ADR - Episode 542: The Last Day of October - Bookstore Horror

[00:00:06] Oh hello and welcome to Al Dente Rigamortis. I'm Review Cultist. I'm Mikey, the U-Stands Freeble.

[00:00:25] And I'm the Gamer in Yellow. And we're here to discuss those internet stories, most creepy and most pasta, and be critically silly doing it.

[00:00:32] And tonight we have... The Last Day of October, Bookstore Horror.

[00:00:37] So, yeah, we are on the second story of The Last Day of October series by MMPrat99.

[00:00:45] You can check it out at creephust.wiki along with all the other stories by MMPrat, involving the Curtisville stuff and Ellie Lambert and her crazy little world that she's crafted through a collection of different stories.

[00:01:02] And, yeah, I guess we're gonna dive into this one. But first, let's give our initial recommendations.

[00:01:11] I'm going to partially recommend this one.

[00:01:15] I'm going to not recommend this one.

[00:01:17] I believe I'll join you with a non-recommendation for this one for now. But again, through our discussion that may change.

[00:01:25] And I'm more than welcome to having it change. Because I rather enjoy liking things.

[00:01:31] I'd rather like things than not.

[00:01:33] Yeah.

[00:01:35] Well, let's dive in and see why we give those recommendations and see if our recommendations change over the course of this discourse.

[00:01:44] Starting with our rundown. So, again, much like the last story, I'm going to keep this pretty abbreviated, because it's a lot of words.

[00:01:52] And this one's, in fact, cut up into chapters. So, this story is about six chapters long.

[00:01:59] And it's pulled from each chapter appears to be pulled from journal entries from both a Dr. Akron, which is a who is a Lamia professor and Kes, who I believe is also called Fiona by Dr. Akron's entries in the story.

[00:02:18] More on that in my notes, honestly.

[00:02:22] But, and Kes, we discover, is a Gurdon girl, who is currently living in the rustic coastal town of Escard on vacation, where this story is taking place.

[00:02:36] So, it's here that Fiona slash Kes goes into a bookstore called The Badger and the Hare, just as a nasty rainstorm creeps over the town.

[00:02:48] And as she's looking through various antiquated books, playing with one of the shop's various cats, and basically settling in for some comfy atmosphere while waiting out the storm.

[00:03:00] That's when some spooky tomfoolery occurs, with a number of new visitors to the shop, both mundane, fantastical, and even malevolent, coming through the doors.

[00:03:11] And upon one particularly dreadful apparition's appearance and a strange, creepy radio broadcast, that's when Fiona also meets Dr. Akron, who is in the shop hiding and watching.

[00:03:27] And this professor, or this doctor, seems to know a thing or two about that horrible thing that came in amongst the other younger customers.

[00:03:38] Turns out, it may be some kind of creature or entity that has been making folks disappear over the years between the Aggrasal Wood and the Swanwick Forest, which is kind of roughly where this town is.

[00:03:53] Always on the, and it does this always on the last day of October, which happens to be today in the story.

[00:04:01] And now this doctor wants Kes's help into hunting it down and stopping it.

[00:04:07] Kes doesn't really want to get involved in this, and even is ready to just leave the shop and leave this doctor and the situation behind.

[00:04:14] But then a green moth thing shoots into Kes's mouth and halfway down her throat, requiring somebody to give her the Heimlich maneuver to get it out.

[00:04:22] As she hacks up this thing, which is found by some other onlookers, because basically everybody kind of crowded around as she was like choking on this thing.

[00:04:32] They discover that it's some kind of green glowing poker chip-sized disc, which Kes seems to recall from her past.

[00:04:41] And then the story ends with a cliffhanger like that, for now.

[00:04:45] So hopefully the next story will actually pick up where this left off.

[00:04:50] Finn.

[00:04:51] So yeah, that was last day of October, Bookstore Horror.

[00:04:56] And I suppose we'll move on to everyone tolerates the grammar inquisitions at this point.

[00:05:03] And guys, I have a question.

[00:05:04] It's a question that I often ask when we have this kind of situation.

[00:05:08] Yes.

[00:05:09] Did you guys put your notes by chapter?

[00:05:12] Of course I did.

[00:05:14] Who wouldn't?

[00:05:15] Who insane kind of...

[00:05:17] What insane kind of person wouldn't lay this out in chapters?

[00:05:22] I'm just envisioning that you are doing it, like, just scrambling right now to put in chapters.

[00:05:30] No, you don't know me.

[00:05:32] I do, bud.

[00:05:36] Joying aside, though, yes, I did actually start into chapters.

[00:05:39] Mikey, did you?

[00:05:41] Yes.

[00:05:42] Excellent.

[00:05:43] I'm glad we were all on the same page for once.

[00:05:46] And without one of us asking the others pre-show.

[00:05:51] Mm-hmm.

[00:05:53] Uh...

[00:05:53] But yeah.

[00:05:55] Well, let's start with chapter one for my grammar inquisition.

[00:05:58] Mm-hmm.

[00:05:59] Starting with this quote here.

[00:06:01] A mind in league with not only with a cosmic power of darkness, but also that which lies at the heart of every human and near human being.

[00:06:11] So I really feel like you could remove either the first or second with.

[00:06:16] Uh, we really don't need both.

[00:06:17] So it should be, like, kind of, um, a mind in league with not only a cosmic power of darkness, or a mind in league not only with a cosmic power of darkness.

[00:06:30] Like, I feel like either one would work, but you don't need both, uh, both situations with width there.

[00:06:35] Yeah, you're right.

[00:06:37] When I first read that, I'm like, I didn't, it didn't bother me.

[00:06:40] But now that you're pointing at it, I'm like, yeah, that's weird.

[00:06:43] Yeah, it's like a mind in league with not only with a cosmic power of darkness.

[00:06:46] Like, what?

[00:06:48] Mm-hmm.

[00:06:49] And that's the one I have for chapter one.

[00:06:51] Mikey, what do you have for chapter one?

[00:06:53] Uh, for chapter one, I have...

[00:06:57] This is a true account of the loathsome horror from beyond the grave I and several others encountered that stormy evening back in October of the year of the how.

[00:07:12] Wow.

[00:07:12] Is that really...

[00:07:13] Wow, yeah, there's a...

[00:07:14] There are, now that I realize, like, there are actually a lot of run-on sentences in the story.

[00:07:19] A little bit.

[00:07:20] And, like, I don't bring any of them up, but, like, yeah, they're pretty noticeable, actually.

[00:07:24] Now that I remember as I was reading...

[00:07:26] I bring all of them up.

[00:07:27] Excellent.

[00:07:28] You guys are picking up the pace.

[00:07:31] So, uh, I added a comma and that to this.

[00:07:36] So, this is a true account of the loathsome horror from beyond the grave that I and several others encountered on that stormy evening back in October of the year of the how.

[00:07:50] Yeah.

[00:07:52] Yeah, that's a good add-on to that.

[00:07:54] Another way that I thought of doing it...

[00:07:58] Another way that I thought of doing it is sectioning this out with a semicolon.

[00:08:04] Like, stop with...

[00:08:06] The second part starts with the stormy evening that we all encountered.

[00:08:09] Because it's directly referencing the previous stuff.

[00:08:12] Yeah.

[00:08:12] Mm-hmm.

[00:08:14] Okay.

[00:08:15] All right.

[00:08:16] Then my next one here is...

[00:08:17] This is something infinitely more worse and evil.

[00:08:24] Um...

[00:08:25] I feel like the more wasn't needed.

[00:08:29] Yeah.

[00:08:30] So, this is something infinitely worse and evil.

[00:08:34] Yeah, because, like, worse is usually, like, kind of a...

[00:08:38] Like, when you have worse...

[00:08:39] Like, infinitely worse, like...

[00:08:41] Infinitely more worse is, like, kind of just...

[00:08:44] You're just filling...

[00:08:46] You're just adding a filler word?

[00:08:48] Yeah.

[00:08:49] Yeah.

[00:08:51] And that's the end of my chapter one.

[00:08:53] All right.

[00:08:54] Gamer, do you have anything with chapter one?

[00:08:56] I can continue on directly from that one that you just did there.

[00:08:59] Because there's a second part of that same...

[00:09:02] Like, the sentence right after that, the more worse one, I had a problem with as well.

[00:09:07] Which is...

[00:09:08] It is an otherworldly horror brought about by a warped brain hell bent upon possible revenge.

