Episode Transcript
[00:00:04] Speaker A: Caldera, the fertile soil of community, provides fruit that spreads for miles and teaches children and elderly alike the cycles of life and death.
You must have leaders for your living and for your dead.
The former villain turned rebel, Chloe Min, must reintegrate into society with consequence. The rebels must seek respite before they crash. But first we follow the mysterious halcyon as they take Chloe along for the ride to a dead woman's home. The work is good and it is never done.
[00:00:42] Speaker B: Um, Chloe, had you ever been to the Hugo sum hospice and mortuary before?
[00:00:49] Speaker C: No, I think that Chloe has never had a reason to have to go there.
[00:00:55] Speaker B: What is hard to take into consideration just looking at the building from the front is just the sheer amount of horizontal space that the hospice and mortuary is apparently fully accommodating somehow. There are the many rooms of the elderly here, many family sort of oriented spaces to hang out with their dying, and many nurses who have little lounges here as well. The community center and the hospice. At the very least, being so near means that the people who are at the very least, have mobility are able to, like, still go to the pool and still engage in some of the mobility therapeutics that are offered for free. And in the sub level, the basement sort of area, is where the mortuary proper resides.
This is one of those places that is in the same building on two different sides and has the same address. So lots of people have to be like, are you going to the hospice or the mortuary? You have to go all the way of, like, walk all the way to the other side of this as well. It's like a whole, like, kerfuffle for them. Two places are here in specific tandem because of Hugo. Sam Halcyon, your boss, actually a very kind of eccentric, like, coiffed mustache graying, like, korean older man, is like, spry and like, 70. So he's still. He's very much has been in this business for a long time for a specific reason. A very complicated and, like, interesting relationship with death that I'm sure the two of you have spoken about plenty of times.
There are a couple places, Halcyon that you can choose to take Chloe. There are a couple things that are sort of happening at all times.
There is just the front desk sort of area where you might find Hugo or the usual array of receptionists that come through or just going down to the morgue and seeing if there's anything specifically that needs to be done.
[00:03:07] Speaker D: Okay, we're definitely gonna stop by and say hi to Hugo and the receptionists who I imagine.
I don't know if the receptionists like Halcyon, but I think Halcyon really likes the receptionist and enjoys saying hi to them. But I think it's kind of like that. Hey, got a friend. We're going down to the morgue type thing. Not, like, asking permission. Yeah, not really checking in. Just being like, this is what we're up to.
[00:03:36] Speaker B: I'll see you.
[00:03:37] Speaker D: I'll see you guys later type of a deal.
And I would imagine Chloe is a little trepidatious of this, and forgive me if that is an assumption that I should. Shouldn't be making, but Halcyon's kind of like pulling by the arm. Like, come on. Come on. I got something to show you. So I think we're kind of stopping by and then beelining.
[00:03:59] Speaker E: I love that.
[00:04:00] Speaker C: Yeah, I think you're spot on that chloe's trepidatious. When Halcyon invited her to come look at the morgue, I think that she somehow didn't consider the fact that there are other people working here.
[00:04:11] Speaker E: And so even though we're just, like.
[00:04:13] Speaker C: Delighting past the receptionist, she is deeply uncomfortable with this whole thing.
[00:04:20] Speaker D: Question, would the people working there recognize Chloe? Is that a thing that, like, would happen?
[00:04:28] Speaker B: It's definitely possible. This round of receptionists, I think this one in particular, her name is Samantha or something. And she is this, like, 40 to 50 year old mom who's been working with Hugo for, like, a very long time. She's the person that, like, regularly updates the portal for all of the receptionists to be able to, like, have all the, like, information, like, together. Like, she's probably more used to younger workers who get burnt out in, like, three months and then leave. There's something so sprightly about you that, like, is concerning and maybe suspicious to her when obviously Hugo, I think, is very, like, endeared to you. So at the front desk, he and Samantha are speaking. Samantha sort of looks at you and then looks at Chloe with the recognition and, like, raises an eyebrow.
Counselor, is Halcyon giving you any trouble or something? Is there? What's going on?
[00:05:29] Speaker C: Oh, no trouble at all.
And Chloe sort of trails off and looks to Halcyon for help.
[00:05:37] Speaker D: Halcyon kind of just brushes it off and is like, ah, no, we're friends. Hey, Hugo. Looking sharp. And just kind of continues to pull Chloe along.
See you guys later.
Have a good one.
[00:05:54] Speaker B: Yeah. And Hugo just again, endeared to you, just sort of like, oh, good afternoon, everyone. Well, Halcyon, there's actually, if you go downstairs, there's some people getting ready for a field job if you want to go ahead and help attend to them.
I'm unsure what the counselor may be doing here, but I'm sure it could be interesting for you to learn something.
[00:06:24] Speaker D: Oh, just getting to know the community a little better.
I figured I'd help her out. And then I kind of turn to Chloe, and I'm like, we're gonna go on a field trip and head to meet. To meet the folks in the morgue.
[00:06:43] Speaker C: As Halcyon sort of leads us in the right direction. Chloe is just hissing at them like, you mean a field job? Is that dead bodies? Like in the wild?
[00:06:54] Speaker B: What?
[00:06:54] Speaker C: What?
[00:06:56] Speaker D: Yeah, I mean, it's kind of what it sounds like. You never really know what you're gonna get.
[00:07:04] Speaker C: I thought we were just gonna, like, look at someone before they got buried or something.
[00:07:10] Speaker D: Well, that's the beautiful thing about life. It's full of surprises.
[00:07:17] Speaker C: Chloe sort of huffs and crosses her.
[00:07:19] Speaker B: Arms as the two of you go down to the morgue. It looks like, as Hugo mentioned, there are some people dressed in what seems to be, like, almost scrub looking clothing, closed toed shoes, hair back, all that sort of thing. There are two new people, and often these are the people that get burnt out very quick. The work is good, and the work is never done. There are two new workers alongside someone in, like, a similar, like, seniority as Samantha. This is Paul, sort of the coordinator of field jobs. Caldera is still very much a city, still very much a place where people come to, and sometimes they may or may not have family nearby to help collect the belongings of the dead and, like, help through some bureaucracy as well, clear out an apartment of a recently deceased person. So Paul is, like, sort of still onboarding these two new folks. Paul speaks up. Halcyon. It's another volunteer looks at Chloe with very obviously no local politics, like, understanding.
Let me get you both some stuff to wear.
[00:08:39] Speaker D: Hal. Santa just gives two thumbs up and then also kind of elbows Chloe. Like, this is where it gets good.
[00:08:47] Speaker B: Come on.
[00:08:50] Speaker C: Chloe sort of pastes on that fake politician smile and says, yeah, super excited to be volunteering today.
