’s a gallery that fills the front half of the lower floor of the flat. Its walls are off-white, and numerous paintings are displayed along them. Beneath each picture is a small label with the painting’s name, date of completion, a short description, and a price. One thing’s for sure, this Markovin chap doesn’t shy away from making a profit from his work! A young woman dressed like a Romanian gypsy is dusting a painted vase that stands on a pedestal between two of the paintings. “Can I help you?” she asks as she walks to the counter and tucks the duster away.
This is Mischief Overton. She has no explanation for her name and is insistent on finding out what the PCs want. She can be convinced to see if David Markovin will meet them. (Any reasonable request or argument will do this, providing an Air (Interaction) 2 test is successfully made.) Mischief asks the PCs to wait, and goes to see if ‘Mr Markovin’ will meet them, returning to take them upstairs to the studios shortly thereafter. Read or paraphrase the following on their arrival:
This area, you think, is the working face of David Markovin. A number of canvases stand in an open, wooden-floored workspace that takes up the front half of the second floor. Stands holding paint, brushes and what smells like mineral turpentine are scattered about between the canvases in progress, and another pile of canvas-clad clutter lines the front wall. Paint splotches have dried and faded into the floorboards and large windows lead out onto what looks like a narrow balcony. A middle-aged man with fuzzy brown hair and the first signs of premature baldness is washing a paint-brush at one of the sinks along the rear wall of the room. His light green eyes are bright with curiosity behind their light, wire-framed glasses and he has a pleasant smile: “Thank you, Mischief,” he says, then: “Can I help you?”

NOTE: This adventure is not sanctioned in any way, shape or form by Fantasy Flight. It is not an official product, and I am in no way affiliated with them or they with me. There is no relationship between us. This adventure is mine, for fun, and for you, because some of you asked me to finish it.

Also, if you like this adventure and want to play it, please go buy the official rulebooks from somewhere where the original creators and publisher of the setting will be paid. I got mine from a Melbourne game store, but I’ve found PDF versions of the Player's Handbook and the Gamemaster's Handbook are now available from DriveThruFiction. If you enjoy their world, this is the best way to thank them.

The Writing Life: Affirmation, and Why I Choose to Independently Publish

Last week I wrote about reading other writers’ blogs. I had wanted to write about something I had read that morning on another writer’s blog. Quite a few of you will know there are two people whose blogs are my first ‘go-to’ point whenever I start a blog-reading session, at least when it comes to writing. They are kriswrites.com and deanwesleysmith.com, the blogs of Kristine Kathryn Rusch and Dean Wesley Smith, respectively.
These two people have been making a living in the world of publishing for over twenty years each. They have been traditionally published, have run their own publishing business, and, most importantly for me, been successful writers for all of that time. They have followed the changes of publishing and made their own way, and they have both unstintingly shared what they learned doing that, and continue to do so today, so, when they say something, I take the time to listen, and then see if it’s something I should apply.A couple of weeks ago, in her blog on negotiation, Kris wrote two things that really jumped off the page at me: “I make the choices based on what I can live with, not on what others believe is good for me” and “The more control you have, the more opportunities you have.” It took me some time to work out why these meant so much to me, so I wrote it down here.The first quote probably jumped out at me because of the way people judge a writer if they decided to independently publish. There is still a stigma to being ‘self-published’, one that comes from the days when writers could pay someone to publish their works. Now, while writers can still choose to take that path, they can also do their own publishing, and many see this as a way for writers to avoid the ‘quality control’ that is thought to come with being published by a ‘proper’ publisher.All I can say to this is that the only book I haven’t gotten through the first twenty pages of because of its poor editing, low-quality writing, and clichéd plotline was one published by a Big Five publisher. I chose it because it was published by a publisher with a good reputation, written by an Australian writer receiving high praise at the time, and because the reviews were good. As a reader, I gave it a chance. That mistake will not happen again.Further, the number of editing errors I’ve come across in books by big-name authors, from big-name publishers has done little to attract me to the path of traditional publishing because of their much-vaunted ability to edit and control quality. The stories I’ve heard from authors about being forced to agree to fund and organise their own signings, and other marketing activities, has shown me that being traditionally published holds no advantages there. And, finally, the way publishers insist on buying rights to a work for the life of the copyright, regardless of whether or not they intend to use those rights, and with no guarantee of keeping the book in print and available to the public for the term for which they have purchased those rights, is not a selling point, either.What Kris says about making the choices she can live with, reverberates strongly with me, and this is why:

Can I live with selling a book, knowing the story will ‘live’ only a year or two on the shelves, and then stop earning?  No.Can I live with the idea of not receiving the legitimisation that comes with a publishing contract, if my work is available, and has the potential to earn for the life of its copyright? Yes.
Can I live with other authors, and some members of the paying public looking slideways at me for publishing my own work, and maybe thinking that I only published it myself because it wasn’t good enough for a publisher to pick up? Sigh. Yes, because I know that there are many books that are good enough, that won’t see light of a day through a publisher because they just don’t fit the marketing profile of that publisher. Am I happy with people thinking that? No, but I can live with it, knowing my stories see light of day, and have a chance of finding an audience they’d have no chance to find otherwise.Can I live with being limited to releasing one new book per year, when I can release as many as I deem ready each year? No.Can I live with receiving a maximum of 7-10 per cent of the cover price of each copy sold for a maximum of 5,000 copies or 2 years, when I could be receiving 60-70 per cent of each copy sold for the lifetime of the copyright? No.

These are the reasons I choose to independently publish. It’s not good business to do otherwise, and it’s the only chance I have of making a living from my writing instead of dreaming of making a living while I hold down a full-time job and fight for every scrap of writing time I can find.Kris’s second point about having control, and having opportunities? Yeah, that rings true as well. The more control you have, the more choices you have, and the more room to manoeuvre when an opportunity comes up, because you haven’t sold all your control to someone else. Unless traditional publishing contracts change dramatically, an author can only retain control of their work and make the most of their opportunities when they independently publish, because traditional contracts demand—and take—all control of a particular work, with little or no room for negotiating.And I wouldn’t know this, if I didn’t take time out of my writing day, to read the experiences of writers who’ve been around a lot longer than I have, and survived in this crazy business. I only wish that those making the policies controlling copyright and other artistic licences would do the same—but that’s a topic for another post.

Babes in London: Act Three, Preparation

Preparation:
For All Scenes: Create any necessary maps from the descriptions provided, prior to play.Scene 1A – Meeting the Artist: NilScene 1B – Attack on the Artist: Familiarize with NPC abilities, and the effects of the tranquilizer carried by the Setites.Scene 2A – Follow-up (LN7): Familiarize with motives of LN7, and try to anticipate responses to PC questions.Scene 2B – Follow-up (Gehenna Consortium): Familiarize with motives of Gehenna Consortium, and try to anticipate responses to PC questions.Scenes 3A-C – Follow-up (Library, University or Museum Investigation): Familiarize with guardian tactics and NPC.Scene 3D – Follow-up Flash-back (Defeat of the Setites): Make sure PC dragons are ready for play.NOTE: This adventure is not sanctioned in any way, shape or form by Fantasy Flight. It is not an official product, and I am in no way affiliated with them or they with me. There is no relationship between us. This adventure is mine, for fun, and for you, because some of you asked me to finish it.

Also, if you like this adventure and want to play it, please go buy the official rulebooks from somewhere where the original creators and publisher of the setting will be paid. I got mine from a Melbourne game store, but I’ve found PDF versions of the Player's Handbook and the Gamemaster's Handbook are now available from DriveThruFiction. If you enjoy their world, this is the best way to thank them.


 

Babes in London: Act Two (Rewards)

