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October's Exceptional Story: The Stone Guest

Absintheuse Posts: 348 9/28/2017	Delicious friends, the Exceptional Story for October is here! Don Juan: de Molina created him in poetry, Moliere brought him to the stage, Mozart immortalised him in music. And now, if you can revive fallen spirits, broker a deal with devils, fend off rude cabbies, etc., you shall join a collection of the Neath's greatest artists to capture his life and after-life in moving pictures. The Stone Guest is the second story in the Season of Sceptres, and was written by Cash DeCuir. This season, experience three stories that involve the use and abuse of power in an array of London professions. You can begin each from the Season of Sceptres card. At the end of the season, players who have completed all three will go a step farther, unlocking bonus content involving the exiled Injurious Princess, and her plan to reclaim the throne of Vesture. Editing and QA: Olivia Wood, Chris Gardner and Caolain Porter. Art by Tobias Cook. EXCEPTIONAL FRIENDSHIP In addition to a new, substantial, stand-alone story every month, Exceptional Friends enjoy: Access to the House of Chimes: an exclusive private member's club on the Stolen River, packed with content An expanded opportunity deck: of ten cards instead of six! A second candle: Twice the actions! 40 at once! Finishing all three stories in the Season of Sceptres will make you eligible for an additional opportunity, to follow. If you want to keep an Exceptional Story beyond the month it’s for, you must complete the related storylet in the current Season’s card throughout London. This will save it for you to return to another time. edited by Absintheuse on 9/28/2017
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Von Darken Posts: 39 9/28/2017	Noticed possibly my favorite typo since I started playing. When getting a demonstration from the Idealistic Magician I saw this: "And with a well timed pull of this line," he says – and viola! I simply love the image of him pulling his little string on a box and a small violin popping out. He sounds so proud as well. -- Mannfred von Darken - Accidentally aiding the forces of Evil since 1893 http://fallenlondon.storynexus.com/Profile/Mannfred%20Von%20Darken
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Diptych Administrator Posts: 3493 9/29/2017	Oh, yeah, he does have his hair in a bun. Is this a London production of a Spanish story with a French director and a Japanese producer? Because that's rather marvellous. (By the way, I adored this story. I'm a sucker for an examination of the interaction between the mundane and fantastical elements of the Neath, plus some likeable personalities, sequences of practical action, and getting up to the elbows in some good solid art. Fantastic stuff!) -- Sir Frederick, the Libertarian Esotericist. Lord Hubris, the Bloody Baron. Juniper Brown, the Ill-Fated Orphan. Esther Ellis-Hall, the Fashionable Fabian.
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Urthdigger Posts: 939 9/30/2017	While I understand the writers can't reasonably expect to cover all the bases, I must admit I am a little disappointed that as both someone who favoured the Glass in the War of Magicians and a freaking GLASSMAN, that I still had to pretend I didn't know how Pleat does his trick. -- Looking for second chances to maximize your loot output from those troublesome storylets? Check out our handy gang of volunteers in this thread, or even volunteer yourself! @Urthdigger on twitter
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Kukapetal Posts: 1449 10/2/2017	I really agree with that last point. Usually these stories work in our character's involvement in the plot a lot more organically than this one did. All my character did was wander by and get in the way of the camera, and now he's the one making all the important decisions? And when you ask why, the producer just says "oh, because you showed up." What. I'm sure LOTS of people would met that criterion, including all of the people on his actual STAFF. Speaking of which, doesn't he already have assistants who can do that sort of thing, who are probably more trustworthy and understanding of the business than some weirdo they found on the street? It just makes the producer look really lazy and stupid. And that could work if that's the kind of guy they portrayed him as...weird, wacky, and prone to acts of whimsy. But he's portrayed as being very competent, controlling, and as someone who cares a great deal how this movie turns out so......why does he make such a hugely weird decision? Don't get me wrong, I loved the rest of the story, but this one aspect of it seemed really strange. edited by Kukapetal on 10/2/2017
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dov Posts: 2580 10/2/2017	I've finally played this, and unfortunately I really didn't like this one. The story didn't work for me. At all. The writing itself was fine, but the story had two fatal problems: 1. A complete disconnect from the FL setting and atmosphere Suppose a new story is about how a hansom driver tells you about this new invention called a "cellphone" and sends you on a quest to find a great app for it. This might lead to a decent story, in a different world and setting. There is no place in FL for this. Likewise, in a world which is set in a gothic and mystic 1895 London which has been semi cut off from the world for 30 years, there's no place for such technology as depicted here. What's shown in the story is decades ahead of the FL setting - not only in terms of technology, but socially. Sure, in the real world the first films came out at around this time period, but that is nowhere close to the level of cinematic sophistication shown here (camera movements, special effects, etc.). Also, the public does not react as if these "moving pictures" are a new marvel. They just seem excited that a film crew is filming in their home town, which suggests an already thriving film industry people are familiar with. Despite mirrored illusions and filming the hunt of devils, there was nothing "Fallen London" in this story. It could have been told anywhere, and would have been better in a world set in the 1920s somewhere. 2. Boring Throughout the entire story I found not one thing of interest. No character and no plot point seemed to matter at all. The one part where I thought the story might take an interesting turn (Parabola influence?) was just hinted and then dropped. Why does the Filmmaker depend on me to decide if to film an illusion her way or the Magician's way? She is the filmmaker. It's her decision by definition! My character is just the new hired-help which no one knows (this should have been an argument between the Magician and the cameraman, with the Filmmaker leaving the decision to us). Why would I care specifically about this story about Don Juan? Is there symbolic relevance to my character? To the FL setting? (to contrast, see how beautifully a previous ES wove references to a classic work in Hojotoho! - another story by the same writer, who is in my top 3 ES list) I've watched the whole film (couldn't care to do anything else, like hush others) just waiting for this thing to be finally over. The end result was just a repetition of previous scenes. What was the added value of being told the I now see the scene shot at the square and can briefly see myself in the background. I was there. I've played this scene already. What new perspective was added? Conclusion: Worst ES by far for me (I've played them all since they were released). This should never have been included in this world. ---- edited by dov on 10/2/2017 -- Want a sip of Hesperidean Cider? Send me a request in-game. Here's an_ocelot's guide how. (Most social actions are welcome. Please no requests to Loiter Suspiciously and no investigations of the Affluent Photographer)
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Passionario Posts: 777 9/28/2017	"Told You So" wins my personal award of the year for Best Quality Description and Best Quality Change Description. edited by Passionario on 9/28/2017 -- Passionario: Profile, Story, Ending Passion: Profile, Appearance
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Rackenhammer Posts: 354 9/28/2017	Honestly, I thoroughly enjoyed this one. I actually tend to like when London shows it's more 'domestic' as opposed to its more fantastical side. It really shows what life is like for NPC's, just trying to live like normal Englishmen and Women while at the edges of their lives, otherworldly things creep in. My favorite part was just the subtle ways in which one's decisions affected the results, not in general, but in detail. Again, to go back to my point about preferring realism; we're not the star of the show, but our actions made a noticeable difference come the final result. Thematically appropriate for the movie-making plot. Again, I'll echo that the main downside is that the conversations surrounding the movie felt... hm, the one I picked had an interesting tidbit, sure, but I ultimately regret not actually seeing the results of my work. It's a bit like Millicent's conversation, I suppose, only a limited number of things you can read. Still, there's a distinct assymetry in how satisfying each option is to take, as opposed to the dream in Lost in Reflections. While you can only see so many branches, you never feel as if you picked the worst option. That's really my only complaint, though. -- "DO NOT TRUST HAPPY ENDINGS. DO NOT FEAR SAD ENDINGS... NEITHER ARE ENDINGS." ~ Mathieu Psmith: The Bard of Lost Children, loving husband, and a fixture of the artistic set. Can never resist making a show of things... Irene Psmith: Adopted Daughter of Mathieu. Specializes in Information, Acquisitions, and the Acquisition of Information. Vaughan Montblanc: Once a frontiersman of Western Canada, he now practices medicine in London. His discretion may be absolutely trusted.