[00:09:00] Speaker B: Paul introduces the two other people.
Yeah, this is Peter Antill.
All right, folks, we are going to be heading to a Tomiko Hasegawa's house, rather apartment. This is in one of the senior apartment, sort of townhouse residences.
Unfortunately, Tomiko's only family.
He sighs.
It's not that she's unavailable, because I know who she is, but she is sort of working with us to put this together, and she is not able to specifically do it by herself. She's Tomiko's only family. Paul says, more specifically, Veronica Hasegawa is Tomiko Hasegawa's only family.
This is a note for Arjun, mostly, who is not currently here. But Veronica Hasegawa is an incredible new actress who actually lives in caldera. When she's not working, Veronica does a lot of, like, femme fatale and scream queen stuff.
So if Halcyon happened to watch a lot of recent horror movies or sort of James Bondi stuff or even Chloe, Veronica is definitely a name that y'all know.
Okay. Probably wherever y'all are seated, actually in the car, we'll say that Peter and till are sitting in, like, the very back of this, like, van, and they just sort of, like, whisper to themselves very loudly, like, oh, my God, we're going to Veronica's aunt's house. Like, what? They're both of them just whispering to each other. Peter, who is just, like, this white guy, brunette with glasses. His hair sort of pushed. His bangs pushed out of his face with a headband.
Are you like, you look so familiar to Chloe.
[00:11:19] Speaker C: Oh, I mean, you might have seen me around the community center.
My mom works there, and I come by sometimes.
[00:11:29] Speaker B: Till sort of speaks up. Till this green blonde kind of bleached this guy sort of sitting next to Peter. Oh, the community center. Like, isn't that place finally, like, going down or like, what. What was on the news about that?
[00:11:48] Speaker C: Yeah, you know, they were looking to sell, but I think that that might not be happening anymore.
[00:11:55] Speaker B: Till speaks. God, that's so fucking stupid. Like, I thought that. I don't know. It's always been kind of like a pain in the ass to hear some things going to that place over, like, maybe the skate park or something, but, like, I guess it's fine.
[00:12:11] Speaker C: Chloe doesn't respond, but she keeps a look at Halcyon. Like, see, I thought I was doing the right thing.
[00:12:19] Speaker D: Halcyon's kind of just sitting there and turns around almost ominously and is like, the community center is the pillar of this city. And just, like, turns back around, and it's kind of like that little justice spirit popping out and popping back in.
[00:12:40] Speaker B: Peter and till just kind of, like, look at each other like, okay, weirdo.
Paul clears his throat okay, guys, let's not get to. We got a job to do, all right? Let's not fight each other while this is happening. And please be respectful of this person's things. I know we are going to a family member of a famous person's house. But again, we're here for a specific job.
As the car pulls in a very harrowing van, parallel parking at the front of these townhouses, all of you are supplied with certain trash bags and, like, more fragile containers for fragile things. I mean, and the job specifically is to get valuables. Today, Paul explains, there's, like, a specific checklist of some things that need to be procured, stuff on the will or whatever. As Veronica seems to be. Again, this person's only family, and thus executrix. And all of y'all are basically given, like, printouts of these, like, checklists. And there is a very clear warning of, y'all were signed and contracted to do specific jobs. Do not go for what, like, more than what is necessary, etcetera. So what seems to be on this checklist is jewelry, which is a very common case.
Old, expensive clothing with a seemingly a focus, like, a strong, underlined focus on expensive photo books, a ceramics collection, and paintings and paint supplies.
[00:14:36] Speaker D: I do think Halcyon would be drawn to the photo books and would maybe, while not being watched, be, like, flipping through them, trying to get a picture of who this person was in life, and to kind of, like, upon entering this space. Yeah, there was that excitement and this kind of, like, looking forward to the job. But upon entering the space, there's more of, like, an appreciation for the personhood of who Tomiko was.
So that's what I think they would do.
[00:15:14] Speaker B: Totally.
[00:15:15] Speaker C: Yeah. I think Chloe sort of starts out in the old expensive clothing realm, but finds herself kind of drawn over towards Halcyon and the photo books, and almost against her better judgment, sort of joins Halcyon in looking through the pictures and sort of getting a sense or trying to get a sense of this person.
[00:15:37] Speaker B: Got it. You see Peter, till and hall sort of split up to the other things as y'all have, like, a clear sort of direction. Y'all seem to.
Y'all kind of chance upon what seems to be this, like, open office nook sort of area where Tomiko had created a library. Like a small kind of library with, like, in the walls or, like, sort of built in bookshelves, so that she didn't have to, like, take up too much space in certain, like, vertical space with other things, y'all do have to look a little bit, but there does seem to be, like, a specific, like, shelf or, like, section where it is all just aligned with photo books.
And there does seem to be open books, like, a haunting realization of, like, Tomiko was, like, maybe reading or even going through some of these journals of her own, journals or photo books. Just before she died, did any of you ask Paul, like, how Tomiko died? Or like, how many clues or, like, clear sort of, like, questions about the death that you want to ask.
[00:16:46] Speaker C: Chloe will ask zero.
[00:16:48] Speaker D: I think Halcyon wants to know very much about how Tomiko died. So I think probably the closer and closer we got to the location, there were more and more questions about it, especially once talking about the community center was banned.
I think they were probably asking like, oh, you know, okay, when was she found?
Is this person the only living relative? Oh, okay, right.
You know, how. How did it happen?
And that sort of thing. I don't know how receptive Paul is to it, but I can see Halcyon being very intrigued by it totally.
[00:17:33] Speaker B: Two of you get the information relayed. Paul says that Tomiko, despite being very healthy and active one day, died alone in her apartment. Again, very common of what seems to be like heart attack sort of in the middle of the day. No contact with recent family, including Veronica, for many months to probably close to a year. It was a surprise to not only like, her neighbors and the people that just kind of experienced her within the townhomes, but a lonely, very fit woman who died alone in her apartment of a heart attack.
[00:18:19] Speaker D: Yeah, I think that information kind of touches Halcyon because they, I think, do identify with that kind of sense of loneliness and of not, you know, very much appreciating life and doing what. What they can to enjoy it to its fullest, but also not fully being able to connect with others for whatever reason.
And so I do think that that kind of within. Within me sparks a bit of a personal connection, which is maybe what drives him to go immediately and look at the photo books and to know more about this person in life, to kind of appreciate that aspect.
[00:19:05] Speaker B: Within the photo books, there are a couple things that really stand out.
And that seems to be Tomiko had no children or like husband of her own. She had a sister, which seems to. To be the mother of Veronica.
Veronica's mother had a husband. And Veronica, at eight, the two of you sort of see what also seemed to be like newspaper clippings of what seems to be a very horrible public disaster on the highway.