REWARDS FORACT 2

Adventure Points:
Scene 1
Up to 1 humanity AP: to be awarded for good roleplaying.
Scene 2
Up to 1 humanity AP: to be awarded for good roleplaying.
Scene 3
3A: Searching Anika’s House:
1 humanity AP: to be awarded for good roleplaying and/or clever investigation of the house.
Modern Rewards: Anika’s Book of Law. This thick volume of laws is based on Anika’s time as a lawgiver in Atlantis. Because these are the actual laws of Atlantis andhave been inscribed with the passion of a dragon finding its identity, this book is a rank 2 karmic item. In addition to this, PCs who spend time reading this book gain a -1 modifier to any Knowledge (Ancient Cultures: Atlantis) test they already possess, OR the edge to allow them to use Knowledge (Ancient Cultures) for mythic cultures: Atlantis, if they do not already possess it, just as soon as they reach a level allowing them an additional edge. They cannot use possession of the item to gain an extra edge for their character beyond what they are normally allowed; it only gives them the chance to learn it in modern times, in addition to the modifier.
Modern Reward: disk belonging to the Cult of Set. This disk will provide a valuable clue to future investigations, as well as being one of the items required for entry to certain of the cult’s hideouts.
3B: Hounds of the Law:
Up to 1 heritage AP: to be awarded for good roleplaying
1 heritage AP: if the PCs manage to capture Karymnos and Brinna in Part C: Rendezvousrather than finding out they had eventually captured them in Part D: Sentence & Reward.
Karma = Base Air
Mythic/Modern Reward: Title “Hound of the Law”. In mythic times, ‘Hounds’ were accorded a special place in Atlantean society. Their services were recognized in legal arenas. Mechanics: -2 modifier to Research tests carried out in mythic Atlantis. In modern times this correlates to a -1 modifier to Research tests carried out in relation to mythic Atlantis.
3C: Friends of Kredak
1 heritage AP: awarded for defeating the minions of Set, rather than finding out that this is how the scene played out without fighting the battle.
Karma = Base Air
Mythic/Modern Reward: The PC has saved the dragon, Kredak’s, life, and earned his gratitude. The PC now possesses the title: Friend of Kredak, and gains an ally in both mythic and modern times (Mechanics: PCs gain the free Edge – Allies 2: Kredak, which can be upgraded (if PCs spend an additional 3 APs) to Allies 3: Kredak + 1 other member of Kredak’s Brood, OR if they spend an additional 7 APs, they can upgrade this edge to Edge – Allies 4: Kredak + 2 other members of Kredak’s Brood. This reflects the other interactions they have had with Kredak and his brood, over the ages.).
Scene 4
4A: Searching Leyila’s House
Up to 1 humanity AP: to be awarded for good roleplaying and/or clever investigation of the house.
4B: Kehebite Dancer
1 heritage AP: for defeating the Setite assassins
Up to 1 additional heritage AP: for good roleplaying in the aftermath of the Setite attack.
Karma = Base Air
Mythic Reward: Title: Friends of the Dancers of Prophecy (may also be a modern reward if the dancers still exist). Because the PC saved the life of Leyila, in her disguise as a temple dancer of prophecy, the Dancers of Prophecy will give the PCs any assistance they can. Mechanics: Once per adventure set in mythic Keheb, PCs can ask for assistance from the Dancers. This can be in the form of a foretelling that gives them a -1 modifier to attacks and actions in their next battle, or it can be a vital piece of information that the Dancers divine on the PCs behalf. This benefit transfers to the Modern era, if the PCs find the Dancers of Prophecy still exist.
Mythic Twist with Modern Effect: By saving the dancer and interfering with the assassination, the PC has earned the Enmity of Set, something that lasts through the ages to the present day (but only activates if Setites discover the PCs modern identity AND connected to their ancient identity). The PC has gotten in the way of a Setite goal; this time by interfering with an assassination attempt against a Dancer of Prophecy. The PC’s description was circulated to Setite cells in the mythic era, and passed down to the modern era. Instructions are that any Setite encountering them is to, where practicable, kill or disable the PC, and to discover and actively work to foil the PC’s goals regardless of their demise. Mechanics: Once per session, on a roll of 1 on a six-sided dice, the PC experiences some Setite-originated setback in their plans or actions OR is attacked by a Setite assassin, in addition to the other challenges they are facing. If both this enmity and the one below, are active, this occurs on a role of 1-2 on a six-sided dice.
4C: Defense of Leyila’s Parents
1 humanity OR heritage AP: awarded for the successful defense of Leyila’s parents, dependent on what skills the PC used to do so.
Modern Consequence: For their interference in the attempted capture of Leyila’s parents, the PCs have earned themselves the Enmity of the Setites but the Enmity of Setites: earned in 4B, is only activated if the Setites are able to connect their modern identities to their draconic ones. The PC has gotten in the way of a Setite goal by interfering with the capture of the Leyila Andrews’ parents. If any Setites escaped, the PC’s modern description is being circulated to Setite cells with the instructions that any Setite encountering them is to, where practicable, kill or disable the PC and/or actively work to foil the PC’s apparent goals regardless of their demise. If there were not Setite survivors, it takes the cell four weeks before they identify the PCs, at which time, the  enmity takes effect. Mechanics: Once per session, on a roll of 1 on a six-sided dice, the PC experiences some Setite-originated setback in their plans or actions OR is attacked by a Setite assassin in a scene set in modern times. If both enmities are active, this occurs on a role of 1-2 on a six-sided dice.

