The Adventure Zone: Amnesty - Episode 3/Transcript

Transcript by the lovely volunteers at TAZscripts.

Griffin: Previously, on The Adventure Zone…



Justin: I mean, I guess I run through the gate.

Griffin: You hear the sound of the monster getting louder and louder and… you run toward this empty gate, and then we see that clearing again, and the archway, within which Duck Newton was just standing, is empty.

Griffin: You catch Dani out of the corner of your eye, and you get a little nervous for a second, and then a big blast of fire appears in your hands.

Travis: Yes.



Griffin: And one by one, they transform.



Griffin: The bobcat starts charging toward you, and Barclay looks at you, and he says:



Griffin: And in the blink of an eye, this gentle, bearded man you were just talking to disappears, and in his place… is Bigfoot!

[Theme music (The Adventure Zone: Amnesty Theme by Griffin McElroy) plays]

{1:42}

Griffin: Ned… there’s Bigfoot, Ned! He is standing about seven… seven and a half feet tall?

Travis: How many hands, Griffin? How many hands tall?

Griffin: Uh, like, twelve Bigfoot hands.

Travis: Whoa!

Griffin: Yeah, and those are big hands.

Clint: That’s a big Bigfoot.

Griffin: He is covered in fur that makes your current sort of Wookiee outfit, which you’re definitely still wearing, which is such a charming little scene? It makes your Wookiee outfit look positively inauthentic. And he’s racing toward this lifeless but animated bobcat, and the two of them crash together a couple dozen yards in front of you. Your car is a couple dozen yards behind you. What do you do?

Clint: Oh, I run for the car! Ned runs for the car.

Griffin: Okay. And—

Travis: And you’re still wearing the Bigfoot snowshoes

Clint: No, I kicked off the snowshoes, I’m sorry.

Griffin: Okay.

Clint: I kicked off the snowshoes and the gloves.

Griffin: You just left those behind?

Clint: Hell yeah! I gotta get in the car!

Justin: All right.

Clint: Ned’s gotta get in the car, man.

Travis: Now, I do wanna remind- a bobcat is not, like, a mountain lion, right? A bobcat is, like—

Griffin: I’m envisioning, like, about that size. Big ol’ cat. So you’re—

Travis: That’s a biiiiig bobcat.

Griffin: You’re just gonna take off?

Clint: Oh, I’m gonna jump behind the wheel of the car— let me explain somethin’ a li’l about Ned’s mindset.

Griffin: Okay.

Clint: Ned is not ordinarily somebody that jumps into the fire. Ned is not somebody who likes to fight. If Ned can avoid a conflict, he will. But in this case, Ned, having just seen a man transform into a Bigfoot and see a ghoulish bobcat, is absolutely, one hundred percent convinced this is a dream.

Griffin: Okay—

Clint: So Ned is going to live it as if it’s a dream.

Griffin: Alright, it’s about dusk, so you hop behind the wheel of the car and sort of, fumbling, maybe a little nervous, start the ignition, and as you do, the headlights kick on, and now you can see this fight scene happening in front of you much clearer, [Clint: Oh, yeah.] and you see that this bobcat has Barclay pinned down. [Clint: Yep!] And Barclay’s kind of in trouble, it’s sorta slashin’ at him and tearing at him, and it looks like this thing’s got the upper hand on Barclay.

Clint: Oh, yeah, well I throw the Lincoln into drive and gun it, because it’s a dream, man! Let’s enjoy it, let’s have some adventure, he’s been stuck in this crummy museum, so he’s gonna floor it and drive it right at them.

Griffin: O...kay. Um… are you trying to hit both of them?

Clint: I am going to drive straight for them and hope that the Bigfoot, that Barclay is able to either roll away, or—

Justin: Lot easier to hit the Bigfoot than the bobcat, batch.

Griffin: [laughing] No, no, no, it’s… yeah.

Clint: It’s a dream! If I get ‘em both, it’s two monsters, what’s the big deal?

Travis: “So, did you listen to that new Adventure Zone?” “Yeah, I really liked it, then Dad killed Bigfoot?”

Clint: Yeah…

Griffin: “Who was, like, a dude? And then...”

Clint: I am—

Travis: “Who he spoke to, and was already a fan-favorite, but now he’s dead, I guess!”

Clint: Ned is a terrific driver, remember, that’s one of his things.

Griffin: [sarcastically] I didn’t know he could lift a car up in the air while he was driving it to specific—!

[Travis laughs]

Clint: He is going to do some amazing Joie Chitwood stunt driving shit—

Justin: No-scope car skills.

