C.M. Simpson's Blog, page 139

Babes in London: Act Two, Scene Four (Leyila’s House, Part 5: Flashback—Kehebite Dancer: The Action)

SCENE FOUR B: KEHEBITE DANCER

Drums beat and flickering torches join the glow of three-metre tall braziers spaced at even intervals around the room. The smell of incense hangs heavily in the air. You are standing on the ground floor gallery in what appears to be the inside of a church. On second thoughts, you realize it’s not a church, but a temple, and that you are barely dressed! Before you can react to this, there is a clash of symbols, and a beam of reflected light hits the centre of the open space before the gallery. A dancer stands there. You did not see, or hear, her enter—a seeming impossibility as she raises her head causing a myriad of bells to come to life. Like you, she is barely covered. Like her audience, her clothes are of the lightest fabric. Unlike her audience, she is covered in a dusting of gold. Somewhere in the shadows a flute begins to play, tambourines and lutes join the drums, and the woman begins to move. The audience around you seems to hold their breaths. Every eye is on the dancer.
Give the players time to respond. A successful Knowledge: Mythic Culture or Knowledge: Mythic Religion test reveals the following:
TH3 The apparent lack of clothing, and the fact that no one around you is embarrassed by it, the warmth radiating from the wall at your back, and the sandstone pillars separating the galleries from the central dance floor, all these things indicate you are in the Land of Keheb, a desert country south of Atlantis.
TH4 all of TH3 and: You’re not absolutely certain, but there was an entire pantheon of gods, who had temple dancers as part of their ceremonies.
TH5 all of TH4 and: While temple dancers were to be found in most temples, only a few priesthoods gave them the status of a single performance to a packed house like this one. You catch a shimmer of gold at the end of the room, and realize there is another member of the audience carefully screened from the rest. Royalty? You feel like you’ve come in half way through a conversation, and that you’ve missed something really important. Now, if only you could remember which gods gave the dancers such prominence!
TH6 all of TH5 and: Of all the deities in Keheb, there were only two that gave dancers such a high place. The most famous of these was Het, in charge of revelation, whose dancers were a form of seer. To be dancing alone like this means the dancer must be one of the elite of this elite group: A Dancer of Prophecy. Her dance, therefore, must be a reply to someone’s question regarding the future, and will be interpreted by the priests at its completion
PCs making a successful opposed Senses (Air) test against the Set assassins Stealth (Air) to notice one or more of them moving through the crowd on the ground floor. Those that succeed by 2 or more see the assassin in the upper gallery. (NOTE: PCs suffer a  +2 TH modifier due to the dim light and musicians). When (or if) they succeed read, or paraphrase, the following:
A movement in the crowd catches your attention. One shadow amidst all the rest is gliding forward. A shadow, or someone who has overdressed for the occasion? Now that you’ve noted it, you can see other shadows on the move, all taking routes that will bring them closer to the dancer’s path. As you watch, the shadow nearest you takes something from the folds of its robes, and crouches down to take aim through the railings at the gallery’s edge. From the way its hand moves, it is taking aim at the dancer and you realize, as your brain screams CROSSBOW! that it and its companions cannot be allowed to succeed.
These shadows are Setite assassins. Their mission is to kill the temple dancer before her dance is complete, and to force the city’s ruler into a position where he can no longer check the advice he’s been receiving from the vizier, whom the minions of Set control. If the ruler takes the vizier’s advice, the result will be chaos and, hopefully, for the Setites, bring about a civil war that will draw attention away from their operations in the area. If the dancer completes her performance, the vizier is revealed and the Setite operations will be in danger of collapse. There are three assassins altogether. The PCs need to act quickly or the temple guards will take the glory.
Notes: Roll initiative, and allow the PCs to act. The dancer continues to dance, and PCs should be aware that their goal is for her to successfully reach the end of her dance—if they try to intervene, she raises her hand in a command for them to stop, and allow her to dance, even as she continues. Describe how strongly they feel the importance for her to finish the dance. Don’t forget the sudden tension from the dais and other audience. Describe the way the temple guards begin moving through the crowd towards them. (Once the assassins are revealed—either through a foiled attempt on the dancer’s life, or through PC actions; the guards change target to the assassins.) Once the action is over, go to Aftermath below.
SETITE ASSASSINEra Mythic; Race Natural being; APL 2; Init ; Aspects Fire 4, Water 4, Air 3, Earth 3; Health 4m; <3 / 6+ / 9+ / 12+ / 15+ / 18+ / 21+ / 24+; Size/Reach 0 / 2; Armor 0; Karma 15; Stride 20 ft. (Moderate)Gauntlet Bow 2/L + poison (6/H), Throwing Dagger 4/L, Punching Dagger 5/L, Throwing Dart 4/L, Scimitar 9/M, Fist (2) 3/L, Kick (2) 4/M, Sequences Knife FighterSkills Athletics 4, Knowledge: Geography 2, Melee 4, Ranged 4, Senses 4, Stealth 4; Edges Deft 3, Network: Cult of Set 1, Stealthy