[00:09:15] Problem being, the way I first read it is...

[00:09:19] It is an otherworldly horror brought about by a warped brain hell bent upon possible revenge.

[00:09:26] For some reason, I put brain hell together as a thing.

[00:09:30] And I'm like, what the hell is a brain hell?

[00:09:32] It, like, made me pause.

[00:09:34] I'm like, is that, like, a certain layer of hell that is, like, all mind fuckery?

[00:09:37] Or is, like...

[00:09:38] Or is a brain hell, like, the spider mastermind from Doom?

[00:09:42] Which is basically a huge brain on spider legs that attacks you.

[00:09:45] And then I kept reading and realized that there's a dash right after it.

[00:09:49] And then I re-evaluated my choices.

[00:09:51] Yeah, fair.

[00:09:52] Yeah.

[00:09:53] It is also...

[00:09:53] Also, I like to think that brain hell is, like,

[00:09:55] either a sickness, like, of the mind,

[00:09:58] or it's the circle of hell in D&D where mind flayers end up.

[00:10:03] There you go.

[00:10:04] I guess the brain hell.

[00:10:06] Mm-hmm.

[00:10:07] But either way, I feel like a comma would, like,

[00:10:09] nullify any possibility of this happening ever again.

[00:10:12] Because it'd be basically otherworldly horror brought about by a warped brain.

[00:10:18] Comma.

[00:10:19] Hell bent upon possible revenge.

[00:10:21] Yeah.

[00:10:22] That's the way I would do it personally.

[00:10:24] Fair enough.

[00:10:26] Now, to go back to the start of this section here.

[00:10:33] So, hang on, let me see.

[00:10:35] So this whole first chapter is all in italics.

[00:10:40] Uh...

[00:10:41] Oh, God.

[00:10:41] But the rest of the story isn't.

[00:10:44] Why?

[00:10:45] Why?

[00:10:45] Yeah, exactly.

[00:10:46] Why?

[00:10:47] Why is it ill-

[00:10:48] Why?

[00:10:49] At first, I thought it's because, well,

[00:10:51] the first one is subtitled with

[00:10:54] from the personal log of the doctor.

[00:10:56] So I'm like, okay, maybe just this part is the personal log.

[00:10:59] But no, the whole thing, up until it switches,

[00:11:01] is all part of the personal log, right?

[00:11:04] Yeah.

[00:11:04] Yeah, because that's something I actually have in my actual thoughts.

[00:11:07] Because, like, that was when I realized, like,

[00:11:08] it wasn't until, like,

[00:11:10] there's a scene that happens near the end of, like,

[00:11:12] the last, like, I think the third or the second or third chapter,

[00:11:16] where it's revealed that the entire narration we've had up until this point

[00:11:19] was actually from Dr. Acker,

[00:11:20] who was hiding in the,

[00:11:22] hiding in, like, among the shelves,

[00:11:23] like, from a hiding spot,

[00:11:25] and just, like, comes and, like,

[00:11:26] has been watching, uh, Fiona.

[00:11:28] This is the entire time.

[00:11:31] So it's like, yeah, like,

[00:11:33] this entire, yeah, why, why,

[00:11:34] why is the first one italicized,

[00:11:37] but, like, everything else is not?

[00:11:38] That's kind of odd.

[00:11:40] I don't know, man.

[00:11:41] The, the reasoning is,

[00:11:43] is that later on there is italicized,

[00:11:46] and it's, uh,

[00:11:48] her thoughts in,

[00:11:50] at the time.

[00:11:52] Uh, so that's why

[00:11:54] they used it to differentiate,

[00:11:56] because they're not saying things,

[00:11:58] they're thinking them.

[00:12:00] Like, at the end.

[00:12:02] Yeah.

[00:12:04] Like, at the end of...

[00:12:04] It's the same narration, though,

[00:12:06] in chapter two.

[00:12:07] It's the same style.

[00:12:09] Yeah.

[00:12:09] Yeah.

[00:12:10] But also, like, no, like,

[00:12:11] he, uh,

[00:12:12] Mikey's also getting at, like,

[00:12:13] in chapter two,

[00:12:14] it's, uh, like,

[00:12:15] again, we find out that, like,

[00:12:16] all the, so,

[00:12:17] as far as, as far as it's revealed,

[00:12:19] that, like, the previous narration

[00:12:20] was actually Dr. Ackern,

[00:12:21] uh, watching everything.

[00:12:23] But how does he also know that, like,

[00:12:25] what she's thinking,

[00:12:26] unless, well, she, he is,

[00:12:27] he is a part Lamia,

[00:12:28] so, like,

[00:12:29] I guess, like,

[00:12:30] maybe he has some kind of powers

[00:12:31] to, like,

[00:12:32] observe people's thoughts?

[00:12:34] I don't know.

[00:12:35] That's, that's going into

[00:12:36] actual thoughts,

[00:12:37] more than, than grammar, so.

[00:12:39] Yeah.

[00:12:40] I have a bit of a note on that,

[00:12:41] so we'll go on to that more later.

[00:12:42] But regardless,

[00:12:43] I'm moving on.

[00:12:44] And, and again,

[00:12:45] to your point, like, yes,

[00:12:46] why is that whole first chapter

[00:12:48] in italics?

[00:12:49] There's no reason for it.

[00:12:50] It's very strange.

[00:12:54] So my next one,

[00:12:55] um,

[00:12:56] ever since that

[00:12:56] ghastly episode,

[00:12:58] these questions kept

[00:12:58] turning over in my mind

[00:13:00] like falling autumn leaves.

[00:13:02] What horrific force

[00:13:03] could have possessed

[00:13:04] that wretched

[00:13:05] gentry

[00:13:06] girl to

[00:13:07] come back

[00:13:08] from beyond the veil,

[00:13:09] from beyond her final

[00:13:10] resting place

[00:13:11] in the land of exile?

[00:13:12] And what was she

[00:13:14] trying to do exactly?

[00:13:16] So personally,

[00:13:18] I feel like

[00:13:19] writing it out like this,

[00:13:21] like,

[00:13:23] I feel like writing it out

[00:13:24] like it was dialogue

[00:13:25] would make it flow

[00:13:26] and look nicer,

[00:13:27] at least for me,

[00:13:28] instead of it just being like

[00:13:30] a block like that.

[00:13:33] Um,

[00:13:33] also the first question

[00:13:34] kind of feels bloated

[00:13:35] for the purpose of exposition.

[00:13:38] So I cropped it down

[00:13:40] and it doesn't even really

[00:13:40] feel like it affects it.

[00:13:42] So,

[00:13:42] the way that I would do it

[00:13:43] is it would say

[00:13:44] ever since that

[00:13:46] ghastly episode,

[00:13:47] these questions kept

[00:13:48] turning over in my mind

[00:13:49] like falling autumn leaves

[00:13:51] and then a colon

[00:13:52] and then you go down a line

[00:13:54] and then you go into quotes

[00:13:56] because this is what

[00:13:57] he's thinking.

[00:13:57] I guess you could do it

[00:13:58] in italics if you want

[00:13:59] or,

[00:14:00] um,

[00:14:01] or brackets

[00:14:02] or what have you,

[00:14:02] but regardless,

[00:14:03] the first question

[00:14:04] would probably realistically

[00:14:06] be more like

[00:14:07] what possessed

[00:14:07] that wretched gentry girl

[00:14:08] to come back

[00:14:09] from her final resting place

[00:14:10] in the land of exile?

[00:14:12] Because like,

[00:14:12] it's going

[00:14:13] from beyond the veil

[00:14:14] and then the final resting place

[00:14:15] in the land of exile.

[00:14:17] Like,

[00:14:17] it's too many layers.

[00:14:19] So I just,

[00:14:20] cutting one layer out

[00:14:21] just kind of made it

[00:14:21] seem,

[00:14:22] flow a little better.

[00:14:24] Yeah,

[00:14:24] and then like

[00:14:25] the next paragraph

[00:14:25] also kind of gives us

[00:14:26] an explanation

[00:14:27] about like,

[00:14:29] well,

[00:14:29] like,

[00:14:30] like you're cutting out

[00:14:31] stuff,

[00:14:31] like you're cutting out

[00:14:33] some of the stuff

[00:14:33] that like is not

[00:14:34] necessarily needed

[00:14:35] because we're going to

[00:14:35] get some of that

[00:14:41] boundaries

[00:14:41] and as well as

[00:14:42] the underworld

[00:14:43] had set firm boundaries

[00:14:44] between the land

[00:14:46] of living

[00:14:46] and who had passed

[00:14:47] through the sticks.