Griffin: You’re gonna have to roll to Act Under Pressure [Travis: Real good.], and I will remind you the way that rolls in this game work: if you don’t do amazing, things can happen.

Travis: And I wanna remind everybody, ‘cause we didn’t do this at all in the last two episodes, you have the Luck option… that you can exercise at any time—

Griffin: Yeah, so we have not talked about Luck. Luck is a fascinating thing in this game, and it kinda makes up for the fact that there’s not, like, a ton of healing, or whatever? You have a meter, and I think it has, like, seven marks in it. And this is for your character’s whole career, you never refill this, you never really get this back, where, if you want to, at any time, you can change a roll to a 12 or avoid all harm from an injury, and you mark one luck. Now, once you’ve gotten rid of all your luck, really bad things can start happening to you. I basically get to go as hard on you as I possibly wanna go, because you are what the game calls Doomed, at that point, so… but, yeah, let’s do this thing!

Clint: All right, so, I can invoke- do I do it before I roll?

Travis: No, I think you do it post.

Griffin: Yes, it is reactionary.

Clint: Okay.

Justin: And it should be a pretty desperate thing, right, ‘cause you’ve only got seven—

Griffin: It is worst-case scenario things. Like, for instance, if you’re gonna kill Bigfoot with your car, you may wanna use a li’l bit of luck on it.

Justin: All right, Clint, just- well, ‘kay, that’s legit.

Clint: Eleven.

Griffin: All right!

Justin: Dad has his—

Clint: And I add a plus one for driving. I get plus one to any rating…

Griffin: Wait, what is it?

Clint: Plus one ongoing while driving.

Griffin: Yeah, this would definitely count for that, so that’s a 12.

Travis: Sick, bro.

Griffin: Yeah, with that, Barclay is fighting this bobcat and is kind of underneath it, and then sees the headlights, like, soaring towards him, and he puts a foot on the bobcat’s chest as it’s sort of on top of him, and flings it backwards, and then quickly rolls out of the way, and the Bigfoot— the bobcat sort of slams right into the hood of the Continental as you are going. And it’s a big, sturdy boat, so a mountain cat slamming into [Clint: Detroit, man!] it doesn’t do a whole lotta damage to the car. It does plenty of damage to the bobcat, who just rolls over the car, and then I imagine you bring it to a halt, after that, as you see in your rearview mirror…

Clint: I do one of those sweet moves where I change the gear shift, slam on the brakes, it does a little curve and [Travis: Oh E-brake.] pulls up right next to Barclay.

Griffin: Ah, alright yeah you look in your rearview mirror the bobcat is not moving. And then from your rearview mirror you see the bobcat defeated on the ground, although it looks just as lifeless now as it did during its attack, and sort of right as it lands that black fluid that was dripping out of its mouth, it like spastically shoots out of its body in these thick rivulets which kind of tangle together on the ground before slithering, like with a will of its own, quickly back into the forest. Like within a few seconds that black fluid is out of sight.



Travis: You’re going a little bit Odin there. Was that what you were going for?

Justin: “Tiny man”!

Clint: Ned’s having fun, man. He doesn’t think any of this is real.

Griffin: Let’s jump over to Duck. Duck, you stepped through the gate, and for a moment…

Travis: Can I just say I’ve been kicking myself since we recorded because none of us made an “Exit, Pursued by Bear” comment.

[Clint laughs]

Travis: And it was right like there, you guys.

Clint: Sorry.

Griffin: Yeah, we could have done that, and then we could have done some quick improv games, like maybe some Freeze, and then we’d talk about like, what song from Jesus Christ Superstar’s our favorite.

Justin: Yeah.

Griffin: Duck, you step through the gate, and you’re in this bright place for just a moment, Duck, and the wind that you felt whipping at you from the stone archway is still blowing through you while you’re in this space. But you’re quickly out of it and the light fades, and you know you’re somewhere else. But your vision is somehow… off. Almost like you’re seeing this place with, like, a watercolor filter. Everything is kind of shifting wildly. Almost like the A-ha video.

[Clint starts riffing Take On Me]

Griffin: Yeah. And you also feel somewhat sick, and kind of like, angry? It is disorienting, to say the least. And behind you, pretty close to you, you can see it despite your sort of disorientation, there’s another stone gate in this place identical to the one you entered. And from the hard stone floor that you’re laying on you can tell that whatever, wherever this gate is, it is enclosed inside of another, sort of large stone structure. There are these massive pillars propping up the ceiling overhead. And through the pillars you can see the world outside. Only your vision is so, sort of, impaired that you can only faintly make out, like, there are some bright colorful shapes in the distance, some round buildings. There’s a massive castle beyond them, with a large orange shape jutting out of the ground just in front of that castle. And you feel that anger inside of you just kind of building, almost unnaturally, and it’s alarming, but not quite as alarming as these two figures who are standing in front of a pillar, a pair of columns in front of you, who respond to your presence with surprise, and in an instant they are on you, jabbing you with these rods, and you feel this shock, and you’re unconscious.