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Reused NPC Posts: 259 9/28/2017	Thoughts on this ES: I feel like some of the options other than watching the moving picture should be free during the final section. I missed some of the parts because I wanted to... well, to tell the person behind me to shut up, then ask him about the patrons five seconds later. I'm thoroughly satisfied with the existence of the "I told you so" quality, even though actually using it was a little (suitably) disappointing. And I'm also glad that you get to put your hard-earned Echoes towards a good cause. The composer's happiness (and those few points of Renown: Bohemians and Society) are worth infinitely more than three or four rounds of AotB's worth of echoes. ...Although the composer's happiness is ALSO worth more to me than the echoes AND the renown. And a question: After the viewing, is Feducci always annoyed, and the Veteran Privy Counselor always satisfied? Or does that change based on things like whether you did a real or fake hunt, or how you dealt with the appearing act? Edit: The description of the "I told you so" quality was a little spoiling, though... edited by ReusedNPC on 9/28/2017 -- ReusedNPC, a d__ned lunatic. Edmund Viric, a rather dreamy sort. "I won't stay long, I shan't stay long! Tell me a secret." --the Baldomerian
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Addis Rook Posts: 125 9/29/2017	To be the first person in the world to shoot a devil on camera! Don't look at me like that, it'll like a safari! Update: It was exactly like a safari. Amazing. Being hunted in a Grand Hunt is an experience I would recommend to everyone. Addis: 1 Hell: -3 devils edited by Addis Rook on 9/29/2017
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Lallinka Posts: 138 9/29/2017	What a wonderful story! Just like last month, when I squeed at the opportunity to find something out about the legal system and about lawyers in the Neath, this time I had the same reaction about Filmmaking. And I was not disappointed. Every choice mattered in the end and I always found an option that perfectly suited my character. My choices: [spoiler]1. I did the Debauch the Filmmaker's way, 2. I did the safe hunt and did not shoot. 3. I advised the Magician to work with the Filmmaker on the final illusion. I believe this resulted in Veteran Privy Counsellor liking the film while Feducci did not.[/spoiler] I also found the reward quite refreshing. Instead of some fancy pants item, you get the money on hand and either you keep it, or you don't. Not sure if you get anything instead of the money if you don't keep it, cause I did not go that route. An excellent instalment in what feels like a "smaller scale" season, which I would like to stress is not a flaw and a great change of pace . I would also like to stress how much I liked the art. The Filmmaker's portrait especially. I know Robin Alexander found it unsettling and weird, but to me it just felt...most alive out of any art I've probably seen. I loved it. I wish that was the promo picture for the story, honestly. Though about the actual promo picture...it of course is also excellent and I would like to point out that we now have an old man with a man bun canonically in our midst . Take a good look at the picture and tell me you don't see it! Just a side note: FBG, GIVE YOUR PROOF-READER(S) A VACATION! They clearly need it :P edited by Lallinka on 9/29/2017 edited by Lallinka on 9/29/2017 -- Lallinka is accepting any social interactions as soon as my actions allow it. No Loitering and no Photographer, please. Available for interviews about Nemesis and a Midnighter for Orphanages. Ragish is accepting everything, including Loitering and Photographer. Available for interviews about Heart's Desire and a Crooked-cross for Salons. Pienkava is freshly out of prison and will need charity to survive in the harsh streets of London. Have pity, she is only fifteen.