One of those really awful news stories, very highly publicly televised highway disaster that involved Veronica's parents when she was eight, to die in a car accident, which may be something, honestly, anyone who had followed Veronica's past life on her Wikipedia article, obviously that information went on there immediately. Tomiko had to take in Veronica and the rest of the pictures that seem to be taken or kept within these photo books. There's maybe one of Tomiko and of Veronica when Veronica is maybe like, twelve, because she seems to have won a piano recital or something.
The two of them are not smiling. All of the pictures of Veronica when she was eight with her parents, very happy, very smiling. Tomiko was in none of those family pictures. There's maybe one or two pictures of Tomiko and Veronica's mother together. Like, old family pictures of the Hasegawa family as well. And also sort of a note is Veronica's father taking the maternal. The Hasegawa name is something also there. And then from there seems to. The photo books skip around many years, and it seems to only document Veronica's achievements throughout her life. And then they sort of stop involving Tomiko in the background. And Tomiko only really keeps what seems to be the achievements of Veronica within these photo books. And then there seem to be, like, printed out pictures of, like, Veronica's first, like, movie she's ever directed or, like, her certain indie films that go. Or the awards that she's received while in college or something along those lines, to become, like, a great, like, actor or writer or something along those lines. And it does seem that Tomiko kept some things, but there is definitely a clear, like, lack of warmth that happened once Veronica went into Tomiko's care.
Yeah, I mean, as y'all are going through these photo books, is there any conversation that the two of you have?
[00:22:20] Speaker D: I think.
I think the sadness of this situation, or maybe the melancholy kind of gets talcyn a little bit.
And as they're kind of looking through and seeing not only is this life not really fully documented, it is kind of.
Not clinically, but in a removed sense, these photo books are dedicated to following the career of somebody who clearly isn't really in touch with this person anymore.
They kind of, you know, struggling to process all of this, especially because I think in life, Halcyon has this, you know, perception that, like, it's all. You're so. You're so lucky to be here in the first place that when the bad stuff comes, it's always a little bit of a shock, and that's what motivates them a little bit until they kind of turn to chloe and go, oh, man, this is kind of sad, isn't it?
[00:23:40] Speaker C: We're looking through a dead woman's things. You took me to come look through a dead woman's things. What were you expecting, if not sad?
[00:23:51] Speaker D: I don't know. To find a life well lived, to show you the beauty of this place and what we're saving, and I don't think that's what we've found.
And then Halcyon kind of goes, are you close with your family?
Because I. I don't think I have any.
[00:24:14] Speaker C: I mean, my mom and I used to be closer, but, yeah, I'd say we're pretty close. Our family photos look a whole lot happier than this, at least.
[00:24:29] Speaker D: So hopefully, when you're dead, people will have more fun looking through them.
[00:24:33] Speaker B: Right.
[00:24:37] Speaker C: That's never really been a concern before this.
[00:24:42] Speaker D: Well, now you can worry about it.
And I think Halcyon kind of, again, continuing to flip through is just like, what do you think happened to make them fall apart like this?
It was just.
It was just the accident or.
[00:25:04] Speaker C: Yeah, I mean, trauma. Nothing. Being prepared. I don't have any siblings, but if I had to take in a random kid, I know I probably wouldn't do the best job, let alone a random, traumatized kid.
[00:25:22] Speaker D: It's not fair that we can't give people the life they deserve.
[00:25:27] Speaker C: Places like the community center, that's trying, right. To help.
[00:25:33] Speaker D: At least with that, Halcyon kind of cracks. You know, not a shit eating grin, but like a I kind of told you so grin and is like, now you're getting the picture.
And I feel like at that point, we've probably looked through most of the photos and need to move on to something else, because I would imagine Peter and till, while we've been just pouring through this, you know, dead person's photos have been actually cleaning up and finding the items that we're supposed to collect.
So Halcyon kind of puts them together and is like, yeah, it kind of looks like she was reminiscing before she died.
I wonder if she knew her time was coming.
And then shrugs and not leaving the conversation, maybe at an inappropriate time, goes to. To work on something else.
[00:26:29] Speaker B: Speaking of Peter. And tell the two of them, sort of, as they're, like, walking, they seem to be carrying the. Like, the containers where they can retrieve the more fragile items. The two of you, with your keener eyes will say, till seems to drop something sort of through a. Like a doorframe within the apartment. It clatters a little loudly onto the ground, and then just sort of. He picks it back up in, like, a very rushed hurry and kind of skitters past the door frame that y'all are in. More specifically, past the room that y'all are in. And the two of you definitely saw that he pocketed what seems to be some jewelry.
[00:27:19] Speaker D: Uh, yeah. Halcyon turns to clone is like, you fucking saw that, right?
[00:27:29] Speaker C: The theft? Yeah, that's.
You guys aren't supposed to do that, right? Like, that's not, like, just an open, secret type thing. It's bad.
[00:27:39] Speaker D: Yeah, it's bad.
And Halcyon is kind of, I think, struggling with, um, you know, kind of this. This feeling of betrayal. Not that. Not that this was somebody she or they knew very well, but that it's something that is so wrong to them. Uh, that it's like, okay, we have to. We have to do something about it. We have to. We have to do something. We have to do something.
[00:28:16] Speaker C: I can tell your boss once we get back to the place.
[00:28:21] Speaker D: No, we have to do something now.
And Halcyon kind of goes up, which. What was it, Peter? Was it till?
[00:28:27] Speaker B: That was the thing.
[00:28:29] Speaker D: It was till kind of goes up to till. And Halcyon is this kind of, you know, taller, more built, athletic person, and kind of like, hand on the shoulder, son.
And it's kind of like, hey, buddy, whatcha doing?
[00:28:49] Speaker B: Make a move. Let's do a. Make a stand.
[00:28:53] Speaker E: And what does it check against?
[00:28:55] Speaker B: Blood. That's. Yeah. TD six and blood.
[00:28:59] Speaker D: All right.
Okay. I got a six and a three. And it's against two ticks.
[00:29:08] Speaker B: Beautiful. Okay. Making a stand. When you make a stand to force someone to pay attention to you. Check against blood on a hit. Choose two. And this is not a weak hit. This is a proper hit.
So either they don't cause you immediate problems. Your words shake them, or they spend some time focused only on you. So which two would you like?
[00:29:30] Speaker D: I think it's gonna be the first two. So they're not gonna cause problems for me.
And they're gonna, you know, hear me out.
They're gonna be effective at what I gotta say to them.
[00:29:45] Speaker B: Oh, let me see.
[00:29:46] Speaker A: Oh.
[00:29:46] Speaker B: Oh. On a strong hit, you may mark a condition to pick all three options. So that is an option.