And when you awaken, you are in a dark, small room, and your arms are bound to a wooden chair positioned in front of a big, sturdy wooden table. And you feel something soft and light draped around your neck, and as you kind of look down you realized you’re wearing some sort of scarf that your captors placed on you. It’s made of some sort of incredibly soft fabric that you can’t quite deduce. And for whatever reason that anger and disorientation you felt when you entered this place is just gone. You’re Duck again. And seated across from you is a person, you can’t really tell too much about them other than that, thanks to the large set of chainmail armor they’re wearing, covered by a tabard featuring an orange crystal radiating light in every direction. You can faintly see these two black, beady eyes through a slit in the helmet this person’s wearing, which is adorned with two goat’s horns on top. And as you regain consciousness, strapped to this chair and front of this table in this dark room, this person immediately addresses you, and they say:





Griffin: He says:



Travis: [same accent] “Now I’m just a small kingdom lawyer”

[Clint laughs]









[Laughter]







[Everyone laughs, Travis cheers]

Griffin: He takes out a little notebook from a fold in his tabard, and he’s writing down some of the stuff that you say almost like he’s taking a statement. And he takes his pencil and he taps at a point of his notes and he says:



Griffin: He says:





Griffin: He says:



Griffin: And with that, this figure takes off their helmet, and as they do so you notice those two goat horns on top of the helmet actually slide through holes on the top of the helmet as it’s removed. And they place their helmet gently on the table, and as they do, you see the face of the person sitting across from you. It’s the face of a goat.

{16:05}

Aubrey, you are walking in the woods behind Amnesty Lodge with Mama, who is carrying an oil lantern in one hand as she leads you swiftly through the pines. And you’ve just left the Amnesty Lodge after, sort of, the big reveal from the last episode, and she says:





Clint: Woah.

Griffin: Is Dr. Harris Bonkers with you? Is Dr. Harris Bonkers always with you?

Travis: Do you mean like, spiritually?

Griffin: And physically.

Travis: Oh, um, yeah. You know the term I’ve been thinking about a lot, and I think Aubrey has, now that she has done real magic, is “Familiar.”

Griffin: Yes yes yes yes yes yes.

Travis: Okay. But I think maybe for this, I think just because it’s dangerous maybe she left Dr. Harris Bonkers with Dani.

Griffin: Okay. Yeah, I think Dani was happy to play with Dr. Harris Bonkers.

Travis: Does Dani have kind of a Laura Dern vibe?

Griffin: I don’t, we’ll figure out Dani’s relation to Laura Dern, I think, as we play. It’s one of those things you’re supposed to leave empty spaces in the world and fill it out as you go.

Travis: Yeah, I understand.

Clint: Last Jedi Laura Dern? Jurassic Park Laura Dern?

Travis: Jurassic Park Laura Dern was where I was—

Clint: Jurassic Park Laura Dern, okay.

Griffin: Peak Dern.

Travis: Peak Dern. We’re talkin’ about top Dern here.

Griffin: Mama says:





Griffin: She says:





Griffin: And you’re walking a bit further into the woods and she starts to explain, she says:



Griffin: Which by the way I picked that name out like a year ago, then when dad had a character called Sylvane in TAZ: Commitment I was like “Oh, interesting.” It’s a good—

Travis: Wheels within wheels, my friends.

Griffin: Yeah.

Clint: Well, you actually returned the favor because I got Silvane from an actor that I worked with, Remy Silvane.

Griffin: Woah.

Clint: And then you turned around in the same episode and named your character Remy.

Griffin: Yeah, it was a—

Travis: Sympatico. I also want everyone to picture that during this whole walk, and like, as Mama’s talking she is just, Aubrey is like snapping her fingers and making, like lighting a lighter, like lighting a Zippo.

Griffin: Absolutely. I love it.

Clint: Always good to do in a forest, yeah.

Travis: Well she’s snapping her fingers, and like her thumb catches on fire, then she’s snapping it out, and just kinda doing that [makes snapping sound] on and off.