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dov Posts: 2580 10/2/2017	Sir Frederick Tanah-Chook wrote: dov wrote: Sure, in the real world the first films came out at around this time period, but that is nowhere close to the level of cinematic sophistication shown here (camera movements, special effects, etc.). Both techniques developed in the 1890s and 1900s, actually. At this point in our own timeline, such early film pioneers as Georges Méliès were mere months away from beginning to devise some of these same techniques. Many were, like Méliès, French - the Filmmaker's nationality is not a coincidence. For me, it's too cutting edge, and the story presents this as standard. It's immersion breaking to rationalize this as "there's some possible way in which this could exist in this time period". This is supposed to be 1895 in a setting semi-isolated from the rest of the world for 30 years. Compare this story's film with "A Train Arriving to a Station". Compare this story's public reaction - no astonishment to the actual existence of moving pictures, just excitement to take part in the production and see a show. But even if all was indeed possible at that time period, I still think this is the wrong thing to show in this game/setting. It clashes with the rest of the FL aesthetics, bluntly adding modern things (heavily associated with the 20th century) to this mystical place. Advanced science in the Neath so far was things like the Correspondence, Red Science, etc. This is diminishing the fantastical elements of the settings. Sir Frederick Tanah-Chook wrote: dov wrote: Why does the Filmmaker depend on me to decide if to film an illusion her way or the Magician's way? She is the filmmaker. It's her decision by definition! She's just the director. A mere supervisor. The producer is the one in charge, and you are his agent. You decide where his money gets spent. Indeed, she's the director. You're the unknown person who the producer hired to "help" (somehow) just because you "showed up". How does this trump the director's decision how to direct the scene? The producer hired you to "help", but he hired her to direct. -- Want a sip of Hesperidean Cider? Send me a request in-game. Here's an_ocelot's guide how. (Most social actions are welcome. Please no requests to Loiter Suspiciously and no investigations of the Affluent Photographer)
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Pnakotic Posts: 266 10/12/2017	dov wrote: Sir Frederick Tanah-Chook wrote: dov wrote: Sure, in the real world the first films came out at around this time period, but that is nowhere close to the level of cinematic sophistication shown here (camera movements, special effects, etc.). Both techniques developed in the 1890s and 1900s, actually. At this point in our own timeline, such early film pioneers as Georges Méliès were mere months away from beginning to devise some of these same techniques. Many were, like Méliès, French - the Filmmaker's nationality is not a coincidence. For me, it's too cutting edge, and the story presents this as standard. It's immersion breaking to rationalize this as &quotthere's some possible way in which this could exist in this time period&quot. This is supposed to be 1895 in a setting semi-isolated from the rest of the world for 30 years. Compare this story's film with &quotA Train Arriving to a Station&quot. Compare this story's public reaction - no astonishment to the actual existence of moving pictures, just excitement to take part in the production and see a show. But even if all was indeed possible at that time period, I still think this is the wrong thing to show in this game/setting. It clashes with the rest of the FL aesthetics, bluntly adding modern things (heavily associated with the 20th century) to this mystical place. Advanced science in the Neath so far was things like the Correspondence, Red Science, etc. This is diminishing the fantastical elements of the settings. Sir Frederick Tanah-Chook wrote: dov wrote: Why does the Filmmaker depend on me to decide if to film an illusion her way or the Magician's way? She is the filmmaker. It's her decision by definition! She's just the director. A mere supervisor. The producer is the one in charge, and you are his agent. You decide where his money gets spent. Indeed, she's the director. You're the unknown person who the producer hired to &quothelp&quot (somehow) just because you &quotshowed up&quot. How does this trump the director's decision how to direct the scene? The producer hired you to &quothelp&quot, but he hired her to direct. The year 1895 featured the release of The Dickson Experimental Sound Film and The Execution of Mary Stuart, the first instances of a film with accompanying audio recording and the first usage of stop motion special effects, respectively. Moving pictures had become increasingly common since the release of celuloid film wound in cannisters by Eastman Kodak in 1889. <br> <br> While cinema was still in its infancy, it was well established by 1895 and while still novel wouldn't have been unfamiliar in a major city like London. And Fallen London isn't isolated per se, and gets a steady stream of traders and visitors... there's just fewer people leaving than arriving thanks to the dangers (and metaphysical caprices of death) in the neath.<br> <br> The only thing that would have been unusual at the time would be screening a film on multiple reels, as most films of the period ran for a minute or less.<br> <br> Historically this story was accurate to the mid 1890s. If we want to begin stitch-counting the historical accuracy of Fallen London (I'd rather not) there are quite a few other places to start besides the existance of film. -- J. Ward Dunn, Glassman Book of All Hours 9:99: Journey's end in lover's meeting. Progress is ascendancy.
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Cthonius Posts: 362 10/13/2017	The original Don Juan play is titled "The Trickster of Seville and the Stone Guest." The Stone Guest is important for the damnation/death of Don Juan...but not our story. But tbh that's another of the minor things that make it feel like a draft, the relatively disconnected title. -- Cthonius, gone North. Gone. Oneiropompus, a Scarlet Saint, eager to help make your dreams realities. Accepting all social requests for now.
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Cthonius Posts: 362 10/12/2017	So I like this story. I'll start with that. A lot of the vignettes were cool, especially the Hunt and using a Clay Man as the Stone Guest. That aside I agree with problems of how our characters interact with it all, and the seeming lacking of reason for their authority. It doesn't necessarily Feel like Fallen London but that's not necessarily a bad thing, and I like the experiment in it. Lost in Reflections didn't Feel like Fallen London all the way through and was the better for it, for instance. It just seems...like a draft? Like both on mechanics and story it doesn't feel complete or something. The mechanics especially feel bare. Hmm, I should sit on this and fully flesh it out -- Cthonius, gone North. Gone. Oneiropompus, a Scarlet Saint, eager to help make your dreams realities. Accepting all social requests for now.
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Diptych Administrator Posts: 3493 10/8/2017	Oo, yes, I liked the Idealistic Magician. [spoiler]It's nice to have someone share the disappointment that the masters of the Glass aren't actually terribly good at illusions, and I admired his commitment to his art.[/spoiler] -- Sir Frederick, the Libertarian Esotericist. Lord Hubris, the Bloody Baron. Juniper Brown, the Ill-Fated Orphan. Esther Ellis-Hall, the Fashionable Fabian.
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Anchovies Posts: 421 9/29/2017	Hahahaha! Die, embassy scum, die! This is fun. Lionel Anchovies strongly recommends the real hunt. Bring your best firearms. Not finished with the story yet, so feedback shall come later. For now, I relish the opportunity to gun down some of the devils who plague our fair city. Who's being hunted now? This is what you get when you tangle with a Shattering Force! I have encountered two typos. [spoiler]The first lines of the result text from "Film the devils chasing Don Juan": The devils are marvelously athletic. But is no surprise, is it? Unless Fallen London is now narrated by the Turkish Girl (which would not necessarily be objectionable), I believe the second sentence is missing a word after "but". The last lines of the result text from "Film the finale": "Now, I have a contract in the Brass Embassy whom you may meet in Ladybones. He'll give you the shape of things from there." I believe that should be "contact", unless the Nonchalant Secretary is in fact a talking Infernal Contract. Which, again, would not necessarily be objectionable.[/spoiler] -- Perhaps our role on this planet is not to worship God — but to create Him. —Sir Arthur C Clarke Lionel Anchovies. Character on indefinite hiatus.
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Lallinka Posts: 138 9/29/2017	Lallinka wrote: My choices: [spoiler]1. I did the Debauch the Filmmaker's way, 2. I did the safe hunt and did not shoot. 3. I advised the Magician to work with the Filmmaker on the final illusion. I believe this resulted in Veteran Privy Counsellor liking the film while Feducci did not.[/spoiler] A huge edit! That was not my result at all, I actually got a (possibly rare) result of an argument between the two, if you want to check it out: http://fallenlondon.storynexus.com/Profile/Lallinka?fromEchoId=12574453 -- Lallinka is accepting any social interactions as soon as my actions allow it. No Loitering and no Photographer, please. Available for interviews about Nemesis and a Midnighter for Orphanages. Ragish is accepting everything, including Loitering and Photographer. Available for interviews about Heart's Desire and a Crooked-cross for Salons. Pienkava is freshly out of prison and will need charity to survive in the harsh streets of London. Have pity, she is only fifteen.