[00:29:52] Speaker D: Okay, let me see how.
Uh.
I mean, to be honest, I do think this would probably make me pretty angry. So I am open to marking.
[00:30:06] Speaker B: I love it.
[00:30:07] Speaker D: Angry.
[00:30:08] Speaker B: Love it.
[00:30:08] Speaker D: Because I think. Yeah, I think, to be honest, I'm pretty enraged right now. We were told not to, on top of it being wrong.
[00:30:17] Speaker B: Yeah.
Till looks surprised, like, shaken, embarrassed. All the sorts of reactions from getting caught doing something, even though he dropped it. So he was fully fumbling, even as he was attempting this maybe robbery.
He just kind of, like, looks around, like, looking clearly for Paul, Peter comes up to his side and he just goes, whoa, whoa, whoa.
It's, you know, like, it's.
He nervously, like, leans in the. A little bit, whispering, it's fine, right? Like, there's no way that, like, everyone knows exactly who has what, right?
[00:31:00] Speaker D: Everyone might not know, but I know.
[00:31:03] Speaker B: Yeah. And what are you gonna.
Are you gonna say something about it?
[00:31:09] Speaker D: Like, I don't think Halcyon says anything at that point. I think it's kind of like a. Like, look me in the eyes right now and bet that I won't have.
[00:31:21] Speaker B: Come on.
And then as till sort of, like, trips on his words, Peter comes up, kind of leaning in again, whispering, let's be so real. Listen, the two of us heard that this is just one of those jobs sometimes that apparently when they're not super clear on the checklist or, like, there's literally nobody here clearing out.
When it's just the mortuary or the morgue or whoever clearing stuff out, sometimes things go under the radar, and sometimes you can just kind of tick stuff. That's what we heard when we took this job.
[00:32:03] Speaker D: Halcyon's kind of like, feeling maybe a little bit like. Like a superhero or something. Something is like, well, you heard wrong.
And holds out. And again, kind of in this. In this moment of feeling powerful, holds out their hand and is just expecting the goods to be dropped in.
[00:32:25] Speaker B: Yeah. And till, because of your effect on him, because you were so clearly, like, angry at him. And it's like one of those. You never want someone at your job or a stranger or really anybody to, like, be angry. Angry at you for stealing, I guess. Like, he's just so surprised that anyone cares.
So he very eagerly fishes out the extremely expensive looking ruby jeweled, almost choker necklace that was in Tomiko's possession. And he lifts his hands up and just sort of goes, okay. Yeah, yeah, yeah. I only took one thing.
We don't have to say anything to Paul. Okay, we're good.
[00:33:15] Speaker D: I think at this point, Halcyon looks to Chloe to kind of get her reaction to what's going on and to see, not, like, whose side she's on, but to kind of see whose side she's on.
[00:33:30] Speaker E: The.
[00:33:31] Speaker F: Yeah.
[00:33:32] Speaker C: I think that Chloe sort of joins Halcyon in staring these two down and says, have you done this before at this show?
[00:33:45] Speaker B: Tail says, yeah.
[00:33:51] Speaker C: Wow. Well, I'm amazed you haven't gotten caught.
[00:33:55] Speaker B: Before you've heard, right? Like, everyone gets tired because they're going through dead people's shit, and then they leave and that's what we're definitely about to do after this job, I guess.
[00:34:10] Speaker C: Yeah, that much is definitely right.
[00:34:13] Speaker D: I think in this kind of moment of more righteous rage, Halcyon's kind of like the dead can't see. See.
But I assure you, the living are watching.
And I think at this point, maybe a little bit dangerous. Halsey physically, like, gripping the jewelry in hand, like, physically pushes past them and is gonna find Paul and Tatl fully is just like.
I'm telling mom.
[00:34:49] Speaker B: Yeah. Incredible.
The day sort of wraps up as all of the belongings are very.
In a very tense job. Well done.
Everything's collected.
Do you tell Paul before the car ride over and make it that much more tense and incredible to think about? Or do you wait for, like, on site to let Paul know?
[00:35:22] Speaker D: I think because at least Halsey ends up at the point where, like, the problem was averted so this conversation can happen later.
But is like, probably clearly, I mean, angry, right? Clearly visibly angry and upset. So I don't know if that would clue. Paul ingested the fact that there is something wrong.
[00:35:45] Speaker B: Totally.
Paul started speaking up on site. Um, yeah, that. Thank you for doing that. Not everyone.
I mean, no, no one says anything when this shit happens.
[00:36:05] Speaker D: I find that very hard to believe.
Isn't it just what's right?
[00:36:11] Speaker B: Paul looks at Chloe with this, like, world weary people do bad things. Look, does Chloe pick up on that, do you think?
[00:36:22] Speaker C: Yeah, I think she does.
[00:36:24] Speaker B: He SIGhs listen, uh, when people take this job, it is. I think they're not always prepared for as pristine of an apartment that was or as, like, small of a job it was. Sometimes we're cleaning out, like, hoarders houses or something like that. And if they've done it enough times.
I have to be honest, it's not perfect payrol. Really messy and uncomfortable and hard work to be confronted with that much death and loss.
The money's fast. I can see where people, if they might need the money, they might take the things that are under the radar like that.
[00:37:27] Speaker D: Can I.
I want to see if Halcyon can suss out if Paul has ever done this before. No, totally not in like a. Like a kind of righteous way, but just in a, like, am I that.
Am I so naive? You know what I mean?
[00:37:49] Speaker B: Let's do rebel eyes. Some of the options might not be, like, super relevant, but we can make it work.
[00:37:58] Speaker D: All right.
[00:37:59] Speaker B: This is a check against heat.
[00:38:02] Speaker D: Okay.
That. Oh, yeah. Okay, that's three. Um, I got a one and a four.
[00:38:12] Speaker B: Okay.
Um, so rebel eyes is definitely. This isn't like, a super risky move, but we will kind of use that weak hit to mean on a hit. You'll have a clear idea how to get the information, but the architect may give you one or two of the requirements.
I think. I'm just gonna give you. I'm just gonna give you the information, but maybe not the entire scope of it. We don't have to worry about getting certain requirements right now. I think you see that Paul has done it before, but kind of in this overcompensation or in this, like, some day, some point, he decided he would be this coordinator figure and work here long term.
There had been a turn in his life where he changed some of his ways.
[00:39:11] Speaker D: Mm hmm.
And do I kind of get that there has been this change and shift?
[00:39:17] Speaker B: Yeah, I think so.
[00:39:18] Speaker D: Okay.
I think with that realization, it's kind of one of the. Because Halcyon is new in some ways. I think it's one of those moments of recognizing that, like you, the world is always more complex than you think it is.