[00:14:47] So it's like,

[00:14:48] that kind of pulls

[00:14:49] into what you were

[00:14:49] just saying

[00:14:50] and but like

[00:14:50] removing the words

[00:14:51] that you removed

[00:14:52] from that previous

[00:14:53] sentence for that

[00:14:54] from the paragraph,

[00:14:56] it kind of,

[00:14:57] it's,

[00:14:58] it's fine.

[00:14:59] It works

[00:14:59] in conjunction

[00:15:00] with it.

[00:15:01] So it doesn't

[00:15:02] change what's being

[00:15:03] told.

[00:15:04] It just makes it

[00:15:05] a little less bloated

[00:15:05] in my opinion.

[00:15:06] Yeah,

[00:15:07] it removes some

[00:15:08] filler words again.

[00:15:09] Yeah.

[00:15:10] Apparently that's

[00:15:10] our,

[00:15:10] that's going to be

[00:15:11] my word of the

[00:15:14] day is filler.

[00:15:16] It might be mine

[00:15:17] as well,

[00:15:19] but I'll move on.

[00:15:24] This next one

[00:15:25] is just kind of

[00:15:26] like the flow of it.

[00:15:28] Fairy as well

[00:15:29] as the underworld

[00:15:29] had set firm

[00:15:30] boundaries between

[00:15:31] the living and

[00:15:32] those who had

[00:15:33] passed over the

[00:15:33] sticks,

[00:15:34] forbidding further

[00:15:35] contact.

[00:15:36] However,

[00:15:36] that wretched

[00:15:37] creature had

[00:15:38] gone,

[00:15:38] had done the

[00:15:39] impossible

[00:15:41] and through

[00:15:41] the sheer,

[00:15:42] sheer stubborn

[00:15:44] will had even

[00:15:45] possessed a

[00:15:45] stolen decay,

[00:15:46] stolen decaying

[00:15:47] half alive corpse

[00:15:49] that otherwise

[00:15:50] would have been

[00:15:50] consigned to the

[00:15:51] maggots in

[00:15:52] oblivion.

[00:15:53] So some of that

[00:15:54] might not have

[00:15:55] been easy to

[00:15:57] notice where my

[00:15:58] problems were.

[00:15:59] It's basically

[00:16:00] just the flow of

[00:16:01] it through commas

[00:16:02] didn't seem right

[00:16:03] because like at the

[00:16:04] very start,

[00:16:05] it's like the

[00:16:05] fairy as well

[00:16:06] as the

[00:16:06] underworld is

[00:16:08] how it starts.

[00:16:10] Where,

[00:16:11] firstly,

[00:16:12] I would go

[00:16:12] fairy,

[00:16:13] as well as

[00:16:14] the underworld,

[00:16:15] another comma,

[00:16:15] had set firmer

[00:16:16] boundaries between

[00:16:17] the living and

[00:16:18] those who pass

[00:16:19] over the

[00:16:19] sticks.

[00:16:22] And then later

[00:16:23] on it's saying,

[00:16:24] however,

[00:16:25] that wretched

[00:16:26] creature had done

[00:16:26] the impossible

[00:16:28] and through

[00:16:28] sheer stubborn

[00:16:29] will had even

[00:16:30] possessed.

[00:16:31] Like,

[00:16:32] it has a

[00:16:33] break there

[00:16:34] with a comma,

[00:16:34] but I don't feel

[00:16:35] it even needs

[00:16:36] one there.

[00:16:36] Because without

[00:16:37] the comma,

[00:16:38] it would just

[00:16:38] go,

[00:16:38] however,

[00:16:39] that wretched

[00:16:40] creature had

[00:16:40] done the

[00:16:41] impossible and

[00:16:41] through sheer

[00:16:42] stubborn will,

[00:16:44] like,

[00:16:45] it flows fine

[00:16:46] without it.

[00:16:48] And then a

[00:16:49] little,

[00:16:49] right after that,

[00:16:50] it says,

[00:16:51] had even

[00:16:51] possessed a

[00:16:52] stolen,

[00:16:52] decaying,

[00:16:54] half-alive

[00:16:54] corpse.

[00:16:55] Like,

[00:16:56] it's stolen,

[00:16:56] decaying,

[00:16:57] comma,

[00:16:58] half-alive

[00:16:58] corpse.

[00:16:59] Where all

[00:17:00] those things

[00:17:00] are descriptors,

[00:17:02] so it should be

[00:17:03] stolen,

[00:17:03] comma,

[00:17:04] decaying,

[00:17:04] comma,

[00:17:04] half-alive

[00:17:05] corpse,

[00:17:06] right?

[00:17:07] Yeah,

[00:17:07] because you're

[00:17:08] listing things.

[00:17:09] Yeah.

[00:17:10] That's it for

[00:17:11] chapter one.

[00:17:12] On to chapter

[00:17:13] two.

[00:17:14] So,

[00:17:15] my,

[00:17:15] I only have

[00:17:16] one in this

[00:17:16] one.

[00:17:17] The cat

[00:17:18] continued,

[00:17:18] his continued,

[00:17:19] his contented

[00:17:20] purr.

[00:17:21] Again,

[00:17:22] there's a double

[00:17:23] word that doesn't

[00:17:24] need to be in the

[00:17:24] sentence,

[00:17:25] or like a double

[00:17:27] set of words,

[00:17:27] like,

[00:17:28] the cat

[00:17:29] continued,

[00:17:29] his content

[00:17:30] purr.

[00:17:31] Like,

[00:17:32] that,

[00:17:33] that's it.

[00:17:34] There's the

[00:17:35] fix.

[00:17:36] I see that

[00:17:38] one.

[00:17:40] Purr.

[00:17:42] There's four

[00:17:43] instances of

[00:17:43] purr.

[00:17:46] Continued,

[00:17:47] his continued,

[00:17:48] wow,

[00:17:49] it does say

[00:17:49] that.

[00:17:50] He just

[00:17:50] typo-eased

[00:17:51] over it,

[00:17:51] didn't you?

[00:17:52] I guess.

[00:17:54] Yeah.

[00:17:54] Chapter two.

[00:17:59] Huh.

[00:18:00] Yeah.

[00:18:01] Well,

[00:18:01] how about that?

[00:18:02] Yeah.

[00:18:03] But yeah,

[00:18:03] that's the only

[00:18:04] one I really

[00:18:04] had for

[00:18:05] chapter two.

[00:18:06] So,

[00:18:06] so Mikey,

[00:18:07] B stands for

[00:18:08] evil.

[00:18:09] Um,

[00:18:10] the,

[00:18:10] the one I

[00:18:11] have,

[00:18:13] I'm looking

[00:18:14] at it and

[00:18:15] I'm guessing

[00:18:16] it's also an

[00:18:17] actual thought.

[00:18:18] Jeez.

[00:18:21] Uh,

[00:18:22] cause,

[00:18:22] uh,

[00:18:23] the dead

[00:18:24] quiet muffled

[00:18:25] the music.

[00:18:27] Oh,

[00:18:28] no,

[00:18:28] I,

[00:18:29] okay.

[00:18:30] Sorry.

[00:18:31] Sorry.

[00:18:31] Yeah.

[00:18:32] The,

[00:18:33] the,

[00:18:33] that was

[00:18:34] my issue

[00:18:36] is the,

[00:18:37] like the,

[00:18:38] the muffled,

[00:18:41] um,

[00:18:42] or dead

[00:18:43] quiet muffled

[00:18:44] doesn't sound

[00:18:45] right.

[00:18:46] Really?

[00:18:46] Went to me

[00:18:48] when I read

[00:18:49] it out loud.

[00:18:51] Um,

[00:18:53] and also

[00:18:55] technically

[00:18:55] dead quiet

[00:18:56] does not

[00:18:57] muffle music.

[00:18:58] It makes

[00:18:58] it louder.

[00:19:00] Yeah,

[00:19:01] that's

[00:19:02] true.

[00:19:03] Yeah.