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Diptych Administrator Posts: 3493 10/2/2017	dov wrote: Sure, in the real world the first films came out at around this time period, but that is nowhere close to the level of cinematic sophistication shown here (camera movements, special effects, etc.). Both techniques developed in the 1890s and 1900s, actually. At this point in our own timeline, such early film pioneers as Georges Méliès were mere months away from beginning to devise some of these same techniques. Many were, like Méliès, French - the Filmmaker's nationality is not a coincidence. dov wrote: Why does the Filmmaker depend on me to decide if to film an illusion her way or the Magician's way? She is the filmmaker. It's her decision by definition! She's just the director. A mere supervisor. The producer is the one in charge, and you are his agent. You decide where his money gets spent. -- Sir Frederick, the Libertarian Esotericist. Lord Hubris, the Bloody Baron. Juniper Brown, the Ill-Fated Orphan. Esther Ellis-Hall, the Fashionable Fabian.
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Catherine Raymond Posts: 2518 10/2/2017	dov wrote: I've finally played this, and unfortunately I really didn't like this one. The story didn't work for me. At all. The writing itself was fine, but the story had two fatal problems: 1. A complete disconnect from the FL setting and atmosphere Suppose a new story is about how a hansom driver tells you about this new invention called a "cellphone" and sends you on a quest to find a great app for it. This might lead to a decent story, in a different world and setting. There is no place in FL for this. Likewise, in a world which is set in a gothic and mystic 1895 London which has been semi cut off from the world for 30 years, there's no place for such technology as depicted here. What's shown in the story is decades ahead of the FL setting - not only in terms of technology, but socially. Sure, in the real world the first films came out at around this time period, but that is nowhere close to the level of cinematic sophistication shown here (camera movements, special effects, etc.). Also, the public does not react as if these "moving pictures" are a new marvel. They just seem excited that a film crew is filming in their home town, which suggests an already thriving film industry people are familiar with. Despite mirrored illusions and filming the hunt of devils, there was nothing "Fallen London" in this story. It could have been told anywhere, and would have been better in a world set in the 1920s somewhere. 2. Boring Throughout the entire story I found not one thing of interest. No character and no plot point seemed to matter at all. The one part where I thought the story might take an interesting turn (Parabola influence?) was just hinted and then dropped. Why does the Filmmaker depend on me to decide if to film an illusion her way or the Magician's way? She is the filmmaker. It's her decision by definition! My character is just the new hired-help which no one knows (this should have been an argument between the Magician and the cameraman, with the Filmmaker leaving the decision to us). Why would I care specifically about this story about Don Juan? Is there symbolic relevance to my character? To the FL setting? (to contrast, see how beautifully a previous ES wove references to a classic work in Hojotoho! - another story by the same writer, who is in my top 3 ES list) I've watched the whole film (couldn't care to do anything else, like hush others) just waiting for this thing to be finally over. The end result was just a repetition of previous scenes. What was the added value of being told the I now see the scene shot at the square and can briefly see myself in the background. I was there. I've played this scene already. What new perspective was added? Conclusion: Worst ES by far for me (I've played them all since they were released). This should never have been included in this world. ---- edited by dov on 10/2/2017 You've said what I was thinking about this ES better than I could have done. Thanks! EDIT: Though upon reflection, there is one thing I disagree with. I do think that featuring film technology in an ES is a "disconnect" from the FL setting and atmosphere, but not because it's based upon out-of-period technology. The whole business about taking advantage of the special properties of mirrors in the Neath shows that Neath denizens are not impressed by new things, because their daily lives are so bizarre. No, I think it's a disconnect because it's so mundane. The story shows us what might be going on in a London that was still on the Surface in 1895. But that possibility has been gone, forever, for at least 30 years when this ES started. That's our disconnect, in my opinion. edited by cathyr19355 on 10/12/2017 -- Cathy Raymond http://fallenlondon.com/Profile/cathyr19355 Catherine Raymond aka Mrs. Rykar Malkus http://fallenlondon.com/Profile/Catherine%20Raymond (Gone NORTH)
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Pnakotic Posts: 266 9/30/2017	Urthdigger wrote: While I understand the writers can't reasonably expect to cover all the bases, I must admit I am a little disappointed that as both someone who favoured the Glass in the War of Magicians and a freaking GLASSMAN, that I still had to pretend I didn't know how Pleat does his trick. Bear in mind... even as a Glassman you're a researcher into the pathways of mirrors and Parabola. You haven't cut deals with the Fingerkings, and there's a great deal to suggest you make efforts to avoid the less pleasant denizens of Parabola. [Spoiler]Even having favored the Glass in Mahogany Hall, you haven't made any deals with the Fingerkings - you've just replicated an illusion you were taught. If anything, your choices in, say, The Court of Cats or Lost in Reflections might have a bit more influence in your ability to call in favors.[/spoiler] Given the Idealistic Illusionist's reaction, he's already got a pretty good idea of what's behind the glass; he's just been hoping Pleat's illusions are truly some ingenious bit of stagecraft that he can replicate without any sinister bargains. But I do agree that I wish our professions and qualities from former stories had some kind of impact on our options in these stories. On this occasion, as others (like, say, The Court of Cats, The Final Curtain, Lost in Reflections, The Attendants, The Manager's Dream...) I've wished my own Glassman status and qualities from older stories could give me some clever options for wrangling mirrors, navigating dreamscapes, and dealing with their metaphysically improbable denizens. -- J. Ward Dunn, Glassman Book of All Hours 9:99: Journey's end in lover's meeting. Progress is ascendancy.
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loredeluxe Posts: 106 9/28/2017	I really haven't liked this season's stories so far because the story simply feels boring and mundane to me. There just hasn't been anything bizarre and otherworldly enough to get my interest, especially coming off the back of the excellent Season of Ruins and the Light Fingers update. Yeah, the last story had a reality bending device and this story had some minor Parabola fluff and a devil Grand Hunt, but the backdrop of these moments have felt so down to earth. Being a lawyer and helping with a movie just didn't excite me compared to other aspects of the Fallen London setting.