Griffin: I love this, we got some of that in Commitment, the few minutes after you discover you have superpowers. Okay, anyway, Mama says:









{21:16}

Griffin: Let’s jump back to Ned. You see Barclay kinda wounded. He’s got some big scratches down his neck, and his torso, and he’s kinda shambling away from the car towards the bobcat, and he hunches down and looks at the bobcat kind of rolls it over, eyeballs it, sees it’s thoroughly dead, and he walks a little bit closer to—

Travis: [in singsong voice] Not merely dead, but really most sincerely dead.

Justin: [crosstalk] So let’s get back to the showtunes.

Griffin: [crosstalk] How many more musical theatre references can we make in this show? [laughter] And then he walks a little bit closer to the car and he hunches down and he picks up that hempen bracelet up off the ground. And he wraps it back around his wrist and instantly, he’s Barclay again.

Travis: Is he still injured in this form, Ditto?

Griffin: Yeah, in this human form, Ned, you can actually see those scratches are still there. He’s breathing sort of heavily. He’s not like, horribly injured, but he’s definitely sort of battle damaged nonetheless. And he walks over to you, Ned, and opens up the passenger-side door and gets inside. And he puts on his seatbelt, I think, ‘cause he’s a very safe boy. And he says:







Griffin: He says:





Griffin: He says:





Griffin: He kinda chuckles, and then as he laughs he’s kinda like, hurting a little bit, and so he kinda catches himself, and he says:





Griffin: As he’s saying that, you see a couple more shapes stalk out of the woods, I think it’s just two more bobcats, and they’re sort of prowling like jungle cat style out of the woods towards your car, and he says:





Griffin: He says:





Griffin: He says:





Griffin: He says:





Clint: I throw it into drive, I press the pedal and yell:



Griffin: Do you aim for either of the bobcats as you’re driving forward?

Clint: Ah hell no, I’ll throw it in reverse.

Griffin: All right.

Clint: And yell “Yoinks and away!”

Griffin: All right, you take off into the woods towards the Amnesty Lodge. And we’re moving at a nice clip right now, boys. I’m gonna jump back to Duck.



Clint: Between you and Vincent, you’re playing bad ranger, good ranger.



Griffin: I think— You guys are all about to meet up, so I think there will be some sharing of notes once that happens so that we don’t create a, uh, a hole in the fuckin’ narrative universe I’m trying to piece together.

{25:25}

Travis: [crosstalk] No, this is where the propeller spins, the goat man answers all of the questions, and then Duck’s like, “Oh, okay! That all totally makes sense.”

Griffin: Vincent, the Goatman, which is not pejorative, there’s a real cryptid named that, says—

Justin: [laughing] Vincent the Goat Man? That’s very familiar.

Clint: [singing] Vincent the Goat Man!

Griffin: Well, just the Goatman. He looks at you, and maybe you are a little bit uneasy, ‘cause it’s now this sort of humanoid goat talking to you. He says:





Griffin: He is writing all this down in his notebook, and he kinda chews on the end of his pencil. And he catches himself chewing on it a little bit too much, and then he like pulls it out of his mouth, and he looks a little bit sheepish. Or goatish.

[Clint laughs]

Justin: Goatish, thank you.

Griffin: Then he says, um:



Justin: Thank you.









Griffin: He says:



Griffin: I’m trying to avoid giving him an Appalachian accent. It’s hard to switch that switch back off. He says:







Travis: Humans are the worst.

Griffin: He says:







Clint: [laughing] That’s what I thought too!



Travis: “It’s Burberry!”

Griffin: He says:





[Clint laughs]

Griffin: He puts up a hand. You notice, actually, that his bottom half, his, like, hindquarters, is straight up goat legs, but then he has these long, furry fingers on his hands that he holds up. He actually takes off, like, a gauntlet that he’s wearing and holds it over the table.

Clint: [breathlessly] Oh my god, it’s Pan. It’s Pan!



Griffin: All right, you shake on it.

{32:05}

Let’s jump back to Aubrey. Aubrey, you’ve been hiking through the woods with Mama for about 20 minutes now, and—



Griffin: She says:















Griffin: You’re walking through the woods with Mama, sort of having this conversation, and her oil lantern and the moon overhead are the only light on your journey. And now you see—

Travis: Oh, is it? [makes fire noises]

Griffin: And the flames you’re producing with your hand.

Travis: Thank you.