[00:19:03] Cause like,

[00:19:04] to me,

[00:19:05] like I read

[00:19:05] that as like,

[00:19:05] like the dead

[00:19:06] quiet muffled

[00:19:07] the,

[00:19:07] uh,

[00:19:07] the music is

[00:19:08] like,

[00:19:08] it's basically

[00:19:09] it's so

[00:19:09] there's an,

[00:19:10] there's an

[00:19:12] eerie there,

[00:19:12] there's,

[00:19:13] there's something.

[00:19:13] Yeah,

[00:19:14] I guess I'm,

[00:19:15] I was,

[00:19:15] I took it more

[00:19:15] of like a,

[00:19:16] on a kind of a

[00:19:17] supernatural element

[00:19:17] or something,

[00:19:18] or like an,

[00:19:18] the oppressive

[00:19:19] quiet muffled

[00:19:20] the music,

[00:19:20] but like,

[00:19:21] that's the

[00:19:22] dead quiet

[00:19:23] muffling music

[00:19:23] that doesn't

[00:19:24] tend to happen.

[00:19:25] It's like,

[00:19:25] in fact,

[00:19:26] yeah,

[00:19:26] like the music

[00:19:26] is isolated

[00:19:27] when it's

[00:19:27] dead quiet.

[00:19:29] Yeah.

[00:19:30] It becomes

[00:19:30] an audio file

[00:19:32] like a

[00:19:35] WAV file

[00:19:36] or an MP3.

[00:19:37] Yeah,

[00:19:37] yeah,

[00:19:37] exactly.

[00:19:38] Hmm.

[00:19:40] Yeah.

[00:19:41] Yeah.

[00:19:42] It's like,

[00:19:42] it's like the

[00:19:43] dead quiet.

[00:19:44] Um,

[00:19:45] yeah,

[00:19:46] I don't know

[00:19:46] like the,

[00:19:49] hang on the

[00:19:50] dead quiet

[00:19:50] muffled the

[00:19:50] music,

[00:19:51] the distant

[00:19:52] shuffle of

[00:19:53] footprints or

[00:19:54] footsteps,

[00:19:55] the lively

[00:19:55] chatter from

[00:19:56] the,

[00:19:56] from inside.

[00:19:58] Yeah.

[00:19:58] That's so weird.

[00:19:59] Like,

[00:20:00] like needs to be

[00:20:00] something like if

[00:20:01] she's freaking

[00:20:02] out or something

[00:20:03] like,

[00:20:03] um,

[00:20:04] her,

[00:20:04] like her quick

[00:20:06] breathing and a

[00:20:06] rapid heartbeat

[00:20:07] muffled at the

[00:20:08] music.

[00:20:08] Like,

[00:20:08] cause like she's

[00:20:09] focusing on that

[00:20:10] or like,

[00:20:10] cause like you

[00:20:11] understand what

[00:20:11] where she's coming

[00:20:12] from.

[00:20:12] Like,

[00:20:12] like it seems

[00:20:13] like the

[00:20:13] sentence is explaining

[00:20:14] like that,

[00:20:15] like she's everything

[00:20:16] suddenly getting like

[00:20:16] in her head,

[00:20:17] everything's

[00:20:18] getting all muffled

[00:20:19] and like,

[00:20:19] like she can't

[00:20:20] concentrate on

[00:20:21] everything.

[00:20:22] It's like

[00:20:22] everything's

[00:20:23] getting muted.

[00:20:25] Um,

[00:20:26] cause you see that

[00:20:27] in like stories

[00:20:27] and in movies

[00:20:28] and stuff like

[00:20:28] I've seen in

[00:20:29] like shows and

[00:20:29] movies specifically

[00:20:30] like where like a

[00:20:31] character like

[00:20:32] suddenly realizes

[00:20:33] something from her

[00:20:34] past,

[00:20:35] um,

[00:20:35] and it like

[00:20:36] terrifies them

[00:20:36] and then like

[00:20:37] everything around

[00:20:38] them suddenly just

[00:20:38] becomes all muted

[00:20:39] and muffled and

[00:20:40] like,

[00:20:41] as somebody's

[00:20:42] trying to talk

[00:20:42] to them and

[00:20:43] stuff.

[00:20:44] So that's what

[00:20:45] I think the

[00:20:46] sentence is trying

[00:20:46] to say.

[00:20:47] but yeah,

[00:20:47] like the dead

[00:20:48] quiet muffled

[00:20:49] the music.

[00:20:51] Um,

[00:20:51] maybe it's

[00:20:51] like the

[00:20:52] dread,

[00:20:53] um,

[00:20:54] uh,

[00:20:54] or yeah,

[00:20:55] like the dread

[00:20:55] quiet muffled

[00:20:56] the music

[00:20:57] cause that it's,

[00:20:58] it would,

[00:20:59] it may,

[00:20:59] it would indicate

[00:21:00] more of like an

[00:21:01] emotional traumatic

[00:21:02] response from

[00:21:03] her.

[00:21:03] Like my panic

[00:21:05] muffled the music

[00:21:05] all I could hear

[00:21:07] is blah,

[00:21:08] blah,

[00:21:08] blah.

[00:21:08] Yeah.

[00:21:09] the dread panic

[00:21:11] or the,

[00:21:12] yeah,

[00:21:12] or the dead

[00:21:13] panic might even

[00:21:14] be.

[00:21:15] Yeah.

[00:21:18] No,

[00:21:19] that's a good

[00:21:19] catch actually,

[00:21:20] Mikey.

[00:21:21] Okay.

[00:21:22] Uh,

[00:21:23] then that's it

[00:21:24] for chapter two.

[00:21:25] Okay.

[00:21:26] Gamer.

[00:21:27] Okay.

[00:21:30] Abruptly from

[00:21:31] overhead.

[00:21:33] Let me reread

[00:21:34] that cause I

[00:21:35] slowed down

[00:21:36] for a second

[00:21:36] there.

[00:21:37] Abruptly from

[00:21:37] overhead,

[00:21:38] she heard a

[00:21:39] hollow rumbling

[00:21:40] crash like

[00:21:41] furniture tumbling

[00:21:42] downstairs.

[00:21:43] So when I first

[00:21:44] read that,

[00:21:45] I'm like up

[00:21:46] down the

[00:21:47] stairs.

[00:21:49] I was confused

[00:21:50] basically for a

[00:21:51] moment because

[00:21:51] downstairs is

[00:21:52] normally down,

[00:21:54] not upstairs.

[00:21:55] It's down

[00:21:57] because like I,

[00:21:58] I read it

[00:21:59] initially like

[00:22:00] downstairs is a

[00:22:01] location,

[00:22:02] not the act of

[00:22:03] something going

[00:22:04] down a flight of

[00:22:05] stairs.

[00:22:06] Yeah.

[00:22:07] So I see her

[00:22:08] looking up as

[00:22:10] like something

[00:22:11] is happening

[00:22:12] up.

[00:22:12] like beside

[00:22:13] the stair,

[00:22:14] like she's

[00:22:14] standing beside

[00:22:15] the staircase

[00:22:15] that's going

[00:22:16] down,

[00:22:16] but she's

[00:22:16] looking up to

[00:22:17] the next floor

[00:22:18] as like a

[00:22:19] box is falling

[00:22:19] down the

[00:22:20] staircase beside

[00:22:21] her down to

[00:22:22] the lower

[00:22:22] level.

[00:22:25] I was very

[00:22:26] confused.

[00:22:27] Yeah.

[00:22:27] Fair.

[00:22:28] But like a

[00:22:28] quick change

[00:22:29] that would

[00:22:30] fix that is

[00:22:31] down the

[00:22:32] stairs instead

[00:22:33] of saying

[00:22:34] downstairs,

[00:22:35] because

[00:22:35] downstairs is

[00:22:36] a location.

[00:22:37] Yeah.

[00:22:37] I,

[00:22:37] that's something

[00:22:38] I think I've

[00:22:39] also picked

[00:22:39] up.

[00:22:39] I have a

[00:22:40] few later

[00:22:42] grammar

[00:22:42] acquisitions that

[00:22:43] like tie on

[00:22:43] this.

[00:22:43] I think there's

[00:22:44] a couple of

[00:22:45] times in the

[00:22:45] story where

[00:22:45] like the is

[00:22:46] just kind of

[00:22:47] forgotten.