NOTE: This adventure is not sanctioned in any way, shape or form by Fantasy Flight. It is not an official product, and I am in no way affiliated with them or they with me. There is no relationship between us. This adventure is mine, for fun, and for you, because some of you asked me to finish it.

Also, if you like this adventure and want to play it, please go buy the official rulebooks from somewhere where the original creators and publisher of the setting will be paid. I got mine from a Melbourne game store, but I’ve found PDF versions of the Player's Handbook and the Gamemaster's Handbook are now available from DriveThruFiction. If you enjoy their world, this is the best way to thank them.

Babes in London: Act Two, Scene Four (Leyila’s House, Part 9: Setite Attack—Aftermath)

FINALIZING SCENE 4
After Searching Leyila’s House: When PCs have finished searching Leyila’s house, they have a number of options. They can:

go and search Anika’s House (Go To Act II, Scene 3);go and investigate the gallery in Islington to find out about the painter David Markovin who has a studio in Cambden (go to Act III, Scene 1);go to David Markovin’s studio in Cambden (go to Act III, Scene 1);try to find mythological references to red boars (go to Act III, Scene 4);try to find out what the symbol on the disc and the Red Boars means (go to Act III, Scene 4);go to Emblae (if they have played The Fire Within) – in which case the faery identifies the creatures as the Red Boars of Set and gives them the information listed on pp. 36-37;go the Fae of Haverhill (if they have played The Fire Within) in which case PCs receive the information on p. 37contact the Gehenna Consortium, go to Act 3, Scene 3.contact allies in LN7, go to Act 3, Scene 2.check out ‘Half-Time Nursery & Landscaping Services’. (Go to Act 4, Scene 1.)NOTE: This adventure is not sanctioned in any way, shape or form by Fantasy Flight. It is not an official product, and I am in no way affiliated with them or they with me. There is no relationship between us. This adventure is mine, for fun, and for you, because some of you asked me to finish it.

Also, if you like this adventure and want to play it, please go buy the official rulebooks from somewhere where the original creators and publisher of the setting will be paid. I got mine from a Melbourne game store, but I’ve found PDF versions of the Player's Handbook and the Gamemaster's Handbook are now available from DriveThruFiction. If you enjoy their world, this is the best way to thank them.


 

Babes in London: Act Two, Scene Four (Leyila’s House, Part 8: Setite Attack—Aftermath)

AFTERMATH

If the PCs win the battle with the Setite assassins and manage to rescue Leyila’s parents, they are able to find the three (still breathing) constables and can attempt to bring DI Mullins back to consciousness before his back-up arrives. Otherwise they have a lot of explaining to do. Play out the scene where PCs decide what to do. If the PCs show any sign of leaving, the Andrews beg them to stay.Mrs Andrews says she will make another pot of tea, before realizing the pot is smashed and bursting into tears. However, she quickly pulls herself back together and apologizing for being ‘such a wet blanket’.Mr Andrews offers to square things up with the police when they arrive and asks for help with the officers. If pressed, he admits he doesn’t think they can ‘cope’ with another attack.DI Mullins, if he can be brought round, asks them to stay and make their statements. He says they should at least give the police time to recognize their allies, and he makes a call to get the back-up to come in more calmly.By the end of this section, PCs should be established as being ‘helpful’ to the police and the Andrews will be heading back to the station so they can be protected. Once all the loose ends are settled, read or paraphrase the following:
With the door the Andrews house being firmly locked behind you, you realize what’s probably happened to Anika’s parents. The only problem is that you can’t work out what the assassins would want with them. There’s something you feel you should remember about assassins, and children, and children’s parents, but, for the moment, it escapes you. In the meantime, your mind buzzes with the things you must do.
If PCs have already been to Anika’s house, add the following:
—and the artist in Cambden is only one of the items on your list. Finding out about the symbol on the disk is another. Overlaying it all is the need to act. The children must be found and found quickly. What are you going to do next?