And I think today has been very humbling for Halcyon in some ways.
And they kind of, as they process that information, shrink, and there's a silence and a stillness that is not, as. That is more common, I would say, of Halcyon in the void than in the world.
[00:40:01] Speaker B: Yeah, absolutely. As the day wraps up and the utter confusion of Chloe not being on payroll are contracted, and this is sort of happening.
And another wacky day is another wacky day, Chloe, you take the opportunity to step out or do maybe any of the work that you actually had to do.
And Halcyon, as you are also on your way, Halcyon specifically, you see Petyr and till, as they have, like, changed and, like, properly, like, sanitized, the two of them are whispering to each other. And till, I think with this, like, remaining, like, shiver that goes through his back as he maintains or catches eye contact with you, just sort of hides his face from you a little bit. But the two of them seem to be talking about something before they start to head out for the day. Halcyon, again, this keen new perception, this new look into the world that you've always had, Chloe, you too, to some degree, have a greater perception. But Halcyon, something in the void wavers around Peter and till, the two of them, as they seem to be, like, still occupying this almost, like, locker room area where the other workers or volunteers may have changed or whatever, there is what seems to be the slightest red crack in the wall as they walk away from it. And this crack seems to be almost something that much reminiscent of what happened as the community center became a shard of the castle in the back of their heads. As you watch them go, Halcyon, there is almost what seems to be the slight flickering and persistently flickering digital projection of a smiley face.
And something interesting to you as well, Halcyon. You hear them talk about a night class at the perennial university. They are heading to what seems to be a journalism class.
[00:42:44] Speaker D: I think. I mean, I'm intrigued about this night class, and I think I feel like there's kind of this listlessness now and kind of unnerved feeling. So I feel like that's like, would my heart be telling me to go anywhere? Like, is that because I think that's what I would follow?
[00:43:15] Speaker B: Yeah, absolutely. I think your heart again, this beacon for hope, this beacon for change within the city, justice must be made. And the two of them not only did something to disrupt the death within this community, you know where to find them at this approximate time, either at another time or tonight, they left behind a mark of a castle.
[00:43:51] Speaker D: Yeah.
[00:43:52] Speaker B: So I think your heart does tell.
[00:43:54] Speaker D: You, can we vigilante justice time a little bit? Is that what we can do? Because I feel. I think that's kind of. And I think it is because there's a sense of, like, betrayal and also maybe, like, shame and embarrassment from not understanding the world the way it is and assuming that the world is the way that it, Halcyon, sees that it should be.
I think it's kind of. I mean, I think there's a. This immediate need to learn more about this world than the people who make it this way. And then also maybe in a darker sense, and again, because I'm still kind of angry.
Not quite revenge, but figuring out there's a danger now and a desire to get rid of that, to eliminate that.
[00:44:56] Speaker B: So we are a week out from the fight, Chloe.
The community center movement to sell any initial meetings for that suddenly falling through despite the reported punctuality of a certain alderman, you.
The meetings that were supposed to lead up to the vote, once again falling through. It was no skin off the four Seasons board of directors back.
But that council money sits wasted and unassigned.
Chloe, you didn't have any specific conditions from that fight, but what you did gain was an entirely new perspective, a new set of powers, a new kind of blessing or curse. It's still a fresh wound.
When you come back from this failed job, do you communicate to anyone off the bat, or do you just sort of let it kind of fester with no one knowing the direct results. How do you sort of deal with it in your career? Professionally?
[00:46:04] Speaker E: Oh, no. If I don't mention it, and it's not real, so I'm just gonna.
[00:46:11] Speaker C: Yeah.
[00:46:11] Speaker E: Not talk about it or notice that it happened at all.
[00:46:18] Speaker B: Yeah. And when someone comes up to you maybe two days later and sort of say, hey, are there any updates about if this motion is going through?
[00:46:29] Speaker E: Oh, I think that things have gotten delayed a little bit on the real estate.
You know, these business structures.
[00:46:39] Speaker B: You say that about, like real estate has been behind.
Alyssa.
I would ask for you to pass beneath notice. However, you have an interesting thing that still remains when your vassal moves.
Something called shameless here. Could you read that out for me?
[00:47:00] Speaker E: When you walk in like you own the place, mark Stain. To make it clear that you belong here, one of your covenants will hear about the company that you're keeping, and the news will hurt and upset them.
[00:47:11] Speaker B: Stain is an interesting thing from the penitent playbook, which is a completely different stress gauge. Stain marks your willingness to call on your old privileges when your stain gauge fills, when you wield your power without thought for the consequences, when you profit from others suffering or when you do anything else the group thinks counts, you lapse. And what exactly that means, I'm sure we will get there someday.
Okay, so instead of rolling, you are able to call upon your alderman charm here.
Do you modify anything or add anything that you say to the person checking up on your case?
[00:47:55] Speaker E: I think that in order to make myself come off well in this specific conversation, without context, without thought for the broader community or who this is going to get back to, I frame it as if I have done everything right. And I'm working so hard to make sure that this sale goes through. And I continue to plug the lines that I have used for the past months about how this is really the right choice for the community center and for the community in general, and that it's just.
It's all on these real estate corporations. And, you know, they made these promises about being ready to move and to work with us to make these improvements to our small neighborhood, and yet here they are, when it comes down to it, dragging their feet. And I. But rest assured that your alderman, Chloe Min, is here to do whatever she needs to get this to go through.
[00:49:13] Speaker B: The second part of this, this shameless bit, is that one of your covenants will hear about the company you're keeping.
Who in particular do you think gets a whiff of this lie?
[00:49:27] Speaker E: So I think it would be most interesting if either halcyon, who has, you know, reached out a hand to me in this, hears that here's what I'm doing.
Or if it is wren.
[00:49:53] Speaker F: Yeah. No, I think. I think both are interesting, unfortunately.
[00:49:57] Speaker B: Unfortunately.
[00:49:59] Speaker F: But, yeah. Because I think that's like the tier three, the real estate. That's the thing that wren just can't laugh off. That's something that is gonna make rent.
[00:50:14] Speaker E: Exactly.
[00:50:14] Speaker D: Yeah.
[00:50:16] Speaker B: Okay.
If that is the decision, then we'll have to see when exactly that comes back. Around the next two days kind of goes past. And, Chloe, you're going to approach work.
And there does seem to be very pointed email subject lines, rather. We're not seeing movement.
It doesn't seem like you're being upfront about progress for some reason, and that's not how we would like to operate. Considering your good track record here, is there anything that you do or say again, Chloe?
[00:50:56] Speaker E: I will sort of, you know, just speaking out of both sides of my mouth.
I think that Chloe fires back about how she's the one with her feet in this community and she's the one with the perspective of how to make this sale go through in a way that isn't going to completely fuck the real estate people once they move in.