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Hotshot Blackburn Posts: 110 9/28/2017	Does anyone happen to have Echoes of watching the full film, particularly anyone who also happened to use the Rubbery option earlier on? The rest of the story seemed fine, but I'm a little disgruntled that you miss the ability to see the movie if you choose other options during that time. Especially since there is no notification other than a small part of the title changing on one specific storylet. Damnit, I was hoping to see what picking the Rubbery option actually did -- Hotshot Blackburn: Messidor, Aspirant to the Calendar Council. Paramount Presence. Seeker of the Name. A firm believer in kindness, solidarity, and sufficient use of force and firepower.
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Thjazi Posts: 20 9/28/2017	Reused NPC wrote: And a question: After the viewing, is Feducci always annoyed, and the Veteran Privy Counselor always satisfied? Or does that change based on things like whether you did a real or fake hunt, or how you dealt with the appearing act? edited by ReusedNPC on 9/28/2017 Oh. interesting. I had exactly the opposite result-- Feducci very satisfied with the movie, and the Privy Councilor unimpressed. I wonder which choices change that... -- open to all friendly social actions except The Affluent Photographer and Loitering. Boxed cats (or are they), deceit, poisoning etc. only by arrangement.
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Gul al-Ahlaam Posts: 225 9/28/2017	I don't know why everyone thinks the Filmmaker looks so strange? She looks perfectly normal to me. In fact, I think I know someone who looks very similar. -- The Uncanny Hierophant. The Jewel-Eyed Prince.
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Xue Posts: 14 9/29/2017	Rhysdux wrote: I'm tempted to stop midway through. The reason? The deal involving the Grand Hunt (real or fake). You can buy a fake Hunt with a Brilliant Soul--but my character is a Shepherd, and barring one occasion involving her Nemesis (which she still is tormented about), absolutely refuses to give souls to devils. On the other hand, she doesn't regard a real Hunt as an acceptable risk, either--for herself or for anyone else. And there are no other options. She can't walk out on the devil. She can't say, "Absolutely not!" to the Impresario. It seems that the only way for me to remain in character is not to play. I say go with the real hunt. Your character is using the opportunity to expose Hell's savagery to the masses.... and you get to shoot a devil or two for good measure~!
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Reused NPC Posts: 259 9/29/2017	Rhysdux wrote: I'm tempted to stop midway through. The reason? The deal involving the Grand Hunt (real or fake). You can buy a fake Hunt with a Brilliant Soul--but my character is a Shepherd, and barring one occasion involving her Nemesis (which she still is tormented about), absolutely refuses to give souls to devils. On the other hand, she doesn't regard a real Hunt as an acceptable risk, either--for herself or for anyone else. And there are no other options. She can't walk out on the devil. She can't say, "Absolutely not!" to the Impresario. It seems that the only way for me to remain in character is not to play. You could do a real hunt and spend quite a bit of time shooting devils in the face, if you fancy. It will most likely result in little if any bodily harm to the actors, and it's (probably) quite satisfying to shoot devils every now and again for a good cause. -- ReusedNPC, a d__ned lunatic. Edmund Viric, a rather dreamy sort. "I won't stay long, I shan't stay long! Tell me a secret." --the Baldomerian
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Reused NPC Posts: 259 9/28/2017	ExceptionallyDelicious wrote: Reused NPC wrote: From what I understand, it's just a matter of whether you do, in fact, get to tell him "I told you so" later. Whether you warned him about separating the composer from his beloved. It's for a minor thing later in the story, and as someone who's done it, there's not much of a point to it. Ah, thank you. Would you rather have not done it? I'm a bit torn, as art should come first, but the composer's orders seem quite harsh for the music "not sounding right". Don't get me wrong, there's no downside. It's just kinda pointless. And somewhat insensitive, if you ask me. -- ReusedNPC, a d__ned lunatic. Edmund Viric, a rather dreamy sort. "I won't stay long, I shan't stay long! Tell me a secret." --the Baldomerian
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Rhysdux Posts: 19 9/29/2017	I'm tempted to stop midway through. The reason? The deal involving the Grand Hunt (real or fake). You can buy a fake Hunt with a Brilliant Soul--but my character is a Shepherd, and barring one occasion involving her Nemesis (which she still is tormented about), absolutely refuses to give souls to devils. On the other hand, she doesn't regard a real Hunt as an acceptable risk, either--for herself or for anyone else. And there are no other options. She can't walk out on the devil. She can't say, "Absolutely not!" to the Impresario. It seems that the only way for me to remain in character is not to play.
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Catherine Raymond Posts: 2518 9/28/2017	Hotshot Blackburn wrote: Does anyone happen to have Echoes of watching the full film, particularly anyone who also happened to use the Rubbery option earlier on? The rest of the story seemed fine, but I'm a little disgruntled that you miss the ability to see the movie if you choose other options during that time. Especially since there is no notification other than a small part of the title changing on one specific storylet. Damnit, I was hoping to see what picking the Rubbery option actually did I agree about watching the film. I chose to omit the elements I thought would be the least interesting, but I still would like to know what it's like. -- Cathy Raymond http://fallenlondon.com/Profile/cathyr19355 Catherine Raymond aka Mrs. Rykar Malkus http://fallenlondon.com/Profile/Catherine%20Raymond (Gone NORTH)
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Pnakotic Posts: 266 9/30/2017	Overall this was an ok story - no great revelations, not particularly long, but with some enjoyable characters and a few fun choices. What causes me consternation is just how this all fits into The Season of Sceptres. Granted, film media becomes a major propaganda source in the early 20th century, but we don't really touch on that (even with speaking to Feducci after the film). The Imposing Impressario is in his own words something of a tyrant, but there's not much to glean from him besides visionary zeal and that sort of affected braggadocio peculiar to theater people. The parable of "breaking" another person while pursuing a great design is, quite honestly, one of the moral prices nearly every person in power will encounter, and if they aren't prepared for it they should look to other vocations. I very much doubt the Injurious Princess has any illusions about that. Enjoyable as my little foray as an assistant producer was, I took little enough away from it. I failed to shame a vain producer into ethics, failed to convince a budding illusionist to indebt himself to sinister forces in exchange for a mirror trick, failed to rouse the masses to more than being armchair critics, failed to even purchase the gratitude of a cabman with coin. I suppose I succeeded at shooting a few devils as an act of self-preservation, but it's hardly leadership material, much less empire building or court intrigue. Perhaps if they'd touched a bit more on the Mayor and the Privy Counsellor there'd have been some intrigue to peek into... edited by Pnakotic on 9/30/2017 -- J. Ward Dunn, Glassman Book of All Hours 9:99: Journey's end in lover's meeting. Progress is ascendancy.