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: Why Reading Other Writers’ Blogs is Important

There are many things I do as an independent writer and publisher that might not, on face value, appear to be important. Reading the blogs of other writers is probably one of them, and yet, it is important. Most of you know that writing is an isolated activity. For me, it’s because I work better in a relatively uninterrupted environment—and I say relatively, because I like to work out near the kitchen where I can see through to the lounge room, and keep tabs on my kids, and on what’s going on in the house. I also write facing a sliding door, which gives me a great view of the walking path and open parkland outside, as well as letting me shift focal lengths by looking up and out the window.
Both these things help me feel less isolated, less cut off from the rest of the world, and I find that important. However, just because I don’t feel isolated doesn’t mean I’m not. I’ve taken to turning off social media when I work, as well as the television, and I prefer the phone to stay quiet, too. I also don’t seek out human company, because I’m so busy focussing on getting this crazy business off the ground.All this means that, for me, writing, is an isolated activity—which brings me back to why reading the blogs of other writers is important, and particularly the blogs of writers who are independently publishing, who have been in the business longer, and who are successful.Every writer’s path is different, and every writer needs to find their own way. We might do this alone, but that doesn’t mean we have to do it blind. Learning from the experiences shared by others is important. Well, you might say, if it’s so important, why don’t I do this in person?There are a number of reasons for that, but the main one is this: When I started this process, I was one of the few writers turning away from the traditional path in Australia, and certainly the only one I knew of in my area. Going to a major convention showed me that most other writers did not find what I was doing acceptable, and I did not really feel welcome as a result. While that was some years ago, now, that feeling of not being welcome, or acceptable, has remained.This is despite the fact that the landscape of Australian publishing is changing. Looking around me, now, I can see quite a few other Australian writers taking this path, and some of them keep me good company on social media, but I am not social, and that early experience coupled with the fact I’m still building my career and am not making a liveable wage just yet, has made me wary of any closer contact.This self-imposed distance makes following the blogs of more experienced and successful writers important. It also gives me a quiet space in which to assess what I’ve read, and decide if it’s something I should be trying for my own work. Too many times, we think we need to run something past another writer or family member, for approval, when in reality we are the only ones who can make the decision, and certainly the only ones who will have to bear the consequences of carrying that decision through.Finally, I should add that most of the writers whose blogs I follow, and certainly all the ones operating at the level of success I’m working towards, are overseas. I don’t know of any in Australia who are making their way solely by their independently published work. Further, all the platforms that make earning a living from my writing possible are also overseas, meaning that listening to writers familiar with the way publishing operates in those areas is vital.This business is a learning curve. The minute you think there’s nothing new you should know about, or that something doesn’t apply to you because of where you are or the genre you write, that’s the minute you miss something that could make the difference between success and failure. Like any other craftsman, you are responsible for your own success, and, like any other craftsman, you are not alone. You, too, can learn from the masters in your craft, no matter where they are, especially if they are on line and sharing what they’ve learnt.Writing might be a solitary activity, but there are degrees of isolation, and you don’t need to be cut off from the others in your field. Even if you can’t travel, or are uncomfortable with people, there are ways of learning to improve your craft, and to discover the changes that affect the marketplace in which you work. More importantly, by reading about the experiences of other writers, and the challenges they face, you learn of potential pitfalls and ways to deal with them. Most importantly, you learn that, while you might be isolated, you are not alone.