[00:22:50] Um,

[00:22:51] and I,

[00:22:52] I think I have

[00:22:52] a few examples

[00:22:53] of that in

[00:22:53] some of the

[00:22:54] later chapters,

[00:22:55] but yeah,

[00:22:55] like that,

[00:22:55] I think that's a

[00:22:56] common,

[00:22:57] like another

[00:22:57] common typo in

[00:22:58] this story.

[00:22:59] um,

[00:23:00] or maybe not

[00:23:01] common,

[00:23:01] but like it

[00:23:02] happens more

[00:23:02] than,

[00:23:02] than,

[00:23:03] than once or

[00:23:03] twice.

[00:23:04] Yeah.

[00:23:06] So my next

[00:23:06] one,

[00:23:07] um,

[00:23:08] could just

[00:23:08] been a

[00:23:09] lightning flash

[00:23:10] as well as

[00:23:11] her wild

[00:23:11] imagination

[00:23:12] overreacting

[00:23:12] as usual.

[00:23:13] And then it

[00:23:14] jumps down a

[00:23:15] line,

[00:23:15] goes into

[00:23:16] italic mode.

[00:23:17] Oh,

[00:23:17] get a grip

[00:23:18] Fiona.

[00:23:18] I mean,

[00:23:18] look around

[00:23:19] you,

[00:23:19] blah,

[00:23:19] blah,

[00:23:19] blah.

[00:23:19] And then

[00:23:20] it goes

[00:23:20] out of

[00:23:20] italics and

[00:23:21] back to

[00:23:21] their stuff.

[00:23:22] So my

[00:23:23] nemesis

[00:23:23] italics have

[00:23:24] returned.

[00:23:24] However,

[00:23:25] um,

[00:23:27] like this is

[00:23:28] technically

[00:23:28] fine.

[00:23:29] Yeah.

[00:23:29] But the

[00:23:30] way that the

[00:23:31] story's been

[00:23:31] narrated so

[00:23:32] far with

[00:23:33] the narrator

[00:23:34] focusing on

[00:23:34] Fiona so

[00:23:35] intently,

[00:23:35] I feel like

[00:23:37] it should be

[00:23:37] worded differently

[00:23:38] because like the

[00:23:39] narrator has been

[00:23:39] describing her

[00:23:40] like she does

[00:23:42] this,

[00:23:43] Fiona does

[00:23:43] that,

[00:23:44] but then all

[00:23:44] of a sudden

[00:23:45] it's just a

[00:23:46] whole bunch of

[00:23:46] descriptors and

[00:23:47] then immediately

[00:23:48] into dialogue

[00:23:50] and like

[00:23:51] thought dialogue.

[00:23:53] Yeah.

[00:23:54] So like,

[00:23:54] I feel like it

[00:23:55] should be

[00:23:55] something like

[00:23:56] the wild

[00:23:57] imagination

[00:23:58] overacting as

[00:23:58] usual.

[00:23:59] And then

[00:23:59] something like

[00:24:00] she rubbed

[00:24:00] her temples

[00:24:01] thinking to

[00:24:01] herself,

[00:24:02] oh,

[00:24:02] get a grip.

[00:24:02] Like everything

[00:24:03] else is so

[00:24:04] visually described,

[00:24:05] but this just

[00:24:07] snaps right into

[00:24:07] the thought

[00:24:08] without much

[00:24:09] of a transition.

[00:24:10] Yeah.

[00:24:11] I mean,

[00:24:11] conversely,

[00:24:12] you could also

[00:24:13] have that

[00:24:14] descriptor after

[00:24:15] the,

[00:24:15] uh,

[00:24:15] get a grip

[00:24:16] and stuff

[00:24:16] like have

[00:24:17] it like

[00:24:17] have that

[00:24:17] whole bit.

[00:24:18] And then

[00:24:18] it's like

[00:24:18] she,

[00:24:19] uh,

[00:24:19] she thought

[00:24:19] as she

[00:24:20] like rubbed

[00:24:20] her,

[00:24:20] her temple

[00:24:21] and in

[00:24:21] frustration

[00:24:22] kind of

[00:24:22] thing.

[00:24:22] Yeah.

[00:24:23] Yeah.

[00:24:24] Just something

[00:24:24] because it

[00:24:24] just seems

[00:24:25] too bland

[00:24:26] on that

[00:24:26] one.

[00:24:27] Yeah.

[00:24:28] Also,

[00:24:28] because I'm

[00:24:29] reading the

[00:24:30] next line

[00:24:31] over down.

[00:24:32] Why isn't

[00:24:33] that italicized?

[00:24:33] Because that's

[00:24:34] clearly a

[00:24:34] thought too.

[00:24:36] Because she's

[00:24:37] like,

[00:24:37] oh,

[00:24:37] get a grip,

[00:24:38] Fiona.

[00:24:38] I mean,

[00:24:39] look around

[00:24:39] you.

[00:24:40] What,

[00:24:40] what could

[00:24:41] be much

[00:24:41] more peaceful

[00:24:42] and safe

[00:24:42] than this

[00:24:43] quaint

[00:24:43] place?

[00:24:44] And then

[00:24:44] it cuts

[00:24:45] down and

[00:24:45] it's not

[00:24:46] italic.

[00:24:46] And so

[00:24:47] I guess

[00:24:47] it may

[00:24:48] be like

[00:24:48] Dr.

[00:24:48] Akron is

[00:24:49] seeing

[00:24:49] this,

[00:24:49] but like,

[00:24:50] peaceful

[00:24:51] and safe

[00:24:51] dot,

[00:24:52] dot,

[00:24:52] dot,

[00:24:53] like this

[00:24:53] town with

[00:24:54] white,

[00:24:54] this town

[00:24:55] of white

[00:24:55] chalk cliffs

[00:24:56] and giant

[00:24:57] ammonites.

[00:25:00] Yeah,

[00:25:00] I guess

[00:25:01] it's him

[00:25:02] doing it,

[00:25:02] but yeah,

[00:25:03] at the time

[00:25:04] it was narrator

[00:25:04] saying it.

[00:25:05] Yeah,

[00:25:06] exactly.

[00:25:06] But like,

[00:25:07] it also kind

[00:25:08] of felt like

[00:25:08] it should

[00:25:08] have been

[00:25:08] like her

[00:25:09] even thinking

[00:25:09] that,

[00:25:10] like kind

[00:25:10] of like

[00:25:10] double,

[00:25:10] like double

[00:25:11] doubting

[00:25:11] herself.

[00:25:12] Yeah,

[00:25:14] that's true,

[00:25:17] but I'll

[00:25:18] move on.

[00:25:18] Yeah.

[00:25:19] However,

[00:25:20] despite her

[00:25:20] gratitude

[00:25:21] towards the

[00:25:22] friendly

[00:25:22] feline,

[00:25:23] Fiona had

[00:25:23] no intention

[00:25:24] of remaining

[00:25:25] a comfy

[00:25:26] quote unquote

[00:25:27] cat

[00:25:27] chair

[00:25:30] for several

[00:25:31] hours.

[00:25:32] So I feel

[00:25:32] like the

[00:25:34] quote should

[00:25:34] be around

[00:25:35] cat and

[00:25:35] chair

[00:25:36] completely

[00:25:37] because

[00:25:37] she's saying

[00:25:39] that it's a

[00:25:39] comfy

[00:25:39] quote unquote

[00:25:40] cat

[00:25:41] chair

[00:25:43] which is

[00:25:44] strange.

[00:25:46] Yeah,

[00:25:46] because it's

[00:25:46] like,

[00:25:47] maybe it's

[00:25:47] like,

[00:25:47] oh,

[00:25:51] this isn't

[00:25:51] earth,

[00:25:52] like as

[00:25:52] we discover,

[00:25:52] like this

[00:25:53] is someone

[00:25:54] at the

[00:25:55] time,

[00:25:56] she didn't

[00:25:56] know that

[00:25:57] this was

[00:25:57] a standard

[00:25:58] earth cat.

[00:25:59] So she

[00:25:59] might be

[00:26:00] like,

[00:26:00] quote unquote

[00:26:01] cat,

[00:26:01] because you're

[00:26:02] actually super

[00:26:02] intelligent.

[00:26:04] Maybe that's

[00:26:05] what it's

[00:26:05] intending,

[00:26:06] but I don't

[00:26:07] know.

[00:26:08] I feel like

[00:26:08] cat chair is

[00:26:11] something that

[00:26:11] should be

[00:26:12] quoted

[00:26:12] itself.