And so they need to trust her judgment and her timing on this work. And if things have come to a standstill, it's because that's what needs to happen for all of this to progress. And I do have a good track record, so why are you questioning me on this?
[00:51:54] Speaker B: The next two days pass and obviously everyone is working on the weekend.
There seems to be a local magazine article out at this moment. Specifically, the Caldera Voice is the magazine. It looks to be an article written by a Natasha Sheridan, specifically an interview about the update. If there was to be any movement against the community center and if there were any updates of the city, there seemed to be whispers of something, some very vague project, some change. And Eva Kim, the Four Seasons community center operations director, the one that works at the community center proper and is the director of on site operations, says in the interview, no movement has been specifically made, which, if I am able to speak transparently, I have no problem with. We are extremely busy.
That article is emailed to you, Chloe, and there really isn't even much said other than the link.
And either on like a lunch break or something along those lines, you are going to get a call from Mithran. I actually want to ask, have you been speaking to Mithran about this at.
[00:53:26] Speaker E: All, Chloe is very much trying to keep it together, to keep it locked down because Mithran is dealing with his own things. And if I haven't gotten a call yet about, like, hey, Ruhn said this, this and this, then it's probably fine for me to keep trying to deal with it on my own.
[00:53:56] Speaker B: You get a call on your lunch break.
It is from Mithran.
Do you pick up?
[00:54:04] Speaker E: Of course.
[00:54:09] Speaker B: Mithran. Pele Varun's older brother, your partner.
His voice, as soon as you greet him warmly, there is a very uncomfortable second of a pause where it seems that he has, you can't see him, but, you know, audibly he has flinched.
Is something going on that I don't know about? Have you read the latest caldera voice?
[00:54:36] Speaker E: Yeah, yeah. I've gotten it sent to me a couple times now today, actually.
It's.
[00:54:43] Speaker B: And like, are you in an area where I can talk to you about this? Because, like, in a hushed sort of voice, which is ironic, kind of over the phone, I thought the plan that you were talking about so much is that they were going to change everything about it or just, you know, get rid of it or something more useful or whatever.
[00:55:10] Speaker E: Yeah, that was definitely the plan before.
I think that Chloe has been taking her lunch break just like outside of the library, alderman's office, whatever other community buildings happen in this library. And so she looks around and says, are you working right now? Can I come over to the store or something? I'd rather not talk about it out here.
[00:55:44] Speaker A: Yeah, come over.
[00:55:45] Speaker B: Come over.
Yeah.
[00:55:47] Speaker E: And so she does again, looking very shaky, I think spending the transit time, which I assume is very short, spending the walk over, like, building and discarding lies about what she can say about this.
[00:56:07] Speaker B: At the beautiful Pillay family grocery store, you make a beeline towards the back room to the employee only backroom. But we all know plenty of nieces and nephews have made their way back there as well to see grandma, grandpas, aunties, aunties, uncles, rather of any of the older employees. The back room is plenty of CCtv, security cams, a sort of desk area. There is a loud drama playing on the one sort of extra tv and then loud tamil music also playing on another sort of station. There is a comforting family like air around this. And Chloe, as you make your way over, you see Mithran Pillay, handsome, perhaps wearing way more business formal attire than maybe is necessary for a grocery store setting. But he has a very strong, like, nose shape, like beautiful, wavy, long dark brown hair. A very, like, coiffed mustache, very purposefully set and shaved stubble with a very kind of, like, beautiful, intense look to his eyes and expression at all time, but is working very busily, studiously on a main desk computer despite all the noise all around him at all times. But he kind of goes over to you and before doing any, like, any remotely gauche holding up the hand or like, kissing of, like, your even forehead or anything like that, he kind of gestures for you to, like, go further into the back room to go behind the store in, like, the open air.
Yeah.
[00:57:51] Speaker E: Chloe will look around the sort of family that is still hanging around and nod and sort of precede him outside.
[00:58:00] Speaker B: Are you a couple that does PDA just, like, what does the affection look like right now in terms of your highest stress desperate situation?
[00:58:12] Speaker E: Yeah. I think their normal level of PDA is sort of hand holding or like you said, like a kiss on the cheek or the forehead. But as soon as Mithran comes outside, I think Chloe almost, like, sinks into him asking to be held.
[00:58:35] Speaker B: Hey, hey, hey, hey, hey.
No problem with holding you up. There's no problem here. It is completely comfortable against his body, being near him, being close.
He takes a second to just squeeze. You squeeze, like, your lower back and then up to your arms and then shoulders before he writes you a little bit, not like fully putting the two of you away from each other.
What's going on? You haven't. I haven't heard anything about this. I thought that you, I mean, just per usual, you usually have things under control.
This is crazy.
[00:59:18] Speaker E: Yeah.
Yeah, I do normally have things under control, and I really don't right now, and I don't know what to do about that.
Everything is spiraling out so fast. And I thought that even if we changed directions, it would be, it would work out, it would be fine.
But I don't, I don't know how to do that with everyone else. Just because I changed my mind doesn't mean that they're all going to change my mind.
Did Varun say anything?
[01:00:07] Speaker B: Varun?
I don't.
I mean, nothing about this. Nothing about you. Why would, would he have anything to say?
[01:00:22] Speaker E: No, no, he was there just at the community center.
[01:00:33] Speaker B: And is he the one that made you change your mind?
[01:00:38] Speaker E: Not, not just him, but kind of.
I mean, my mom was really, really upset with me, too, about it, and she, she's never upset with the things that I do.
[01:01:04] Speaker B: His expression softens as you kind of bring up your mom.
And I think there's like a nod there that, you know, was, was aware of your mom not liking the fact that professionally and in your career, you were doing something that she so even morally, was against.
There's a sympathetic, empathetic, even nod there.
Okay, um.
Okay, take a. Take a breath. You know, what are the consequences? What is. What's gonna happen next?
Knowing?
Have you been talking to anyone at work?
[01:01:47] Speaker E: No. Everyone has been. They trust me. They trust my judgment to steward us through this. And obviously they thought I was stewarding us in one direction, and now I have gone completely overboard in the other way.
I just.
They keep.
The real estate company keeps sending emails, and there was that interview, and, I mean, the operations at the four seasons, they haven't been happy with me, obviously, but I can't imagine that they'll be happy with me completely changing my mind and going against everything we've already discussed either.
And the real estate corporation certainly isn't happy with that. And if.
If that reporter gets her claws more into.
I mean, there's not much of a story yet, but it will be a story, maybe. And, I mean, I've only been on office for a couple years. I.
I really thought that I could do something good with this. I thought that I was doing something good with this. And now that I'm not, I just don't know what to even do.