Progress Report: Week 4, June 2017

They say a change is as good as a holiday, but I’m not so sure. I’ve continued moving towards becoming a professional writer, and started establishing an eight-hour writing day. It's no holiday, believe me! Everything, including my walking, went by the way side this week, but I’ll start reintroducing things over the next couple of weeks, to establish that work-life balance that everyone speaks so highly of. Part of that eight-hour a day writing thing is the inclusion of a weekend. I haven’t had one of those in a while, and the concept needs some tweaking, but I could get used to the idea.
 
Week 4 Progress New words produced: 30,949Outlines and Notes: 565Works completed: 1 (a poem)Works edited: 0Covers created: 0Works published: 0Works submitted: 0Competitions Entered: 0Bloggery: 3,061University Prep and Assignments: N/A
Writing News
I started a new novella and almost completed it, worked my way through a partial edit of August’s science fiction-fantasy novel, and compiled two volumes of short works collections.
June-July Challenge: Babes in London
Not a lot happened on this in the last week. I changed my writing routine to write or publish for eight hours a day, had a new story show its head, and tried to prioritise. Now that’s sorted, I’m getting back on track with this.
Ingress Updates
No Ingress news, this week. I focussed on establishing an eight-hour writing day, and did (mostly) pokemon on the weekend.
PokemonGo Updates
Last Friday morning, the new gym system kicked off, and I was pretty happy to earn my bronze Gym Leader medal for defending a gym, as well as my first gym badge on that day. I was a bit too busy to join a raid, as I had to be at my desk when they kicked off, but I knew there would be others.


Saturday was my first attempt at a weekend in a while. PokeGo was a good way of keeping away from the computer and going for the walk I’d been avoiding all week. I hatched another phanpy worth keeping, but still don’t have enough candy to evolve a donphan, so that one’s on my list for walking buddies, along with the diglet I hatched, since I don’t have enough diglet candy to evolve a digtrio. First-world problems, right?




















I also managed to level up to the big 3-0, and add another three gym badges from the local area. Not bad for a couple of short walks.

Priorities for Week 5, June 2017
With the new lifestyle change to take a step towards earning a living as a writer, I’ve decided to add this section to these reports, especially as I now have to start writing towards next year’s release schedule, while finalising this year’s schedule and preparing to complete my last semester of university. While there are a number of things that are becoming increasingly urgent, these are the ones I will focus on for next week:

Complete the formatting and upload for Ellie’s mid-July release;Complete at least one more round of edits on Freeman’s Choice ;Establish the habit of writing 2 poems and 2 pieces of flash a day;Continue Babes ;Establish the daily walk habit;Complete Wheelchair Mermaids ;Chase Ellie to complete the next instalment of her current series;Likewise, chase Eleanor for an update on the next Gargoyle series book due out in December. Write 10,000 words of my own.

Babes in London: Act Two, Scene Four (Leyila’s House, Part 4: Second Floor)