[00:26:14] Yeah,

[00:26:17] but that is it

[00:26:18] for chapter

[00:26:18] two.

[00:26:19] Yeah,

[00:26:19] yeah,

[00:26:20] I do agree.

[00:26:20] Like,

[00:26:20] yeah,

[00:26:20] cat chair

[00:26:21] in quotes

[00:26:22] should be

[00:26:22] better,

[00:26:22] it's better

[00:26:23] than a

[00:26:24] comfy

[00:26:24] cat chair.

[00:26:26] It's

[00:26:26] cat

[00:26:27] in quotes.

[00:26:30] Um,

[00:26:31] but yeah,

[00:26:31] we'll move

[00:26:32] on to

[00:26:32] chapter three.

[00:26:33] Again,

[00:26:34] I only have

[00:26:34] one of

[00:26:34] them here.

[00:26:35] Fiona had

[00:26:36] pretty much

[00:26:37] dismissed

[00:26:37] it as

[00:26:38] extreme

[00:26:39] anxiety

[00:26:39] caused by

[00:26:40] the low

[00:26:41] barometric

[00:26:41] pressure,

[00:26:42] the strange

[00:26:43] acoustical,

[00:26:44] the strange

[00:26:45] acoustical effect

[00:26:46] caused by

[00:26:47] the rose

[00:26:48] and row

[00:26:48] or the

[00:26:49] the rose

[00:26:50] and now

[00:26:51] of towering

[00:26:52] bookshelves

[00:26:53] as well as

[00:26:54] the unsettling

[00:26:54] canine visitors.

[00:26:56] So,

[00:26:56] uh,

[00:26:57] that now

[00:26:58] there,

[00:26:59] um,

[00:26:59] caused by

[00:27:00] the rose

[00:27:00] and now

[00:27:01] of towering

[00:27:03] bookshelves.

[00:27:03] I feel actually

[00:27:04] it's supposed

[00:27:04] to also be

[00:27:05] rose.

[00:27:05] So like

[00:27:05] the rose

[00:27:06] and rose

[00:27:06] of towering

[00:27:07] bookshelves.

[00:27:09] Um,

[00:27:10] just the way

[00:27:11] it's the rest

[00:27:11] of the sentence

[00:27:12] is written.

[00:27:12] It sounds

[00:27:13] like it's

[00:27:13] supposed to

[00:27:13] actually be

[00:27:13] rose

[00:27:14] again.

[00:27:16] Yeah.

[00:27:16] But yeah,

[00:27:18] yeah,

[00:27:18] I also had

[00:27:18] that one.

[00:27:19] Okay.

[00:27:20] Uh,

[00:27:20] but that is

[00:27:21] my mind

[00:27:21] for chapter

[00:27:22] three.

[00:27:23] So Mikey,

[00:27:23] do you have

[00:27:24] anything more?

[00:27:25] Uh,

[00:27:26] yes,

[00:27:27] I think

[00:27:28] I'm going

[00:27:28] to die

[00:27:28] or else

[00:27:30] barf all

[00:27:30] over the

[00:27:31] place.

[00:27:32] Talking

[00:27:32] about yourself.

[00:27:34] Like,

[00:27:35] yes,

[00:27:35] I think

[00:27:35] I'm going

[00:27:35] to die

[00:27:36] because I

[00:27:36] have so

[00:27:36] many

[00:27:36] I have

[00:27:36] to do

[00:27:37] here.

[00:27:38] That's

[00:27:38] where

[00:27:38] you're

[00:27:38] going.

[00:27:39] Sorry.

[00:27:43] Well,

[00:27:44] that sentence

[00:27:45] is missing

[00:27:45] a period

[00:27:46] at the

[00:27:46] end.

[00:27:47] Ah,

[00:27:47] okay.

[00:27:48] Gamer?

[00:27:49] Fiona's ears

[00:27:49] pricked as

[00:27:50] she listened

[00:27:51] for the

[00:27:52] sound of

[00:27:52] footsteps,

[00:27:52] but all

[00:27:53] she could

[00:27:54] hear was

[00:27:54] the hiss

[00:27:54] of rain

[00:27:55] and wind

[00:27:56] whispering

[00:27:56] across the

[00:27:57] threshold.

[00:27:58] This is in

[00:27:58] regards to

[00:27:58] the door

[00:27:59] being open.

[00:28:01] Bring in

[00:28:01] with it

[00:28:03] the skittering

[00:28:03] of dried

[00:28:04] autumn leaves.

[00:28:06] It was

[00:28:07] raining like

[00:28:07] hell out.

[00:28:08] Yeah,

[00:28:08] I noticed

[00:28:09] that too.

[00:28:09] They wouldn't

[00:28:10] be dry

[00:28:10] at all.

[00:28:11] No,

[00:28:12] they would

[00:28:12] not at

[00:28:12] all.

[00:28:13] They'd be

[00:28:13] wet as

[00:28:14] hell.

[00:28:15] Yeah.

[00:28:16] I mean,

[00:28:16] they were

[00:28:17] previously

[00:28:17] dried and

[00:28:18] then

[00:28:18] wettened

[00:28:21] through the

[00:28:21] rain,

[00:28:22] but they

[00:28:22] would not

[00:28:22] just be

[00:28:23] dry.

[00:28:24] Yeah,

[00:28:24] exactly.

[00:28:25] Yeah.

[00:28:25] Unless they

[00:28:26] actually are

[00:28:27] because this

[00:28:28] is a

[00:28:28] supernaturally

[00:28:29] occurring

[00:28:30] thing that's

[00:28:31] following this

[00:28:31] creature in.

[00:28:32] Oh,

[00:28:33] maybe.

[00:28:34] So,

[00:28:34] maybe.

[00:28:35] The presence

[00:28:35] is actually

[00:28:36] quickly drying

[00:28:37] out the

[00:28:37] area around.

[00:28:38] Yeah,

[00:28:39] so maybe

[00:28:40] this would

[00:28:40] have been a

[00:28:40] good time

[00:28:41] to have

[00:28:42] you want to

[00:28:42] be like,

[00:28:44] the door came

[00:28:45] open and

[00:28:45] rush of dried

[00:28:46] leaves came in.

[00:28:47] Dried leaves,

[00:28:48] it's pouring

[00:28:49] rain.

[00:28:50] What the hell

[00:28:50] is going on?

[00:28:51] You know?

[00:28:52] Yeah,

[00:28:52] exactly.

[00:28:53] Also,

[00:28:54] kind of connected

[00:28:54] to tissue time

[00:28:54] because I know

[00:28:55] you and I have

[00:28:56] both been dealing

[00:28:57] with a lot of

[00:28:57] rain lately and

[00:28:58] with the falling

[00:28:59] leaves in

[00:29:00] autumn.

[00:29:01] So,

[00:29:01] it's just like,

[00:29:02] yeah,

[00:29:02] this also hits

[00:29:03] more true for us

[00:29:04] because it's like,

[00:29:05] wait,

[00:29:05] hang on a second.

[00:29:07] Isn't it raining

[00:29:08] out right now?

[00:29:09] It might be.

[00:29:10] Yeah.

[00:29:12] Yeah.

[00:29:12] And then this

[00:29:13] next one.

[00:29:14] Okay,

[00:29:14] so it says,

[00:29:15] the skittering of

[00:29:15] dried on leaves.

[00:29:17] For less than a

[00:29:18] minute,

[00:29:18] she listened

[00:29:18] carefully.

[00:29:19] So,

[00:29:19] what's going on?

[00:29:20] she thought as

[00:29:21] the sound

[00:29:22] stretched into

[00:29:22] several long

[00:29:23] uncomfortable

[00:29:23] moments.

[00:29:24] The,

[00:29:25] so what's going

[00:29:26] on is not

[00:29:27] in quotes,

[00:29:27] it's not in

[00:29:28] brackets,

[00:29:28] it's not even

[00:29:29] italixed.

[00:29:30] And yet,

[00:29:31] it's been

[00:29:32] pretty laid out

[00:29:33] at this point

[00:29:34] that thoughts

[00:29:34] are italics.

[00:29:35] Yeah.

[00:29:36] So,

[00:29:36] this just needs

[00:29:37] to be italixed

[00:29:38] just for consistency

[00:29:42] purposes.

[00:29:43] Yeah.