Griffin: And now you see the moonlight shining down on a clearing just in front of you, and there’s a carpet of pine needles on the forest floor, but they are distributed in a kind of peculiar pattern. They’re giving a wide berth to the clearing’s most eye-catching feature. There is a stone archway standing before you in the center of the clearing. It’s a humble structure, just two large slabs of stone with a third perched on top of it. And Mama clears her throat and she says:









Griffin: She puts a hand on your shoulder, and she says:





Griffin: She puts her hands in her temples, which is sort of the go-to move for any Adventure Zone NPC, and she says:





Griffin: You see her not responding to your—



Griffin: —to your japes. She’s pondering. Her face is, like, toward the ground. And then there’s a third light source shining into this scene from close by in the woods, and you hear a loud sound getting louder, moving quickly in your direction.

And Ned, Barclay’s in the front seat, and he’s surveying his wounds in the mirror, in the sun visor. And he does that for a few minutes, and then, as like, the Continental is rumbling over the occasional sort of root as it maneuvers through the woods, and then he flips the visor back up, and he slams a fist down on the dashboard, and he points forward with his other hand, and he yells:



Griffin: What do you do?

Clint: Well, obviously, I- I- do I need to do, like, an investigation, or an observation, thing?

Griffin: Um, not really. I mean, I can tell you, you don’t— you’re going through the pines, and so your vision is kind of occluded a bit, but you do not see anything in front of you.

Clint: Well, then, I slam on the brakes.

Griffin: I think this would— this would probably be a good Act Under Pressure roll.

Justin: To push— to press the brake pedal? How’s he gonna wang that?

Griffin: [crosstalk] Well, to slam on it with the proper, sort of, reaction time.

Travis: [crosstalk] Oh no, you hit the gas!

Clint: Okay.

Griffin: You do have a plus one, ‘cause you’re— it is a driving thing.

Clint: ‘Kay. Sev— eight!

Griffin: Eight. Uh, mixed success.

Justin: So he presses the brake pedal down halfway, and, like—

Griffin: You slam on it, uh—

Justin: And a Taco Bell cup gets stuck underneath and he careens into a tree. [Griffin laughing]

Griffin: Uh, I don’t know if there’s a Taco Bell in— in— yeah, there’s probably a Taco Bell.

Travis: It’s a combination Taco Bell-Pizza Hut-KFC.

Griffin: Thank you, thank you, thank you. There is a canon Pizza Hut.

Justin: Gas station.

Travis: Oh, yes.

Griffin: You slam on your brakes with pretty good reaction time, and as you do so, you enter this clearing, and you see a young woman with a sort of hip haircut, and a sort of larger, older woman wearing a big long duster, holding an oil lantern. And that’s all ya see! And you slam on the brakes, and the car starts to careen to a halt as you drive into this clearing, and you are moving pretty slowly when the car runs into something. And it’s weird, ‘cause there’s nothing there. It’s not a tremendous amount of damage to the car, the fender’s probably pretty busted up, but the car sputters to a halt as it collides with some sort of invisible shape. And Barclay looks at the two other people in this clearing, and he hops out of the car and his eyes lock with Mama. And Mama says:



Travis: And I want you to picture Aubrey waving, but her hand is on fire.

Griffin: Yeah.



Griffin: Barclay says:







Griffin: He looks, like, just as uncomfortable as he did when you first ran into him in the woods when you weren’t supposed to, Ned. And Mama says:





[Justin and Travis laugh]

Griffin: And Barclay says:







Griffin: And Mama at this point looks like she’s about to, like, lose it. She is— things are going very, very— things are getting out of hand. And that’s, in fact she says, like:



Griffin: And Ned, you can see the gate.



Griffin: Yeah, she says that and it just appears right in front of you, and you can see it sort of pressed into the fender of your Continental. It is—



Griffin: She notices you, like, now you can see the gate ‘cause she said that, and she didn’t even think about it, but now she knows that she’s sort of let this slip again, and she says:



Griffin: [audibly grinning] And it’s at that point that the gate is, just for a moment, filled with light, and out steps Duck Newton. Duck, you are back in the woods, and here’s four people who are all kind of looking at you with shock. Especially Mama and Barclay. They look kind of dumbfounded and kind of horrified as you step foot back into Kepler.







Travis: And I also want to say, uh, Aubrey makes that sound when she does it. [makes ‘pschoo’ noise again]

Griffin: Mama looks at you, Duck, for a few seconds, just— her mouth agape in sort of disbelief at how quickly this situation has spiraled, and she says:





Griffin: [laughing] She says:





Clint: [Yogi Bear accent] “Hey there, it’s Spooky Bear!”