SCENE FOUR A: INVESTIGATING LEYILA’S HOME

SECOND FLOOR
HALLWAY: Links the rooms upstairs. Lovely nature pictures on the walls—lightning storms, rainforests, and the like. A little shelf for the upstairs phone and one door prominently marked— PRIVATE: LEYILA’S ROOM. KNOCK & WAIT FOR INVITE .
PARENTS’ ROOM: A neatly-made double bed is centered along the back wall, flanked by two two-drawer dressing tables. Nothing appears to be out of place here: clothes hang neatly in the cupboards or lie folded in the drawers. There are no signs of trouble or wrong-doing here, just the neatly-ordered everyday facets of an ordinary modern life.
LEYILA’S ROOM: Yep, this is a girl’s room. Not quite as full of fairies and unicorns and stuff as you might expect, and unusually tidy for a children’s room—and that’s probably because no one’s turned it over, yet... DI Mullins leaves you at the door. “Don’t make a mess,” he says, “and don’t take anything.” There are statuettes of dancers everywhere and dance posters on the wall, but no jazz or ballet paraphernalia. It’s sort of a look from the outside on the world of dance. There is a desk in one corner of the room. This kid really takes her homework seriously with all her school books lined up on the end of the book shelf above the computer and all her writing books and folders beside it. There are no locked drawers here, but one large tome stands out. This is partly because it’s lying flat on the desk and partly because it’s cloth-bound, and partly because it’s about three inches thick and seems out of place. The title on the cover reads: Leyila’s Book of Songs. Picking it up, you flick idly to a random page and find the picture of what might be an Egyptian or Arabian dancer frozen in motion. Behind her, barely noticeable as background, are tall columns. There is the smell of heat and dust in the air, as well as some sort of sweet, musky perfume, and Leyila’s bedroom fades from view. NOTE: Go to Scene 4B: Kehebite Dancer.
GUEST/WORK ROOM: The curtains are closed in this room, but, apart from the cupboards being empt,y and the trundle bed tucked beneath the double, it is almost an exact copy of Leyila’s parents’ room
BATHROOM: It’s a bathroom, you know, toothbrushes and toothpaste near the hand-basin, aftershave and shaving lotion in the cabinet, towels on the rail. Nothing unusual here either. NOTE:Leyila’s toothbrush is missing. Senses (Air) TH2 to notice that there is no child’s toothbrush with the others.
TOILET: Smallest room in the house, you probably know the sort of place well. Spare toilet paper beside the porcelain chariot, little dolly cover thingy on the roll on the cistern, and some typical toilet poetry about footprints in the sand or something similar although exactly what it’s meant to inspire in here is unclear.

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 3: First Floor)

SCENE 4A: INVESTIGATING LEYILA’S HOME

FIRST FLOOR
ENTRY HALL: This is just beyond the front door. The entry hall has a mirror, shoe rack, coat rack, and umbrella stand. A beautifully painted landscape hangs on one wall above a wooden sideboard and you note the carefully arranged flowers that tower over the notepad and pen beside the phone. There are two doorways: the one on the left is open; the one on the right is closed. Both are made of a dark brown timber with inlaid patterns in the wood. From the open doorway, you can hear the sound of muted voices.
NOTE: For those that ask, the top page of the notepad is blank. (Using pencil rubbing will only reveal the telephone number for the police and the day’s date with DI Mullins written beside it. The flowers are the tall, reedy kind with yellow flowers – golden rod and cat-tail reeds (TH3 to identify), nothing fancy.
LOUNGEROOM: As PCs approach the doorway and become visible to those inside: The voices cease as you become visible in the doorway.
IF THE PCS ARE EXPECTED: The middle-aged man in a plain grey suit rises to meet you, hand outstretched in greeting: “Welcome, you must be the other investigators we are expecting.” He isn’t very tall, only about five foot, seven, but his build is wiry and muscular and his handshake is firm. He steps back indicating the man and woman sitting on the sofa. His gesture stops at the man. “This is Colin Andrews, Leyila’s father.” The man on the couch will be taller than the DI when standing, and has the build of someone who was once quite fit, but who is now going to seed. His grey-blue eyes are underhung by shadows, and his face is pale with fatigue. “Pleased to meet you,” he says. “And this is Laura Andrews, Leyila’s mother.” The slender, dark-haired woman looks up at you briefly and you can see that, although she has been crying, there are lines of stubbornness that hint at an inner strength. She nods by way of greeting, then turns back to the photo album open on the coffee table in front of them.
NOTE: Allow some interaction before the PCs are guided upstairs to Leyila’s bedroom Go to Second Floor: Leyila’s Room. There is nothing of interest in the rest of the house, although they will be allowed to look if they insist.
IF THE PCS ARE UNEXPECTED: “What the devil are you doing in here?” The shout of angry surprise bursts out of the silver-haired, middle-aged man in a suit. “Stay right there! You’re under arrest!” He is already reaching for his phone, while the couple seated on the sofa behind him stare at you in shocked surprise.
NOTE: The DI calls for back-up and then draws his sidearm. He stands directly between the PCs and the Andrews. Play this one by ear. DI Mullins attempts to have the PCs arrested and taken to the station for questioning. He does not allow them to approach or speak to the Andrews. If they attempt to do so, he asks the pair to go through the door leading to the kitchen and join PC Petersen in the back garden. If the PCs approach, he warns them: “Stay back or I’ll shoot”. He only fires if they ignore the warning, or look like they will continue approaching the Andrews. The PCs have only one minute in which to escape before Constables Williams, Masters and Petersen reach the lounge room and entry hall. There is only five minutes before back-up arrives in the form of two squad cars and eight constables (who have been on stand-by at the station since the discovery of the disappearance of Anika’s parents that morning). PCs can try to calm the situation down, but require a Senses (Interaction) TH4 to do so. The same modifiers apply as for the Interaction test with the police officers outside.
DINING ROOM: The dining room looks as if it Mrs Andrews has yet to have time to clear it. There are breakfast dishes in two places, some marmalade, jam and butter on a central tray and a toast rack containing four pieces of stone-cold toast. The tea pot is also cool and two cups of tea have been standing long enough to form a milky rime on the surface. They are about half full. It looks as though breakfast was disturbed, and no one’s had time to get back to it.
NOTE (if PCs were expected): Breakfast was indeed disturbed by DI Mullin’s arrival. While he had made an appointment for today, he arrived much earlier than arranged because of the disappearance of Anika’s parents. No one has had time to get back to breakfast, although the PCs arrival causes Mr and Mrs Andrews to remember host obligations and the table is quickly cleared while the kettle is boiled for a fresh pot of tea. DI Mullins leaves them to this task while he escorts the PCs upstairs.
(If PCs were unexpected): Then the table and dishes are just the same, but no one gets up to make them a cup of tea—and they must make Stealth tests.
KITCHEN: The usual arrangement of cupboards, dishwasher, stove, microwave, oven and fridge. There are no plants on the ledge above the sink and last night’s dishes are still sitting in the drainer waiting to be put away. A tea-towel is neatly draped over them.
LAUNDRY: The laundry has one door leading off from the kitchen and another leading to the back garden. There are no dirty clothes in the laundry basket and the linen press is full of neatly folded sheets and towels. A washing machine, dryer and laundry trough take up all the space along one wall, with the other wall occupied by outdoor shoes and Wellingtons.
BACK GARDEN: Similar to Anika’s back garden with its flower beds and garden shed in the far left corner. The grass is neatly mowed and the clothesline is full of clothes belonging to the family. A child’s swing set can be seen under a tree in the right-hand corner of the yard. The clear outline of another police constable can be seen through the laundry window. He seems to be standing on the back step, looking out into the yard.