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Mercury Posts: 3 9/30/2017	As others have touched on, I was quite dissapointed when I realised that I had missed everything between the beginning and the finale of the film, because it wasn't obvious to me that the option to watch it had changed. I enjoyed the option to forfeit the 62.5 echoes in this ES, it felt very in-character for me. -- Mercury Achtzig - Who keeps most of her radical opinions to herself, excepting when she does not. (Available for any social actions, including selfishness for the affluent photographer and, within reason, scandal-reduction) Persephone Cloudwatch - Who would be best left unmentioned and ignored. (Open to anything other than the aforementioned selfishness. You can trust her. You should not.)
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Catherine Raymond Posts: 2518 9/29/2017	Jolanda Swan wrote: Had the same issue. Letting people die versus letting one soul go, especially as a shepherd. I admit the story... scared me a bit. With the art nouveau theme of the fan art contest and Sunless Skies afoot... is FL going to change its mood from Victorian to turn of the century? Or is it just the season and the timing? edited by Jolanda Swan on 9/29/2017 Perhaps it is both! It is 1895 now in Fallen London, and even in the Neath, time does not stand still. -- Cathy Raymond http://fallenlondon.com/Profile/cathyr19355 Catherine Raymond aka Mrs. Rykar Malkus http://fallenlondon.com/Profile/Catherine%20Raymond (Gone NORTH)
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Lamia Lawless Posts: 604 10/8/2017	The Idealistic Magician is a good, hard-working, down to earth guy who loafs around his house in his shirtsleeves like the rest of us ordinary folks. Oh, by the way. [spoiler]Did anyone actually get caught by the devils in the Hunt? My character shot a devil once (I like to think it was a co-worker she didn't really care for, like maybe he's the guy who always steals her lunch no matter how many times she writes her name on it?). Anyway, it was sufficient to keep the devils from catching the crew, but I kind of want to see what the failure text looks like.[/spoiler] -- The Harmonic Hellfarer
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Lamia Lawless Posts: 604 10/8/2017	I think Lost in Reflections and the Century Exhibition gave us a sense that time in Fallen London is not static and that things do in fact move forward. I often feel very conscious of the fact that (hopefully!) the game will still be around in six years, and our journals will someday bear the dates of the Edwardian times. Therefore the introduction of film didn't really cause me any cognitive dissonance. I do think that characters unfamiliar with film could have had more emphatic reactions, but I think a lot of other things balanced out that discrepancy. [spoiler]The fly driver's lack of awe for the situation indicated to me that it's so new people don't even know what it is or why they should take it seriously yet. He's also a nice demonstration of local color. What does this newfangled film stuff mean to him when he's got money to make? So I didn't mind that. I think your own character's passion for the film also balances it out... it's not just Art, it's also creating a product of what many late 19th century Victorians thought of as the Golden Age of scientific progress. What you're doing is so meaningful that it's worth taking actual, physical risks for it. I really got swept up in the excitement of playing the role of a Victorian character who's seeing their very first film. I feel like the idealistic magician was also a nice reminder that most Fallen Londoners are not mixed up with Fingerkings. Parabola is still very much a Searing Enigma-level secret to the majority of Fallen London, and not all magicians are Conjurers or Glassmen. I also think some of the writing in the Grand Hunt portion was exceptionally well done. The devils showing up in the archways like they're emerging from portals to eternity was an incredibly evocative description. I have two criticisms only: This story was more linear than most. I think the last one was a good balance between being straightforward and not sucking up my actions, without making me feel like I was being led by the hand towards the story's conclusion. However, some parts did allow me to make fun choices! Choosing whether to do a Real Hunt or a Fake Hunt was a point where I had to seriously consider my character's POV on the matter before choosing. But the rest of the story just seemed to take you from Point A to Point B. Finally, the composer seemed sort of like a footnote. His role in the story did an excellent job of driving the point home- that wielding power over people's lives carelessly can mean destruction. And the announcement just before the show was just minimalist enough that it had a heavy, dreadful weight to it.... a weight that was a little bit diminished by the fact you basically forget about the composer while you're helping with the rest of the film. I feel like a few more cameo appearances from this character and some more tension-building hints sprinkled throughout the story would have made the ending hit harder. It essentially feels like I was playing through two stories that were cut and pasted together in some parts. Basically, I feel as though I understood what the writer was going for, and I recognized all the elements of a very good story, but something about how they were put together was a little disjointed.[/spoiler] All in all, while this story did have some flaws, I enjoyed it, and I will treasure some of the more memorable lines from it. edited by Lamia Lawless on 10/8/2017 -- The Harmonic Hellfarer
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dov Posts: 2580 10/2/2017	Fluffy Monotreme wrote: You've never seen a single Melies film, have you? The special effects and advances are only about 5 to 10 years ahead of real world sophistication at the time. I have not, and it doesn't change any part of my argument. In fact, it supports it: FL is not the right setting to introduce cutting edge 20th century technology, no matter if it was barely feasible in our real world at the time. (and much more so when, as you say, it's years ahead of even our real world, and London is semi-isolated and people shouldn't react to the film industry's existence in this nonchalant way. If you want to mention the invention of cinema in FL it should be as a throwaway line in some story referencing some crazy inventions up on the Surface that no respectable Londoner would believe ("moving pictures? surely you exaggerate... Let's go see the latest exhibition at the Brass Embassy..."). -- Want a sip of Hesperidean Cider? Send me a request in-game. Here's an_ocelot's guide how. (Most social actions are welcome. Please no requests to Loiter Suspiciously and no investigations of the Affluent Photographer)
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Lady Karnstein Posts: 278 10/3/2017	I rather enjoyed the story. Not my favorite, but in my top ten. Technology was close enough to period I could forgive being off a decade or so, especially given how time works in the neath. The hook is odd, I suppose, depending on the character. Caroline is an infamous bohemian known for her tastes, among other things, so bringing her in felt natural; she was singly qualified, especially given the subject matter. So it bothered me not a whit. I enjoyed determining how the scenes would be done. I confess I was unclear a bit on the role of the Rubbery Men in the debauch, so was a little surprised by the result, but I can't necessarily say I would have chosen differently, had I known. A significant improvement on the last story, and a nice surprise. edited by Lady Karnstein on 10/3/2017 -- Lady Caroline Karnstein, The Moral Hedonist (Description) Infamous writer, artist, and courtesan. Unrepentant Invert. Hesperidean. Paramount Presence, Correspondent, Nocturnal. Poet Laureate of the Neath, Ambassador to Arbor
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Skwawk Posts: 5 10/7/2017	This was my first ES, and I didn't really like it. I learned nothing as there was no lore. No nice rewards to make up for it. I much preferred Trial and Error, as it least there I got to learn about London and Hell's legal systems. Plus, I got the satisfaction of wiping the smile off of that stupid barrister's face. This story left me feeling... Meh. -- http://fallenlondon.storynexus.com/Profile/skwawk Correspondent
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Lamia Lawless Posts: 604 10/16/2017	I only just now noticed that the Nonchalant Secretary is a recurring character from Five Minutes to Midday. Neat! -- The Harmonic Hellfarer
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Dameon Grey Posts: 23 10/17/2017	I absolutely loved it, from the brutal description of the Grand Hunt to the finality of the Donation ending, It really helped set the scene for the changing tides of time London is going to be facing. -- Mad, Bad, Dangerous to know. POSI. Correspondent. Social actions besides the affluent photographer are welcomed. http://fallenlondon.storynexus.com/Profile/Dameon~Grey
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Skinnyman Posts: 2133 10/26/2017	With all this Hallowmass commotion, do remember to unlock this story if it's not too late! -- ESs items and quality requirements sheet. Please check if there are errors or if something is missing Achievement list if you're feeling bored! I am accepting Plant battles, Neath's Mysteries card, Starveling Cats and boxed cats. No suppers, no second chances gain and no need to cure my menaces!