[00:29:43] Okay,

[00:29:44] this next one,

[00:29:44] I just kind of

[00:29:45] found the spacing

[00:29:46] of it odd.

[00:29:47] The paragraph

[00:29:49] ends with,

[00:29:50] finally,

[00:29:50] she picked up

[00:29:51] the still-sleeping

[00:29:53] feline and slowly

[00:29:53] rose to her

[00:29:55] numb feet.

[00:29:56] Without a warning,

[00:29:56] the door slammed

[00:29:58] shut,

[00:29:58] causing Fiona

[00:29:59] to jump,

[00:30:00] and the cat

[00:30:00] suddenly bolt awake

[00:30:01] and scramble

[00:30:02] out of her grasp.

[00:30:03] And then it goes

[00:30:04] down a line

[00:30:05] to, like,

[00:30:05] basically start

[00:30:06] a new paragraph,

[00:30:07] a micro-paragraph,

[00:30:08] that says,

[00:30:11] bewilderedly,

[00:30:12] she watched

[00:30:13] as the cat

[00:30:14] barreled down

[00:30:14] the narrow aisle,

[00:30:15] finally disappearing

[00:30:16] into the mystery

[00:30:17] section.

[00:30:18] And then it goes

[00:30:19] down into dialogue

[00:30:20] of her saying,

[00:30:20] well,

[00:30:21] that was weird.

[00:30:22] So,

[00:30:24] the spacing

[00:30:25] feels off for me,

[00:30:27] personally,

[00:30:27] because, like,

[00:30:29] I'd break it

[00:30:30] into a new paragraph

[00:30:31] when she switches

[00:30:32] gears from

[00:30:33] previously she was

[00:30:34] listening to what's

[00:30:35] happening,

[00:30:35] and then she decided

[00:30:37] to get up.

[00:30:38] Like,

[00:30:38] that's a shift

[00:30:39] in her focus,

[00:30:40] so I feel like

[00:30:41] that would be a good

[00:30:41] time to switch

[00:30:42] the paragraph as well,

[00:30:44] and then combine

[00:30:45] the rest of it

[00:30:45] together,

[00:30:46] of, like,

[00:30:46] being scared

[00:30:47] and the cat

[00:30:48] running away.

[00:30:48] Yeah.

[00:30:51] Also,

[00:30:51] as, like,

[00:30:52] a quick note,

[00:30:52] what was weird

[00:30:54] about this scene

[00:30:55] that she's

[00:30:56] referencing?

[00:30:57] Like,

[00:30:57] she got up,

[00:30:58] there was a loud

[00:30:59] noise that scared

[00:30:59] her and the cat,

[00:31:01] and the cat ran

[00:31:01] away because it

[00:31:02] was scared.

[00:31:04] That's all

[00:31:05] pretty legit.

[00:31:06] I think it was

[00:31:06] the door slamming

[00:31:07] thing is what

[00:31:08] she was commenting

[00:31:08] on,

[00:31:09] but it is

[00:31:10] pretty mild.

[00:31:12] Considering all

[00:31:12] the other weird

[00:31:13] shit she's been

[00:31:14] seeing and knows

[00:31:15] of,

[00:31:15] I don't think

[00:31:16] the door being

[00:31:17] slammed is weird.

[00:31:18] I've got another,

[00:31:19] I've got a comment

[00:31:20] again in my actual

[00:31:21] thoughts about that,

[00:31:22] but, like,

[00:31:22] something that she

[00:31:23] says later on

[00:31:24] that's kind of

[00:31:25] similar to that.

[00:31:26] Yeah.

[00:31:27] But we'll get

[00:31:28] into that.

[00:31:28] Okay.

[00:31:35] Then this one

[00:31:36] here,

[00:31:37] this is when

[00:31:38] she sees the

[00:31:40] familiar woman

[00:31:41] come in that

[00:31:42] isn't someone she

[00:31:43] knows but looks a

[00:31:43] lot like her.

[00:31:44] The two women

[00:31:45] stare at each

[00:31:46] other for a few

[00:31:46] minutes before the

[00:31:47] elf turn to

[00:31:48] follow her bow,

[00:31:50] bow.

[00:31:51] Or bow.

[00:31:52] Or bow.

[00:31:52] Yeah, it's like a

[00:31:53] southern term for,

[00:31:54] or like a,

[00:31:55] I think I should

[00:31:55] say it.

[00:31:55] Oh, yeah.

[00:31:56] Or southern,

[00:31:56] like my bow.

[00:31:58] Yeah, into the

[00:31:59] war in other

[00:31:59] rooms.

[00:32:00] So start the

[00:32:01] timer.

[00:32:03] Stare at someone

[00:32:03] for three minutes.

[00:32:05] Oh, yeah,

[00:32:05] there's a lot of

[00:32:06] those.

[00:32:06] There's a lot of

[00:32:08] numbered waiting.

[00:32:10] Yeah.

[00:32:11] Granted, the one

[00:32:12] that was said

[00:32:12] previously, which I

[00:32:13] have a note on,

[00:32:14] but I guess I'll

[00:32:15] say it now.

[00:32:17] It says there's

[00:32:18] the skittering of

[00:32:18] dried leaves.

[00:32:19] I'm going to say it

[00:32:19] again.

[00:32:20] And then it

[00:32:20] says for less

[00:32:21] than a minute,

[00:32:22] she listened

[00:32:22] carefully.

[00:32:23] I'm fine with

[00:32:24] that because it's

[00:32:25] less than 60

[00:32:26] seconds.

[00:32:26] You have a rough

[00:32:27] idea of how long

[00:32:29] that's happening.

[00:32:30] That's great.

[00:32:31] Yeah.

[00:32:31] And then she

[00:32:32] stares at someone

[00:32:33] for three minutes.

[00:32:34] Is it funny that

[00:32:34] like every time

[00:32:35] I, every time I

[00:32:36] got, I got, we

[00:32:36] got like a, uh,

[00:32:38] a numbered, like

[00:32:40] a solid time for

[00:32:42] like, like I thought

[00:32:43] of you.

[00:32:45] It's my, you're,

[00:32:46] you're all about

[00:32:47] tenses.

[00:32:48] I'm all about

[00:32:49] like moments

[00:32:50] instead of minutes.

[00:32:52] You're all about

[00:32:53] moment.

[00:32:53] You're all about

[00:32:54] momentary timestamps.

[00:32:56] Yeah, pretty much.

[00:32:57] Uh, it's certain

[00:32:58] things just kind of

[00:32:59] bug different people,

[00:33:00] you know?

[00:33:00] Yeah, that's fair.

[00:33:01] It's like, oh, like,

[00:33:02] um, and, and

[00:33:03] Mikey, um, technology

[00:33:06] yeah.

[00:33:07] Technology works a

[00:33:08] certain way and it

[00:33:09] should only work that

[00:33:10] way.

[00:33:10] Yeah.

[00:33:13] Which makes sense

[00:33:14] unless the supernatural

[00:33:15] is involved, which

[00:33:16] then everything is

[00:33:17] can go out the

[00:33:18] window, but it's

[00:33:19] for sure.

[00:33:20] Yeah.

[00:33:21] But yes, quick

[00:33:21] change for that.

[00:33:22] Instead of a few

[00:33:23] minutes, say for a

[00:33:24] moment.

[00:33:26] Yeah.

[00:33:27] Or a couple of

[00:33:28] moments, a few

[00:33:29] moments.

[00:33:30] Sure, because moments

[00:33:31] is vague enough that

[00:33:32] it's not creepy.

[00:33:34] Unless you want it to

[00:33:35] be creepy.

[00:33:37] But the other person

[00:33:38] is also staring back

[00:33:39] for the same amount

[00:33:40] of time.

[00:33:40] So unless there's some

[00:33:41] magical, like,

[00:33:43] allure thing going

[00:33:44] on, some, like,

[00:33:46] stun lock animation

[00:33:47] that they're putting

[00:33:48] themselves into, I

[00:33:49] don't know.

[00:33:50] Yeah.

[00:33:53] But I'll move on to

[00:33:54] my last one for this

[00:33:55] chapter.

[00:33:58] Uh, so she's

[00:33:59] thinking about, um,

[00:34:01] the, the person in

[00:34:03] the orange raincoat

[00:34:05] that smells like

[00:34:05] ass and says,

[00:34:08] I don't understand

[00:34:08] why a person should

[00:34:10] feel the need to

[00:34:11] douse themselves in

[00:34:12] stinky cologne slash

[00:34:14] perfume and pollute

[00:34:15] the air with their

[00:34:16] scent.