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 2: Authorised Entry)

SCENE 4A: INVESTIGATING LEYILA’S HOME

AUTHORISED ENTRY
After consulting briefly with someone on his mobile phone, the young constable nods. Closing the handset and turning to you, he says: “If you go through to the living room, D.I. Mullins will introduce you to the girl’s parents before you start. First door on the left.” He unlocks the door and, once you are through, closes it carefully behind you. You find yourselves in what is obviously an entry hall: Mirror, shoe rack, coat rack, and umbrella stand. A beautifully painted landscape hangs on one wall above a wooden sideboard, and there is a vase of carefully arranged flowers towering over the notepad and pen beside the phone. There are two doorways: the one on the left is open; the one on the right is closed. Both are made of a dark brown timber with inlaid patterns in the wood.
NOTE: For those that ask, the top page of the notepad is blank. (Using pencil rubbing will only reveal the telephone number for the police and the day’s date with DI Mullinswritten beside it. The flowers are the tall, reedy kind with yellow flowers—golden rod and cat-tail reeds, nothing fancy.
From beyond the open door to the left, you can hear muted voices. These stop as you reach the doorway.Go to First Floor: Lounge Room.

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 1: Gaining Entry)

SCENE 4A: INVESTIGATING LEYILA’S HOME

When PCs reach Leyila’s home, read or paraphrase the following:
Leyila’s family lives in a small, two-story house with a tiny front lawn. You can see two policemen standing on the steps near the front door. They’re not knocking, or trying to get in, but seem to be on guard. Two squad cars are pulled up out the front, but there is no one inside, either. The other policemen must either be inside the house, or around the back.
General information:
The Policemen Outside: The policemen are under strict orders not to let anyone in without authorization. No one wants the Press snooping around and giving out information that the police are not yet ready to release. One of police officers is inside with Mr. and Mrs. Andrews; the other is guarding the back door.All the windows (on both the upper and lower floors) have been locked, as has the entrance to the coal cellar, and the external doors. PCs facing the house can see there is a narrow pathway down the right-hand side of the house but the entrance to the back yard is blocked by a locked gate. A brick wall, six-feet tall can be seen on the left-hand side and observant PCs (Air: Senses, TH 4) catch a glimpse of pink roses just visible on the other side.
PCs have a number of options at this point:


Approaching either Policeman: Constables Williams and Masters (at the front door) and Constable Petersen (at the back door) do not allow the PCs entry unless they can obtain authorization from the detective-in-charge, or unless PCs have already been granted permission to enter at Anika’s house in which case someone has already phoned ahead on their behalf. 