NOTE: This adventure is not sanctioned in any way, shape or form by Fantasy Flight. It is not an official product, and I am in no way affiliated with them or they with me. There is no relationship between us. This adventure is mine, for fun, and for you, because some of you asked me to finish it.

Also, if you like this adventure and want to play it, please go buy the official rulebooks from somewhere where the original creators and publisher of the setting will be paid. I got mine from a Melbourne game store, but I’ve found PDF versions of the Player's Handbook and the Gamemaster's Handbook are now available from DriveThruFiction. If you enjoy their world, this is the best way to thank them.

NEW RELEASE: Just a Dinosaur

My latest short story, Just a Dinosaur, has just been released on all my usual platforms. It's a bit of a mix between science fiction, horror, and urban fantasy in an Australian, (mostly) bush setting.


The legends hinted at some kind of dinosaur. Oliver hoped it was a new species, and he had Nate believing him. Together, they hope to circumvent the prohibitions of intruding on a sacred site, to prove the creature existed—and all without their boss, and Nate’s lover, finding out. What exactly lies behind the legends—and, more importantly, will they be able to reveal it to the world?

Babes in London: Act Two, Scene Four (Leyila’s House, Part 7: Setite Attack—Introduction and Action)

SCENE FOUR C: SETITE ATTACK

Before you are able to turn the page, a soft knock at the door heralds the return of DI Mullins: “If you’ve quite finished…” he says.
NOTE: Allow PCs to start to interact with the DI, and then have them make an Earth (Senses) TH4 test to hear the arrival of the assassins in the kitchen. If they make the test and head downstairs to investigate, or follow the DI downstairs immediately without discussing anything with him, the PCs will meet the assassins as both parties enter the dining room. If they do not hear the assassins, or stay discussing things with the DI, they are alerted to the attack by a shout of alarm from Leyila’s father. The combat runs slightly differently for both. If PCs respond immediately, go to Coming Downstairs Straight Away after Hearing the Sound. If they delay, go to Not Hearing the Sound, or Delaying.
The Sound: It’s no louder than a whisper but you hear it anyway. Below you, a door to the house opens and closes quietly. A foot slides against a tiled floor and nudges something into the wall.
Give the PCs time to react. DI Mullins does not hear the sound.
Coming Downstairs Straight Away after Hearing the Sound: You step into the dining room just as the door from the kitchen opens part way. It pauses for a moment before opening the whole way and a darkly-clad figure steps through. Two paces it moves, then three, heading for the atrium, turning its head and body to survey the dining room as it passes.
NOTES: Unless PCs find a miracle, or are taking extraordinary precautions, the assassin sees them as it half-turns to face the alcove where stairs join the dining room. Roll initiative. DI Mullins is following the PCs.
Assassins’ and DI Mullins’ Tactics:
Round 1: The first assassin attacks. A second assassin enters the room behind it, and joins the attack. DI Mullins calls the constables outside on the radio. (He has followed the PCs out of Leyila’s room and down the stairs, and is at the back of the party.)Round 2: Two more assassins attempt to slip past the battle, via the entry hall, or dining room, whichever entrance the PCs did not use. If the PCs have both entrances covered, the assassins come in through the window behind the Andrews. Have PCs make an Earth (Senses) test at +3 difficulty (due to the fact they are engaged in combat) against these two assassins’ Air (Stealth) TH3 tests. DI Mullins calls for back-up, the assassins now have five minutes. (The constables outside are out for the count and have been hidden from view from the street.)Round 3: Unless the PCs interfere, the last two assassins make it to the lounge room, where they will attempt to capture Leyila’s parents. DI Mullins takes out his sidearm and either shoots an attacking assassin (if he can get a clear shot) or tries to work his way around the melee to the lounge room in order to protect Leyila’s parents. Go to Leyila’s Parents Vs the Assassins.
Not Hearing the Sound or Delaying: PCs who don’t hear the sound will be alerted as follows: Downstairs, there is a scream of frustration and fear, followed by the sound of something breaking. DI Mullins swears and bolts for the door. Have them roll initiative at this point.
Combat After Hearing Mrs Andrews Scream: PCs miss the first three rounds as described above. They arrive at the lounge room as the action begins in the section titled: Leyila’s Parents Vs the Assassins. Run the combat from there, but make the following alterations: (i)                 DI Mullins does not get the chance to radio for help so no cavalry is on its way;(ii)               Add two more assassins to the lounge room scene.
Beyond this, the assassins’ tactics and goals remain the same.
Leyila’s Parents Vs the Assassins: It takes the assassins five rounds to subdue Leyila’s parents and get them out the front door to the car waiting in the street.
If the PCs get to Leyila’s parents before the assassins subdue and remove them, then read or paraphrase the following: Mrs Andrews has picked up a lamp. Pale-faced and as determined as before, she has hold of the shade and is swinging the heavy end at one of the assassins. Mr Andrews is brandishing a cushion, although a shattered teapot lies on the floor nearby. The two assassins facing them seem intent on driving them back towards the open window and, as you watch, a third assassin rises out of the shrubbery beyond holding a long tube to its lips. DI Mullins lies next to the door, a livid bruise covering one side of his face. If the PCs fail to get to Leyila’s parents before they are taken, read: Car doors slam in the street and you glance through the open door in time to see a white delivery van drive quickly away from the front of the house. Before you can reach the door, it turns a corner and is gone. In the distance, you can hear the sound of approaching sirens.