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Reused NPC Posts: 259 9/29/2017	Actually... during the staged hunt, I had an opportunity to shoot a devil in the face regardless of the fact that it was STAGED. Has anybody else done this? Do they get really angry about it and turn it into a real hunt? -- ReusedNPC, a d__ned lunatic. Edmund Viric, a rather dreamy sort. "I won't stay long, I shan't stay long! Tell me a secret." --the Baldomerian
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folklore364 Posts: 136 9/29/2017	So does it just end with the option to donate your payment or not? I've been looking to go back and talk to the princess and haven't found any thing. Also the ending was eh. It really feels like the composer should have been more involved outside of one or two lines of dialogue from others. -- A correspondent who hungers for knowledge. May have doomed london to war with Hell. http://fallenlondon.storynexus.com/Profile/folklore364
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suinicide Posts: 2409 9/29/2017	SingingFlame wrote: [spoiler]What happens if you stage the real hunt and end the filming with "devils at your wheels" above 4? I assumed it would be nothing good, so I kept shooting them in the face, but now I'm curious about what happens if you don't.[/spoiler] Nightmares. Lots and lots of nightmares. http://fallenlondon.storynexus.com/Profile/Vavakx%20%20Nonexus?fromEchoId=12560804 edited by suinicide on 9/29/2017 edited by suinicide on 9/29/2017 edited by suinicide on 9/29/2017 edited by suinicide on 9/30/2017 -- http://fallenlondon.storynexus.com/profile/sunnytime A gentleman seeking the liberation of knowledge, with a penchant for violence. RIP suinicide, stuck in a well. Still has it under control.
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Aberrant Eremite Posts: 362 9/29/2017	Reused NPC wrote: One other question: Throughout all of our playthroughs, has so much as a single person had the public be satisfied? Or is it always &quoteveryone's a critic&quot? I think it's Impossible to please everyone. -- Hieronymus Drake: Gentleman scholar, big-game hunter, scar-faced aristocrat. Remarkably sane, all things considered. Tanith Wyrmwood: Longshanks cat-burglar; Bohemian author; now, perhaps, something more. Bubbly, expressive, and affectionate. It’s not only still waters that run deep. Telemachia Lee: Gentle lady by birth, brawling Docker by choice. Good company in the drunk tank.
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mezzocarattere Posts: 7 9/30/2017	Adding my voice to those who enjoyed this story - actually, way more than the previous one. I think I'm biased because I love all things theatrical and behind-the-scenes (like, me personally, not my characters), so even when the story felt linear I didn't mind reading it. I agree that I'd've liked to see some more of the Composer - while I felt good about my choice at the end, I would have felt better about it with more background. Also I was a little peeved that Feducci didn't like my movie - real magic tricks and a REAL GREAT HUNT apparently weren't enough to do it for him?! Well, all right. Also, count me among those who got slammed with nightmares because I didn't think "four or above" included four, because reading is hard. I've echoed my version of the whole film if anyone's interested, at Chivioletta. -- http://fallenlondon.storynexus.com/profile/chivioletta Charmer, hedonist, Game-player, devil-friend, privately talented. All positive social interactions welcomed; negatives please carry some flavor text to make up for the sting.
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Fluffy Posts: 41 10/2/2017	dov wrote: I've finally played this, and unfortunately I really didn't like this one. The story didn't work for me. At all. The writing itself was fine, but the story had two fatal problems: 1. A complete disconnect from the FL setting and atmosphere Suppose a new story is about how a hansom driver tells you about this new invention called a &quotcellphone&quot and sends you on a quest to find a great app for it. This might lead to a decent story, in a different world and setting. There is no place in FL for this. Likewise, in a world which is set in a gothic and mystic 1895 London which has been semi cut off from the world for 30 years, there's no place for such technology as depicted here. What's shown in the story is decades ahead of the FL setting - not only in terms of technology, but socially. Sure, in the real world the first films came out at around this time period, but that is nowhere close to the level of cinematic sophistication shown here (camera movements, special effects, etc.). Also, the public does not react as if these &quotmoving pictures&quot are a new marvel. They just seem excited that a film crew is filming in their home town, which suggests an already thriving film industry people are familiar with. Despite mirrored illusions and filming the hunt of devils, there was nothing &quotFallen London&quot in this story. It could have been told anywhere, and would have been better in a world set in the 1920s somewhere. 2. Boring Throughout the entire story I found not one thing of interest. No character and no plot point seemed to matter at all. The one part where I thought the story might take an interesting turn (Parabola influence?) was just hinted and then dropped. Why does the Filmmaker depend on me to decide if to film an illusion her way or the Magician's way? She is the filmmaker. It's her decision by definition! My character is just the new hired-help which no one knows (this should have been an argument between the Magician and the cameraman, with the Filmmaker leaving the decision to us). Why would I care specifically about this story about Don Juan? Is there symbolic relevance to my character? To the FL setting? (to contrast, see how beautifully a previous ES wove references to a classic work in Hojotoho! - another story by the same writer, who is in my top 3 ES list) I've watched the whole film (couldn't care to do anything else, like hush others) just waiting for this thing to be finally over. The end result was just a repetition of previous scenes. What was the added value of being told the I now see the scene shot at the square and can briefly see myself in the background. I was there. I've played this scene already. What new perspective was added? Conclusion: Worst ES by far for me (I've played them all since they were released). This should never have been included in this world. ---- edited by dov on 10/2/2017 You've never seen a single Melies film, have you? The special effects and advances are only about 5 to 10 years ahead of real world sophistication at the time.