If PCs do not have the detective in charge’s business card, or authorization to assist in investigations: the constables do not allow PCs entry to the house. If one of the PCs masquerades as a messenger from the school or library, the group might (on a successful Interaction test TH 4) be granted an audience with the family inside, or, if they have already gained permission to enter the girls’ houses, they are recognized at the door and given access to the house ‘for a short time only Mr/Miss/Ms. …’.

Once, however, the policemen have been approached and have denied permission to enter, they are particularly vigilant regarding all attempts by the PCs to gain entry to the house (+2 TH to opposed Senses tests for anyone trying to avoid detection). The officers will call for back up, rather than confront intruders on their own, knowing that there is help 4 rounds away at all times. They will also notify the station and their colleagues at Anika’s house of the approach, and a squad car will be sent out to pick the PCs up for questioning—which will keep them at the station until 4 p.m. that afternoon, if they are caught.

If the PCs have a business card and have been granted permission to help in investigations: the constables call for authorization, which allows PCs entry to the house and access to Leyila’s parents.

If the PCs have a business card but have not been granted permission, or asked, to help in investigations: the constables call for authorization, which results in one of the PCs having to speak to the DIC in order to explain why they are interested. If the PC can convince the detective to either allow them to conduct their own investigation, or aid in police investigations, they will be allowed entry to Leyila’s house. This requires an Air (Trickery) or Air (Interaction) test with a base TH of 3. The following modifiers apply:

TH Modifier        Circumstance

-1                           PC was cooperative when contacted by police and is of a private investigator ,                             police or teaching background.
+1                          PC was cooperative when contacted by police and is of a background that 
                              is not policing, private investigation, teaching, criminal, or homeless
+2                          PC was cooperative when contacted by police and is of a criminal or homeless
                              background
+3                          PC was uncooperative (regardless of background).

If PCs have already gained access to Anika’s house in this way, they are recognized at the door and given access to the house ‘for a short time only Mr/Miss/Ms. …’. 

Attempting to sneak into the house unobserved: PCs have to make opposed Senses tests in order to reach the house unobserved. If they succeed, they are hidden down one of the two sides of the house. Breaking windows on the ground floor requires an opposed Senses test with a +2 difficulty to the TH (since it is a quiet neighbourhood and there are people inside), although they can still climb to the second floor (where they will still have to break a window to gain entry). Breaking a window to gain entry to the second floor only attracts a +3 penalty to the TH, but adds a +2 to the Climbing TH in order for the PC to avoid losing his or her grip and falling. 

Gaining entry to the house by ‘neutralizing’ the police officers on the door: Roll opposed Senses tests to approach either constable undetected, or without them suspecting an impending attack, then conduct combat as normal. Alternatively PCs can try to approach the constables openly and take them by surprise. This requires an opposed Trickery test for the PCs to get close enough to attack an unsuspecting officer.


POLICE CONSTABLES WILLIAMS, MASTERS & PETERSENSee the ‘Cop’ entry in the Fireborn Gamemaster’s Handbook .
Once PCs are allowed entry to Leyila’s house, they are directed to the living room where a detective is interviewing the parents. If they have gained unauthorized entry to Leyila’s house they can begin their investigation in any room, but they must make Stealth tests opposed by an Earth (Senses) test to avoid being noticed by the detective and Leyila’s parents, who are in the lounge room.