NOTE: This adventure is not sanctioned in any way, shape or form by Fantasy Flight. It is not an official product, and I am in no way affiliated with them or they with me. There is no relationship between us. This adventure is mine, for fun, and for you, because some of you asked me to finish it.

Also, if you like this adventure and want to play it, please go buy the official rulebooks from somewhere where the original creators and publisher of the setting will be paid. I got mine from a Melbourne game store, but I’ve found PDF versions of the Player's Handbook and the Gamemaster's Handbook are now available from DriveThruFiction. If you enjoy their world, this is the best way to thank them.

Babes in London: Act Two, Scene Four (Leyila’s House, Part 6: Flashback—Kehebite Dancer: Aftermath)

AFTERMATH:

Once the Setite assassins have been defeated, read or paraphrase the following: The dancer completes the last step of her performance, and bows gracefully to the dais before shaking the bells at her wrists and striding swiftly towards you. “You have saved my life,” she says. “You have my friendship in this, and other, eras to come.” With her smile of gratitude still foremost in your mind, the scene fades, and you find yourselves back in Leyila’s room, looking down at the picture in the child’s Book of Songs.
NOTES: Go to Scene 4C: Setite Attack.

NOTE: This adventure is not sanctioned in any way, shape or form by Fantasy Flight. It is not an official product, and I am in no way affiliated with them or they with me. There is no relationship between us. This adventure is mine, for fun, and for you, because some of you asked me to finish it.

Also, if you like this adventure and want to play it, please go buy the official rulebooks from somewhere where the original creators and publisher of the setting will be paid. I got mine from a Melbourne game store, but I’ve found PDF versions of the Player's Handbook and the Gamemaster's Handbook are now available from DriveThruFiction. If you enjoy their world, this is the best way to thank them.

PokemonGo: Raid Woes

I mentioned not being able to get into gym raids, in yesterday’s progress report. It’s been a bit disappointing, but I figure this glitch will eventually work itself out. So, I tried to enter a raid on the 24th June, but, although the gym accepted the raid pass, and let me into the raid, it wouldn’t let me join the battle. After a dozen or so retries, I gave up in disgust and continued on my walk.I tried, again, on June 25th. Similar results, but, this time I got to see the raid pokemon before being made to try restarting the battle. This happened half a dozen or so time, even with a restart of the game. The walk afterwards was good, in spite of this, and I caught several teddiursa and was able to evolve my first ursaring to compensate. Not a bad day, after all. The last time I tried was on June 26th. This is what happened – again:
I got to join the raid battle… and then the error occurred.

I left the gym and tried again – with the same results:
 




















This time, I left the gym, turned off the app, and restarted my phone… to no avail.




















At this point, I continued on my walk. It was pretty disappointing, but I’m not done yet. I haven’t done a full uninstall and reinstall of the app (simply because it’s working perfectly in every other aspect), or tried a different gym. If it happens the next time I try to join a raid, those might be on the cards. And if that doesn’t work, I can always ping the help desk at Niantic.