[01:03:22] Speaker B: Okay.
Are you.
Are you off right now? Do you have any work to be doing?
[01:03:33] Speaker E: Oh, I have loads of work to be doing. I just haven't been able to focus on it in the last two days. So it'll keep whether I'm there or not.
[01:03:44] Speaker B: Okay.
I mean, first things first is you're gonna need to talk to someone at work. Maybe someone that will give you some. Maybe has fucked up before, honestly. Maybe someone that can give you some space about it to speak rather, and just try to make a decent enough apology and redirect where that money needs to be going because it needs to go somewhere. Right.
But you're not going to get anything done. If you're stressed, thumbs away. Any, like, brimming tear that you might have, like, on the side of your cheek, on the corner of your eye?
Why don't you just come over?
We'll make something to eat. Did you eat anything today?
[01:04:41] Speaker E: I had a bag of chips for lunch.
[01:04:44] Speaker B: So. No. So, no, no.
[01:04:48] Speaker E: They were sour cream and onion. There's vegetables.
[01:04:52] Speaker B: No, just so vehemently. This is a guy that works at a grocery store. Absolutely not. We're gonna make something nice. Let's just focus on you right now. Okay?
And then Mithrin will just kind of collect you as the state that you're in, and invites you to his apartment. Nice apartment. We'll make a dinner for you, put you in like a nice, lavish, like, throw blanket that he has on his couch. And the two of you have just a nice night where you can maybe breathe for the first time. However, knowing that tomorrow is going to be the last day, that this will go unnoticed.
[01:05:36] Speaker E: Yeah. And I think that as we sort of fade out on that scene, we can hear Chloe and rithrin sort of troubleshooting options. And Chloe, the queen of zero consequences, at one point asks, do you think that the previous alderman would have anything to say? Anything helpful to say? I mean, he had to deal with scandals, fully ignoring the fact that she is the one who brought those scandals to press.
[01:06:06] Speaker B: I think that's definitely a worthwhile thing to go for.
Definitely. Give him a call, something. Things happen, and it is a lot of responsibility, but you do have to patch this up somehow. And, you know, not everything has to be your fault. He speaks very vaguely.
[01:06:31] Speaker E: No, you're right. We just need to figure out whose fault it is.
[01:06:36] Speaker B: Okay, baby.
And the two of you have a nice night.
As we have two rebels right now attempting to clear some conditions. As it is a week out from Chloe, maybe potentially joining the gang, we're gonna do some stress healing at the moment. And stress healing works by way of a couple different reasons or such, but we are focusing on two different ones. Letting your hair down, which is a way to comfort yourself in whatever sort of way. And checking in. Checking in also has three different versions. Minor covenant relationships. Major covenant. And within the rebels, being able to clear stress between rebels, being able to comfort each other or comfort the self is what we are focusing on for this little round of downtime.
So, Varun, when you hang out with strength, Arjun, you can talk through a condition you're struggling with. When you next miss a roll affected by that condition, heal it or upgrade the result to a weak hit, which is a seven or nine. So talk through the condition that you're struggling with. You are struggling with being overwhelmed at the moment.
[01:07:55] Speaker G: I sure am.
I think in this moment, as we are hanging out, Varun has his fingers running through his really perfectly messy black curls and just immediately begins rambling about all of his concerns. His eyebrows are knitted together as he just chatters away.
And then I got back home, and I could hear that my brother was on the phone with Chloe, and it was clear that he understood that something was up with Chloe. And I. I do not know what Chloe was saying on the other end of the line, but, you know, we live together, and he also can pick up my energy and that. I know that something is going on over there, and it's it's a lot. It's really a lot, actually. Um, to, uh, be there and have answers, but not be able to tell my brother anything.
Yeah.
I just wish he'd stop looking so scary that maybe I would feel more comfortable just, you know, letting my hair down in the house a little bit.
But the only place I can do that is over here with you.
[01:09:20] Speaker H: Well, I mean, I'm not gonna. I'm not gonna argue with you about your brother being scary. I'm not gonna argue, but I'm not gonna argue that point.
[01:09:26] Speaker G: He likes you. Don't say that. He likes you.
[01:09:31] Speaker B: Then why did that?
[01:09:32] Speaker H: He always has a scowl on his face whenever he sees me.
[01:09:36] Speaker G: That's a. That's a neutral scowl. He's got a gradient of scowls. I. Part of me thinks it's a permanent, permanent skull that he has on his face, but that's. That's a very neutral skull, which is, for him, a pretty good thing. Listen, I have not seen him smile since high school. Really. So don't don't worry about that at all. No, I don't. I do. I do think mithrin likes you. Really? I'm not lying.
[01:10:05] Speaker H: I mean, I'll take your word for it. But I guess in terms of feeling.
I guess in terms of everything else.
[01:10:16] Speaker G: Oh. Something troubling you?
[01:10:19] Speaker H: Well, no, we can. We can talk about that later. Just focus on you right now and Faroon immediately.
[01:10:28] Speaker G: I imagine that we're.
That Varun and Arjuna having a chat over some food. And he parts the plates between us like the Red Sea and leans forward, arms outward, hand holding, cupping the side of his cheek as he leans forward and says, no, no, no, tell me everything.
Maybe that will be the exact thing I need to get my mind out of my mind, you know? No, tell me, tell me.
[01:11:02] Speaker B: I just need to get out of my own head to completely just apparently cut and disregard any of what Varun's overwhelming status is at the moment. Arjun, there's also the other part of this where you're checking in with another rebel, where it also triggers your hangout move, Arjun. When you hang out with temperance, they help you balance out the worries in your life. Move a tick from the stress gauge with most ticks to the one with the least, and work out with the architect. What advice temperance gave you to affect this change?
What tick? From the stress gauge just super quick as again, we are completely ignoring whatever is going on with Varun.
Are you interested in moving to your least stress gauge?
[01:11:46] Speaker H: I think I will move a tick from my lac gauge into my blood gauge, which is my least filled gauge.
[01:11:57] Speaker B: And as a reminder for everybody listening, the lack stress gauge is the precarity of a social situation. The more tics, the closer you are to homelessness and deprivation. And the blood stress gauge is how much strain your mental and physical health is under. The more tics, the closer you are to incapacitation through sickness, stress or exhaustion. So we can see here specifically through Varun's eyes, Arjun's a little bit more tired than usual, especially after the week of the battle.
So as you know, your overbearing kind of auntie friend Varun over here cuts through the conversation. It basically is.
[01:12:37] Speaker G: Yeah, I know.
[01:12:38] Speaker B: There is also genuinely this thing that also is hanging over your head at the moment. So how.
Arjun, it's still your conversation, but you do still have this problem sort of overburdening you at the same time, how do you weave throughout Varun's protectiveness here?