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 Three C (Anika’s House, Part 11: Finalising Scene 3—Options)

FINALIZING SCENE THREE

After Searching Anika’s House: When PCs have finished searching Anika’s house, they have a number of options. They can:
go and search Leyila’s House (Go To Act II, Scene 4)go and investigate the gallery in Islington to find out about the painter David Markovin who has a studio in Camden (go to Act III, Scene 1);go to David Markovin’s studio in Camden (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. 37check 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 Three C (Anika’s House, Part 10: Flashback—Friends of Kredak: Ending the Battle)

SCENE THREE C: Friends of Kredak

Ending the Battle and Aftermath:
If Things Go Badly: PCs are rescued by two other members of Kredak’s brood. Read, or paraphrase, the following: With your brood badly wounded, and the strange dragon looking more injured than ever, you think this is going to be the end. So much for good intentions, you’re thinking, when another roar breaks through the noise of the storm. “GET BACK!” you hear, but the voice is inside your head, and you find yourself backing up before you have time to think. Fire bursts over the giant boar-men, singing your skin as lightning rips through the flying sand. The stinging grains feel heavy against your flesh, coagulating as rain begins to fall. Two other forms plunge into the midst of the battle, landing on the boar men, great jaws snapping closed as teeth and claws tear your opponents apart.
Go to ‘Aftermath’.
If Things Go Well:read, or paraphrase, the following: “Thank you,” the dragon says, sinking to the rooftop, as though oblivious to the sand tearing at his hide. You open your mouth to say something just as two massive forms plunge out of the storm. “Friends!” the dragon bellows struggling to stand. “They’re friends!” The forms sheer off and lightning snaps through the storm. A sheet of flame causes sand to turn liquid and spatter onto a rooftop nearby. The dragon slowly collapses again: “My brood…” he whispers as the two forms settle at the other end of the roof. “Friends.”
Go to ‘Aftermath’.
Aftermath: Allow the players to decide what to do next but, before they can actually react read, or paraphrase, the following: The scene fades. You know how it ends. Kredak, the dragon you saved from the creatures known as the Red Boars, swore friendship to you and your brood. It seemed your goals weren’t that far apart. His broodmates were friendly, but noncommittal—allies, you think, but not friends. You are staring once more at the disk and the strange symbol marked on its surface, realizing that each of the boar men had a similar mark branded into its left shoulder. What was it Kredak had said: The Red Boars, the Red Boars of … who? If PCs have searched the house and Anika’s room, and garnered all the clues they can, go to the section titled: ‘Finalizing Scene Three’.

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 Three C (Anika’s House, Part 9: Flashback—Friends of Kredak: The Battle)

SCENE THREE C: FRIENDS OF KREDAK

If PCs decide to do battle: Give players the choice of what form to use in the battle to come and role initiative. (For new characters/players, go to the Notes for New Characters Sidebar II.)
NOTES FOR NEW CHARACTERS SIDEBAR II: New players/characters may not know they can use their draconic form in this battle so have them turn to their dragon descriptions and read, or paraphrase the following:
With the beating these things are giving that dragon, you’d be a fool to take them on in any other form—and you are sure you were something else, when you last met them in combat. You feel your bones shifting as you leap into the fray with a roar.    

If PCs decide not to do battle: read or paraphrase the following: No, that’s not how it happened. There was a battle, a glorious battle and you won the admiration of your host, as well as a new friend. The creatures were destroyed, shattering into so many shards of sand as each death blow fell. They died and Kredak became your ally. The world turns on the memory of his name. As you realize this, you find you are, once again, standing in Anika’s ransacked room. (NOTE: If PCs choose not to fight the Red Boars of Set, they do not receive the heritage AP for the battle, even though they still become known as Friends of Kredak.)