Griffin: She says:



Griffin: And Barclay says:



Griffin: And Mama kind of sighs, and rubs her head, and she says:





Griffin: And with that, Mama reaches into the interior pocket of her duster, and she pulls out this small compact mirror. She opens it up and she catches some of the moonlight above in it, and it reflects back onto the gate, which hums quietly. And Duck, you see that wind whipping off of the gate again, just before the span of the archway is filled with this white light. And Barclay steps through and disappears. And Mama turns to you, Aubrey, and she says:











Griffin: And Mama turns and steps through the gate, and the wind stops, and the light inside the archway disappears. And now it’s just the three of you standing in the middle of this clearing, in the middle of the woods, in the middle of the night.

{Ad break 43:09-48:20}























































































Griffin: While this conversation’s happening, I like the scene of Ned sort of in the background trying to unzip the Wookiee costume and is like—



Griffin: —In the middle of stepping out of it, and suddenly there is a deep guttural sigh from the edge of the clearing, and the three of you turn to face it. And with the moon’s light above and the light from the oil lantern, which Mama set down right in front of the gate before she stepped through, there is no obscurity about the beast the three of you are facing just, like, 10 yards away. It is a horrible sight: eight feet tall and nearly as wide. And a roar comes from this beast, projected from the agonized face of a massive black bear. And Ned? You see that same sort of lifeless expression you that recognized in the bobcat earlier. [music fades in] Horrifyingly, you also see it on several other faces that are jutting out of this beast. A wolf’s face sits motionless on the neck of this creature. From its shoulder a stag’s head is, like, half submerged in its form and its antler is protruding sharply from the mass. A half dozen forest creatures are embedded in this thing. And not just their faces, this whole being is covered in their pelts, forming a thick patchwork hide all around it. The three of you survey this nightmare in an instant as it makes its presence known, and then it charges.

...What do you do?

This is our first sort of group combat thing and I want to make it clear that in this game there is no initiative. I don’t really roll, I can set up soft moves to set up, like, elements of danger for you all to respond to, but I don’t really get a turn to attack. My actions are all in response to you. And because there is no initiative the three of you kind of have to play fair and play collaboratively. If one of you takes a turn I kind of won’t let you go again until the other two also take an action— but in terms of, y’know, who goes first and who does what and in what order? It’s up to you guys to decide and you kind of need to keep in mind what is going to be the most narratively interesting and set each other up and help each other out. It’s pretty loosey-goosey. So with that in mind, what do you do?

Travis: How far away is the bear?

Griffin: It was 10 yards away. Getting closer.

Clint: Ned reaches into the trunk of the Lincoln and pulls out the big heavy walking stick. It’s got a huge— it almost looks like a drum major’s baton from marching band.

Griffin: It’s got a thing at the end?

Clint: Yeah, great big heavy metal brass knob at the end of it and he says:



Clint: Which he realizes now, if he does, everybody’s gonna duck.

Justin: And they do.

Clint: Says it anyways and so he throws it and it goes sailing over Duck’s head ‘cause he ducked.

Justin: No, I caught it.

Clint: It lands— no.

Justin: I caught it. I’m used to it.

Griffin: Yeah, I won’t make you roll for that. I think you toss Duck the weapon. Do you do anything else? Sort of with your action here?

Clint: I start rummaging through the trunk ‘cause I got another idea. But as long as I’m at the trunk I think that enabling— enabling Duck will accomplish what I wanna do. You want me to roll?

Griffin: No! No, I think we can figure out— you have gear that is like on your starting character sheet, and if you’re looking for something else that’s cool and we will get to that here in a little bit.

Clint: He starts rummaging through the trunk.

Griffin: Alright, Duck, you catch the walking stick. We’ll go to you next before we get to Aubrey. What do you do?

Justin: Can you lay out the scene for me? Like, positioning-wise, what's going on?

Griffin: Yeah, I mean, the three of you are pretty close. You got your back basically to this arch, with the oil lantern laying on the ground and the Continental kind of busted up a little bit in the side of the arch. Which, by the way, I should mention the archway was not even remotely damaged, or seemingly affected at all, by your car crashing into it. The beast is now, like, five yards away from you guys and is sort of charging right— right at you, towards you and the archway, and you're holding the walking stick.

Justin: Alright. Duck scoops up the lantern and then runs around to the other side of the gate and starts yelling at the monsters.



Justin: Making a lot of noise and trying to get them to charge straight at him.

Griffin: I love it! I think this would be an Act Under Pressure roll. Like you're trying to do someth— fuck it, you’re under pressure and you’re acting. Like this is explicitly that. So…

Justin: Let's see… eight!