[01:13:02] Speaker H: I think seeing how insistent Varun is being is like, no, no, no, tell me right now, tell me right now.
Are you just gonna be like. You're not gonna, you're not gonna stop until I tell you, aren't you?
[01:13:17] Speaker G: Nope.
And he still has that like playful smile as he cups his cheek in his hand looking at you. But I think you know Varun long enough now that behind the veneer, that is genuine concern. Because it seems that as you're both speaking, Varun is looking you up and down, observing your every movement and gesture. Basically.
[01:13:48] Speaker H: You can see and you can just kind of see him as you're kind of looking up and you kind of see him kind of yawn a little bit, like assuming, like there's a little bit of eye bags under his eyes. So it hasn't really been slightly sleeping the best lately.
Fine, I guess.
There's this audition that I really wanted to, I guess, prep for, but I got, I don't know, just I've been staying up really long hours to do it, but nothing seems right. It doesn't seem right. So I gotta, I gotta practice.
Perfect it.
As he starts going into his own rambling session as to like how he's been pulling like pretty much almost all nighters to like both prep for his classes, get ready for his bar shifts and then on top of that, practice these practice of some monologues for his audition.
[01:14:46] Speaker G: Hey, Arjuna metados. It does sound, honestly, like you need more sleep.
You keep talking about all these things that you've got going on, and it doesn't. I don't hear the word sleep included in your list of activities over here.
[01:15:08] Speaker H: Look, I can sleep when I finish the audition, but, like, I got to make sure it's good.
Like, I feel like this could be the one that, like, actually, like, you know, I like it could be the one.
[01:15:20] Speaker G: And you see, uh, Varun lean back and shrug his shoulders. Well, it could be the one, but it's not gonna do you any good if you fall asleep in the waiting room. They have waiting rooms, right? Auditions? I think they do. They should. Anyway, you're not going to. You're not going to give a good performance looking all sleepy like that. I see gestures from head to toe. You. As you're sitting across from him.
[01:15:49] Speaker B: You.
[01:15:49] Speaker H: Can see Arjun kind of like, do the, like, kind of like, excuse him more. I'm like a mild, like. Like mild slash, like, playful offense, almost.
[01:16:01] Speaker G: Listen, there's only so much that foundation and concealer is going to do for this. I mean, you want to. You. What is this role? What are you playing? A hero? You can't be a sleepy hero.
[01:16:14] Speaker H: I mean, you see him try to, like, mutter a response back. I mean, like, they exist.
[01:16:23] Speaker G: Anyway, it sounds like to me, as Varun clears his throat and takes, like, another sip of this iced coffee that he's probably purchased over at this place.
I think since you're so insistent on making sure you have this audition perfect and all these other extraneous things are overwhelming you, you know what you need?
You need a room makeover. We need to make your. Your house conducive to your lifestyle. That's what we need to do right now. Yes.
[01:17:01] Speaker H: Wait, no, but Varun, yes, this is.
[01:17:04] Speaker G: Exactly what we need.
[01:17:06] Speaker H: My space is my space. You can't just mess around with my space. I have everything in its place for a reason.
[01:17:12] Speaker G: I'm not messing around.
[01:17:14] Speaker B: It's consultation, as you just sort of see in his expression. A new fire has been lit here. And somehow either that is the reason that Varun chooses to not be overwhelmed. It's just a complete lack of self awareness for the rest of the week.
Would love to confirm, valiant, if this is how you're deciding to do this check in.
[01:17:40] Speaker G: Yes. I think Varun is dealing with the fact that he's overwhelmed by doing something that kind of puts his mind off of whatever is overwhelming him as a much needed distraction. And this is exactly that. Distraction. Marie condoing Arjun's house.
[01:18:02] Speaker H: Oh, God.
[01:18:05] Speaker B: The two of you have successfully checked in. Technically, for now.
For now, that is that.
Let's check back in with Wren.
Ren, we last left you angry as well. As far as checking in or letting your hair down goes, what do you think that Rennis had the time for?
[01:18:28] Speaker F: Throughout the week, I think Wren has had the time to send herself personal podcasts where she's walking around with her phone out like she's walking through the streets. She has her voice recorder on, like an app on her phone, and she is just ranting and raving about Chloe, like, the entire time as she's walking and she's calling her, like, every kind of PG name under the sun. She is. You know, she's just getting all of her emotions out. And then when she has to, like, sit at a place, she'll pop her earbuds in and she'll hit play and she'll just listen to herself and she's like affirming herself and she's validating her own emotions. And as she continues to, it's kind of like journaling, but she doesn't want to write. And it's just a stream of consciousness of her releasing all of this anger out. And at the end, she's just like, yeah, well, I made a lot of good points.
[01:19:35] Speaker B: Josephine at Scary Dog friend plays the architect and edits the show. The biggest thanks to Minerva Mick Janda for creating our system void heart symphony. You can find Josephine producing actual plays at Batouse RPG and nameless domain. Other podcasts you can find her include someplace to be, a system hopping actual play with an indie focus, and monster fuckers Anonymous rating and dating your favorite monsters everywhere you listen to your podcasts. Thanks again to goblets and gaze for hosting us and all the music you hear today is from epidemic sound.
[01:20:03] Speaker H: Abhishek Mitange he him plays Arjun Kumar. You can find him voice acting as well as starring in other TTRPG AP's such as Zenith over at Sword and Key, premiering August 29, as well as Iron sworn the Valley season two over at nerds with Dice, premiering September 5. You can also find him being a huge tokusatsu nerd over at neon Raiden.
[01:20:26] Speaker E: Twitter.com lyssa at a disaster career plays Chloe penitent. You can find them here on goblets and gays. Offer our Pathfinder series Tyrann of the Dark Star as well as on an unwavering force, a Star wars actual play.
[01:20:40] Speaker F: Donna she her plays Ren Kong. You can find her voice acting, playing other ttRpgs, and overall being a goofy gal at Shabro.
[01:20:48] Speaker D: On twitter.com dot Liana Albany's any pronouns plays halcyon. You can find them acting, producing and generally goofing around at Lyanna Albany's on all platforms.
[01:20:59] Speaker G: Valiant Dorian at valiant Dorian or at Oxo's spirit bear plays Varun Khale. You can find him as a main cast member of Transplant RPG's the Chaos protocol, hosting his TTRPG talk show Dicey banter and designing wild hearted monstrous games like his in development TTRPG the Beasts with than a grungy action rpg with a were beast twist.
[01:21:33] Speaker E: Cctvs, main desk, and either a drama or very loud music.
The competing like audio drama, tv and.
[01:21:43] Speaker F: Music just like sensory overload, you have to shout to be heard.