RED BOARS OF SET – WARRIORS (7)Era Mythic; Race Mythic supernatural being; APL 3; Aspects Fire 5 (3), Water 4 (1), Air 3 (1), Earth 3 (1); Init. 8, Health 3m; <3 / 4+ / 8+ / 12+ / 16+ / 20+ / 24+ / 28+; (the four Boars facing Kredak are currently on three wound dice, while the four facing the PCs are on two), Size/Reach 1 / 5; Armor 5 (cloth + natural hide); Karma 15 (currently 5); Stride 50 ft. (Moderate)Fist (2) 3/L, Kick (2) 4/M, Scimitar 9/M, Medium Spear 7/M, Sequences Rank & File, Long ArmSkills : Athletics 2, Knowledge: Set 2, Melee 3, Senses 2, Stamina 2, Will 2; Edges: Aggressive 1, Brutal 2, Deft 1, Resilient 1Powers: Swift 2, Undeterred 2Traits: Alternate Form 2, Ferocity 1,
RED BOARS OF SET – CAPTAIN (1)Era Mythic; Race Mythic supernatural being; APL 4; Aspects Fire 5 (4), Water 4 (2), Air 3 (1), Earth 3 (1); Init. 8, Health 3m; <3 / 4+ / 8+ / 12+ / 16+ / 20+ / 24+ / 28+; (currently on 1 wound dice), Size/Reach 1 / 5; Armor 5 (cloth + natural hide); Karma 15 (currently 5); Stride 50 ft. (Moderate)Fist (2) 3/L, Kick (2) 4/M, Scimitar 9/M, Medium Spear 7/M, Sequences Rank & File, Long ArmSkills: Athletics 6, Knowledge: Set 3, Melee 5, Senses 3, Stamina 4, Will 4; Edges: Aggressive 2, Brutal 3, Deft 2, Resilient 2Powers: Swift 2, Undeterred 2Traits: Alternate Form 2, Ferocity 1
KREDAKEra Mythic; Race Noble Beast Dragon; APL ; Aspects Fire 3 (3), Water 6 (4), Air 5 (3), Earth 5 (4); Init. 8, Health 5m; <6 / 6+ / 12+ / 18+ / 24+ / 30+ / 36+ / 42+ (currently at 2 wound dice); Size/Reach 4 / 20; Armor 8; Karma 50 (currently 15); Stride:90 ft. (Speedy), Fly 45 ft. (Slow, mnv 4)Weapons:—Foreclaw: 12/M—Hindclaw: 18/M (Grab move ready requirement)—Bite: 18/H—Gore: 21/H—Sweeping Tail: 18/Size 5 (Weapon Sweep move)Sequences: Barroom Brawling, Swift (Archangel, Underhanded)Skills : Athletics 3, Casting 3, Interaction 6, Knowledge: Atlantean Culture 3, Knowledge: Geography 3, Knowledge: Kehebite Culture 3, Knowledge: Kehebite Language 3, Knowledge: Set 3, Medicine 3, Quickness 6, Ranged 6, Senses 6, Stealth 6, Trickery 6, Will 3; Spells: Aegis AB, Catcher’s Creation ABCD (Coruscating Bolt AB, Flash ABC)Edges: Adaptive 3, Casting 5, Deft 4, Stealthy 2, Trivia 1Powers: Alternate Form 5, Group Mind 2, Heightened Senses: Hearing 1, Heightened Senses: Scent 1, Heightened Senses: Sight 1, Heightened Senses: Touch 1, Metabolic Control 4, Nobility 3Legacy: ShapeshifterTraits: Heightened Senses, Horned Skull, Sweeping TailHoard: 3
Red Boar Tactics: The Boars have been sent to destroy Kredak, who has been investigating their activities on behalf of his brood. They have the Undeterred power until his death and the return of his head to the High Priest of Set; this makes them particularly difficult to kill. They continue to attack Kredak in preference to any other attacker but, as only four can get to the dragon at any one time; that leaves four to deal with any PC interference. On reaching their death, they shatter into an exploding whirlwind of sand, which stings, but deals no damage. The Red Boars fight back-to-back in two rows, with one row attacking Kredak, and the other row defending against the PCs. The captain of the Boars is in the row facing the PCs.
Kredak’s Tactics: Kredak has spent the last three days trying to outrun these creatures. He has used every trick of stealth he knows, and still the boars have found him. So far, he has managed to take down enough of the creatures to escape, but this hunting party caught him by surprise, chasing him through the storm, until they caught up with him. Kredak is tired, and in desperate need of his brood. He is using his Group Mind ability to call them for aid. He has been calling them for the last three days, but doubts they will reach him in time. With the arrival of the PCs Kredak’s only goal is to survive long enough to leave a message for his brood.
The Rooftop: The rooftop is shared by a long row of buildings. It is twenty-feet deep and about eighty-feet long. Kredak is currently pinned in one corner, but PCs have enough room to come at his attackers from three sides.

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.