Griffin: Eight! A mixed success, okay, alright. I think that the trade off here is— with a mixed success you do what you're trying to do, and I know what you're trying to do, but there is a slight cost to it. So you are taunting this creature to run right at you and it does and it slams right into the gate which it does not see. And as it does so, it sort of— you hear it sort of whine in pain as it does. But that— the antlers in its shoulder kind of goes through the gate and you were just a little bit closer, you did not expect it to have that much reach, and those antlers just get you for— I mean they jab right into you, for three harm.

Justin: Eugh, one harm…

Clint: What happened to Invincible? Oh right, two…

Griffin: Yeah he has two armor which like negates some of it. And the beast, I think, takes— takes two harm. Well, it would take two harm but for whatever reason this plan went, y'know, perfectly how you kind of envisioned it. It was a very good Punk’d you did to this big beast. But it didn't do quite as much damage as you were expecting, almost as if like this thing is also pretty tough right now. And it kind of wedges itself out backward from the gate, and we will jump to Aubrey.

Travis: Aubrey grabs the lantern from Duck and throws it at the creature's face.

Griffin: Okay.

Travis: It is still lit, correct?

Griffin: Oh, it’s lit as hell.

Travis: Excellent.

Griffin: I don’t think you’d need to roll for this. This is not, you know— If you’re throwing a lantern at it, maybe you just Act Under Pressure, but I think you just do it.

Travis: Okay.

Griffin: I’m trying to follow the rules here and I feel like this is not a traditional… it’s not Kick Some Ass, right? You were throwing a lantern at the thing. If anything it’s Act Under Pressure.

Travis: And it’s very close, right, at this point.

Griffin: It’s real close and it’s huge. I think you can pretty confidently throw this oil lantern at the thing. All right, you chuck the oil lantern at its face. You don’t have to roll, this is not a fight thing. This is just you doing something very clever. The oil lantern shatters as it hits the beast’s face, and the oil sort of covers it like at least the top portion of it, and the fire quickly spreads and that pelt, that patchwork pelt which you can kind of see, like, that black slime that you saw earlier, Ned, is kind of like holding it together a little bit like glue. This pelt is now just ablaze. It’s ablaze because it’s now covered in burning oil but it also just seems like it is just very flammable, almost, ‘cuz this thing just goes up and it is on fire and it takes three harm as this fire is spreading all around it, and it looks pretty enraged. And I think with that, Aubrey, it is going to look at you and kind of roar, because it knows that you just set it on fire.

Travis: Shit!

Griffin: And now it is charging at you. This is a soft move. It’s not me saying I’m gonna do some damage, but now there is some danger going on.

Clint: Ned has found what he’s looking for in the trunk.

Griffin: All right.

Clint: It’s that great big jug, and when she yelled “shit” just a minute ago, that reminded him. It’s that great big jug that he filled from the septic tank, with all that nasty shit.

Griffin: Okay.

Clint: And animal droppings and everything else.

Griffin: I did not know that that fluid was as gross as you’re describing.

Clint: Aw, it’s really gross.

Travis: So wait, in the septic tank, animals have been using your toilet too?

Clint: Well everything says, it’s not a very effective septic tank…

Griffin: It’s a service the Cryptonomica provides, where animals can come and use their toilet.

Clint: And also I’ve been dumping all this shit in there— I’m not a very good homeowner.

Griffin: You’re a real fuckin’ cousin Randy from Christmas Vacation.

Justin: Eddie, Eddie.

Griffin: Cousin Eddie, thank you.

Clint: Yeah, well, he’s got a lip fungus we ain’t identified yet. Ned grabs this jug, runs over and throws it in the air. It’s arcing towards the path in front of the beast, and it hits the ground and shatters and this horrible stench, this horrible stink and all of this stuff splatters all over the place, and Ned says:



Griffin: I think this thing— you were trying to create some sort of literal stink bomb, which I appreciate.

Clint: I think, yeah, a little napalm.

Griffin: But I think that something kinda curious happens. This thing was about to come down on Aubrey, but as this jug of, you said there was like animal droppings and stuff in it?

Clint: Oh yeah.

Griffin: As this thing smells, like, picks up the scent of a bunch of different animals, even though it is on fire and even though it is about to attack this thing that is endangering it, it’s almost like this more primary instinct kicks in. And you see it whip its head around and look toward the direction of the jug, and now it’s sniffing around almost like a hunter who has just like picked up the trail of its prey. And you have definitely definitely, accidentally it sounds like, sort of distracted it away from its attack. What do you all do?

Travis: Aubrey’s gonna do some magic.

Griffin: All right. This is your magic attack or do you just do magic?