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Catherine Raymond Posts: 2518 9/28/2017	I've just finished doing the Story. I'm a bit disappointed. I'm sure that "The Stone Giant" was a great film, but I'm not all that interested in a story of filming in the Neath. It seemed a bit longer than "Trial and Error" but since I enjoyed it less, that's not an advantage. :-( -- Cathy Raymond http://fallenlondon.com/Profile/cathyr19355 Catherine Raymond aka Mrs. Rykar Malkus http://fallenlondon.com/Profile/Catherine%20Raymond (Gone NORTH)
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Mr Sables Posts: 597 9/28/2017	I'm curious how parts like "Mayor Feducci" will hold up over time; will they be changed to the new mayor's name, or will just the 'mayor' be removed to have Feducci as his own character, or will it be left in to thus date the story to a specific timeline in the game? I absolutely love the writing in this one; it's so vivid and paints a beautiful image in one's mind, and it's an absolute delight to read so far. I'm a little less keen on the art; I love the promotional picture, but the film-maker hits the "uncanny valley" mark too strong for me, which is a little off-putting. The OP art, though? Perfection! I love the detail and style and sheer personality that shines though. Also, I'm unable to record the entry for flirting with the cabbie. I think that's bugged. I've gone forward anyway, but a little irksome . . . This is also feeling linear to a bit of an extreme. The "Grand Hunt" is extremely repetitive, too. I do appreciate the zero-action cost on parts of exploration or extra dialogue, as it feels like nothing is 'wasted' and yet enables me to see everything. I've now found a bug. "Truth in Magic" just says "root" with no way to progress . . . (fixed now, though). I'm also vastly disliking the sudden action cost on dialogue, as it's just a unnecessary way to make the story feel longer . . . the content isn't actually any longer, but an action-sink has been added to give that impression, and all it's causing me to do is skip two options to just go right to the end, instead of playing the last two actions, else then it's 30 minutes before I can even get to the ending of the story, and all for no real reason. Edit: I'm also a little annoyed by the final decision; if my renown can go past the cap, why not my magnanimous quality? I gave up my reward, only to seemingly get half of what I should, because the cap on one wasn't removed (which is possibly, as other stories took me past the cap) . . . to be honest, I feel this story started very strong, but was filled with false choice, action sinks, and various bugs. It ended up very "meh" for me, if I'm honest. I am curious what happens if you say "I told you so" to him at the end about the composer; my character didn't have the heart to do so. edited by Robin Alexander on 9/28/2017
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Diptych Administrator Posts: 3493 9/28/2017	I wondered why my action pool seemed smaller - I'd forgotten to update my details and my subscription lapsed! I was about to come here and ask where in the Neath the new story was hiding. -- Sir Frederick, the Libertarian Esotericist. Lord Hubris, the Bloody Baron. Juniper Brown, the Ill-Fated Orphan. Esther Ellis-Hall, the Fashionable Fabian.
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Xue Posts: 14 9/28/2017	I really enjoyed this story. It was really fun dealing with the many challenges of shooting a film in the Neath. It really makes me wonder how the film industry would function in Fallen London. My favorite part was shooting the finale. I've always wanted to partake in one of those hunts. :3 My only critique was that the ending was a bit mellow. I was, however, expecting for some 'Don Juan' shenanigans with the Impresario the end. In a setting with devils, Hell, and other Neathy madness, that could reasonably happen. Ah well, c'est la vie. Watching the film was a blast at the end. In the end, great job. Much better work than last month's lawyer story.
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Jolanda Swan Posts: 1783 9/29/2017	Had the same issue. Letting people die versus letting one soul go, especially as a shepherd. I admit the story... scared me a bit. With the art nouveau theme of the fan art contest and Sunless Skies afoot... is FL going to change its mood from Victorian to turn of the century? Or is it just the season and the timing? edited by Jolanda Swan on 9/29/2017 -- Lover of all things beautiful, secret admirer of ugly truths, fond of the Parabola Sun... and always delighted to role play. http://fallenlondon.com/profile/Jolanda%20Swan
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Gul al-Ahlaam Posts: 225 9/28/2017	I chose the Scandalous third option for the debauch, the True Hunt for the damnation, and Pleat's Method for the effect. Feducci adored it, the Councilor was unimpressed. Presumably more exciting and realistic choices strike Feducci's fancy, while more reserved ones interest the Councilor. Speaking of which, this was a wonderful story! I really enjoyed all the different little aspects of it. Stories about small things and all the intricate ways they work themselves out are always fun! It's important to have stories that emphasize fine detail and human life as well as wondrous events and strange creatures, and I think in the right hands they can be even more captivating. Cash definitely has the right hands, and he has yet to disappoint. A very strong story from beginning to end. ^_^ edited by Gul al-Ahlaam on 9/28/2017 -- The Uncanny Hierophant. The Jewel-Eyed Prince.
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Aberrant Eremite Posts: 362 9/28/2017	I wasn't certain about it until the end, when I saw how the choices made at each stage affected the final film, and how the NPCs reacted to it. I liked that very much - I felt it made the story come together in a way that last month's didn't. I was annoyed that Tanith missed her own cameo appearance because she was shushing someone at the time! A realistic annoyance, perhaps, but a real shame since we can't repeat the content. (Oh, I could wait and pay Fate to do so, but it's not worth it just for a scene or two that I missed.) I agree that the picture of the Assured Filmmaker was distractingly odd. Is her Amused Assistant the first ambiguously-gendered NPC we've seen? (I mean, the first ambiguously-gendered NPC we've seen who seems to be a human going about an ordinary life.) It seemed like there were more typos than usual in this ES. Still, I think it's one of the better ones. -- Hieronymus Drake: Gentleman scholar, big-game hunter, scar-faced aristocrat. Remarkably sane, all things considered. Tanith Wyrmwood: Longshanks cat-burglar; Bohemian author; now, perhaps, something more. Bubbly, expressive, and affectionate. It’s not only still waters that run deep. Telemachia Lee: Gentle lady by birth, brawling Docker by choice. Good company in the drunk tank.
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October's Exceptional Story: The Stone Guest