Travis: Well, one of the things that I can do, of one of the effects I can do is Enchant a Weapon, and it gets plus one harm and plus magic, so I am going to… this is my logic. The fire hurt the thing. Duck is standing there holding a weapon. I’m going to enchant it, set it on fire.

Griffin: All right.

[Clint laughs, Travis rolls]

Travis: That’s a seven plus two, so nine.

Griffin: Yep, that’s a mixed success.

Justin: She sets it on fire, but then it burns Duck’s hands and he drops it.

Griffin: Okay, the walking stick is on fire. It is also made out of wood. So it is on fire and it is enchanted, and what does that do, it gives it plus one magic attack?

Travis: It’s plus one harm and says plus magic, which I don’t…

Griffin: Yeah. So there’s a system of tags that comes on every single item in this game, and it just sort of informs the fiction. So if there’s a monster that could only be hurt by magic, so for instance, like a ghost or something who couldn’t be hit by a physical weapon, but a magical weapon could actually harm it. Then, if something has the magic tag, then you’re good to go. So you have set this walking stick on fire, but it is also made out of wood, so if it stays like this for a long time it’s going to be gone. But Duck, you can safely hold it.

Justin: Well, I guess I’m gonna kick some ass.

Griffin: Hell yeah.

Clint: Yeah.

Griffin: Roll 2d6.

Justin: I’m gonna slam the, I’m aiming to just slam the, uh, thing right down on its noggin.

[Justin rolls]

Justin: Oh shit! That is a 13!

Griffin: Jesus Christ, these rolls.

Justin: I rolled 2d6— two sixes.

Clint: Yeah, sure did. Plus since the gear had a one harm hand.

Griffin: It actually has two harm ‘cuz it was enchanted.

Clint: Cool.

Griffin: And it was enchanted with fire, so on a 10-plus, choose one effect. You gain the advantage, take plus one forward, or give plus one forward to another hunter. You inflict terrible harm, plus one harm. You suffer less harm, minus one harm. Or you force them where you want them. So you get to pick one effect in addition to the two sort of fiery magical damage that you are also dealing.

Justin: Okay, I guess I’m just gonna inflict an additional harm then.

Griffin: All right.

Justin: I was trying to preserve it somehow, ‘cuz I feel like that would be Duck’s instinct. Be he also, he’s not a doofus, like this is obviously—

Clint: Yeah, preserve us first.

Justin: An imminent danger to these other people.

Griffin: So on a kick-ass, on a Kick Some Ass the way this works is both of you deal damage. So describe what you do again.

Justin: I’m just… the lantern, the oil is on his head as well right?

Griffin: Yeah.

Justin: Like that’s where I would be aiming for. One of the heads? Are there multiple heads?

Griffin: The way this thing is, it’s got this main bear head. It kind of almost has the body of bear, sort of, but a huge one, with all these other animals kind of absorbed into it.

Clint: Like their faces?

Griffin: Like all their bodies and stuff.

Justin: Alright yeah, so I’m aiming for the bear head.

Griffin: Alright you clobber this, you bring the flaming brass tip of this walking stick down on top of the bear’s skull. And you hear this, sort of, if you’ll pardon the pun, grisly crack as you do so, and this thing takes three harm as you bash into it, thanks to all of your different bonuses. And it sort of whips around as you do that, and it catches you with the horns again, and this time it kind of like picks you up and knocks you back a few feet. You keep your footing, but it sort of hits you real hard with these antlers for another three harm.

Justin: Damn.

Griffin: So, by my calculations…

Justin: Fuck, that hurts.

Griffin: You’ve taken two harm at this point.

Justin: Correct.

Griffin: And once you get to four, things start getting very very serious, but you’re not quite there yet. All right, here’s what happens next.

The three of you at this point have sort of independently experienced something profound in this moment. You have been confronted with death itself. With a monstrosity that defies every known natural order of this world. And yet your instinct was not that of absolute fear, as it would be for any other human who encountered this beast, you stood your ground and you fought. And maybe you knew why you’re fighting and maybe you didn’t, but regardless you all have this remarkable feeling, a kind of inexplicable assurance, that you can do this.

And then Ned, you feel something fall and tap on your shoulder, and Aubrey you feel it too, in your hair, kind of dripping cold down the back of your neck. And Duck, you see the trees start to sway, in a manner you’ve seen countless times during your patrols of these woods. And there’s a peal of thunder overhead, and then the skies open up.

And this sudden storm is bashing against the roof of the Continental, and it douses the flames that were spreading across the beast, which looks up at the sky and then, with otherworldly malice, back down at the three of you.

[Theme music (The Adventure Zone: Amnesty Theme by Griffin McElroy) plays]