[00:34:16] That's a thought.

[00:34:18] Yeah.

[00:34:19] So did she think

[00:34:21] the slash into her

[00:34:23] head saying cologne

[00:34:24] slash perfume?

[00:34:25] Like she thought the

[00:34:26] slash?

[00:34:27] slash?

[00:34:27] I mean, I, I'll see,

[00:34:28] I'll be honest.

[00:34:29] Sometimes I think of

[00:34:30] that.

[00:34:30] I think that way too.

[00:34:31] You say slash to

[00:34:32] yourself?

[00:34:32] I guess I have too.

[00:34:34] Yeah.

[00:34:34] Like it seems strange

[00:34:35] though.

[00:34:35] Now that I think about

[00:34:36] it, it seems odd, but

[00:34:37] like it does, it does

[00:34:38] sometimes happen.

[00:34:39] Yeah.

[00:34:41] Like you could just

[00:34:42] say cologne or

[00:34:43] perfume or just

[00:34:45] simplify it way down.

[00:34:47] So you don't have to

[00:34:48] differentiate and just

[00:34:49] say, uh, dose

[00:34:50] themselves in that

[00:34:51] stench.

[00:34:52] Yeah.

[00:34:53] Fair.

[00:34:53] Cause then it could

[00:34:54] be either.

[00:34:55] It doesn't matter.

[00:34:56] Yeah.

[00:34:56] But that's the end of

[00:34:57] my chapter three grammar

[00:34:59] in yellow.

[00:35:00] Okay.

[00:35:01] Uh, on to chapter four

[00:35:02] then.

[00:35:02] This is where I, I

[00:35:03] start picking up a

[00:35:04] couple of more.

[00:35:05] Um, so I'm gonna

[00:35:06] start with this one

[00:35:07] here.

[00:35:07] That's weird.

[00:35:07] Cause this is the

[00:35:08] only one that I only

[00:35:08] have one of.

[00:35:11] Um, and bear in

[00:35:13] mind, this first one

[00:35:13] is technically dialogue,

[00:35:14] but I still think it's

[00:35:15] wrong.

[00:35:17] Uh, on a rainy,

[00:35:19] even, oh, I've got

[00:35:21] two on this one.

[00:35:22] Okay.

[00:35:22] So on a rainy, even

[00:35:24] such as this one of

[00:35:26] the 31 at of

[00:35:29] October.

[00:35:30] Okay.

[00:35:31] So I think on a

[00:35:33] rainy evening, such

[00:35:35] as this, um, maybe

[00:35:39] period or a comma.

[00:35:40] And then one of the

[00:35:43] or on the 30, uh,

[00:35:47] hang on.

[00:35:48] You okay over there

[00:35:49] on a rainy evening,

[00:35:50] such as this one of

[00:35:52] the 30 at of

[00:35:55] October.

[00:35:57] I, this sentence is

[00:35:58] all wrong.

[00:35:59] I gotta find this one.

[00:36:00] How did I not see

[00:36:01] this 30 at?

[00:36:02] Yeah.

[00:36:03] Yeah.

[00:36:03] Cause, cause, and, and,

[00:36:04] and the 30 ad is

[00:36:05] wrong because it's

[00:36:05] supposed to be 31st.

[00:36:07] Um, but the a, the S has

[00:36:09] been, uh, has been, uh,

[00:36:10] accidentally typoed into

[00:36:11] as, uh, as an a.

[00:36:12] Oh yeah.

[00:36:13] So it's actually supposed

[00:36:14] to be 30 on the 31st of

[00:36:16] October.

[00:36:16] On a rainy, even such as

[00:36:19] this one of the 30 at of

[00:36:22] October.

[00:36:23] So it should, what I

[00:36:25] typo needs it to is on a

[00:36:26] rainy evening, such as

[00:36:28] this one of the 31st of

[00:36:31] October.

[00:36:32] Yeah.

[00:36:32] So there should be a

[00:36:33] comma after one and

[00:36:35] before of there.

[00:36:37] Um, and then like you

[00:36:38] can either have even

[00:36:39] become Eve or evening

[00:36:41] like already Eve, such as

[00:36:43] this one comma of the

[00:36:45] 31st of October.

[00:36:48] Or even do you get rid of

[00:36:49] the oven just like the

[00:36:50] 31st of October.

[00:36:52] Yep.

[00:36:52] Um, yeah, that it's just

[00:36:54] like, ow.

[00:36:56] Um, but I'll move on to

[00:36:58] the next one here.

[00:37:00] Uh, well, midway through

[00:37:02] the trip, he suddenly

[00:37:03] caught whiff of this foul

[00:37:05] and nauseating odor.

[00:37:07] So I feel like this one,

[00:37:08] it just needs, um, he

[00:37:09] suddenly caught a whiff of

[00:37:11] this foul or, uh, a

[00:37:13] nauseating order.

[00:37:15] Um, instead of whiff, just

[00:37:17] whiff, he suddenly caught

[00:37:19] whiff of this.

[00:37:21] It felt a little caveman-y

[00:37:22] to me.

[00:37:23] Yeah.

[00:37:24] Yeah.

[00:37:25] It sounds weird, right?

[00:37:27] When you read it, when

[00:37:28] you say it, like he suddenly

[00:37:29] caught whiff of this, of

[00:37:31] this foul and nauseating

[00:37:32] odor.

[00:37:33] I feel like it almost

[00:37:34] could be passed off as

[00:37:35] like fancy or speak though.

[00:37:37] Uh, maybe, I don't know.

[00:37:38] I still, it could go

[00:37:39] either way.

[00:37:40] Personally, I want an A

[00:37:41] between caught and whiff.

[00:37:43] Yeah, that's fair.

[00:37:44] Um, but yeah.

[00:37:44] There's no downside to

[00:37:45] doing that for sure.

[00:37:47] Yeah.

[00:37:47] And then, yeah, this is

[00:37:48] where this is sort of what

[00:37:50] I was talking about with,

[00:37:51] uh, your, your, uh, the

[00:37:52] the, that would need to

[00:37:53] be needed.

[00:37:53] Um, it wasn't so much of

[00:37:55] the, it's like, there's

[00:37:55] need to be a few, like,

[00:37:56] of those kind of words

[00:37:57] in between certain words.

[00:37:58] Cause again, it, there's

[00:37:59] a little bit of caveman

[00:38:00] speech throughout the

[00:38:01] story because like either

[00:38:02] the, the person was

[00:38:02] writing too fast and

[00:38:03] like just forgot to add

[00:38:05] that extra word.

[00:38:07] Um, and this is a

[00:38:08] similar example I have

[00:38:10] here.

[00:38:10] Uh, finally he managed

[00:38:12] calm the horse down.

[00:38:14] And then after thinking

[00:38:15] the matter through,

[00:38:16] blah, blah, blah, blah.

[00:38:17] Um, uh, but yeah,

[00:38:19] the, I think it should

[00:38:19] be, uh, finally he

[00:38:20] managed, he managed to

[00:38:22] calm the horse down.

[00:38:23] Yeah.

[00:38:24] Yeah.

[00:38:25] Um, and then my next

[00:38:27] one here is I would

[00:38:29] have, have regarded the

[00:38:31] whole story as just too

[00:38:33] bizarre for believability.

[00:38:34] Dot, dot, dot, dot, dot.

[00:38:36] Um, and that one is you

[00:38:38] just need one of those

[00:38:38] halves.

[00:38:39] You don't need both.

[00:38:40] It's like, I would have

[00:38:41] regarded the whole story.

[00:38:43] I even thought it was

[00:38:43] like, maybe it should be,

[00:38:44] I would have had

[00:38:45] regarded the story.

[00:38:46] No, it doesn't, it

[00:38:46] doesn't work.

[00:38:57] I don't have anything.

[00:38:59] Okay.

[00:38:59] Gamer.

[00:39:01] How dare you?

[00:39:02] Okay.

[00:39:03] I have one.

[00:39:06] Uh, even, uh, Walter

[00:39:09] Ickpen was suspected

[00:39:11] since ink pen.

[00:39:13] Is it just ink pen?

[00:39:14] Yeah.

[00:39:14] Cause it's the queue is

[00:39:15] basically, yeah, it's,

[00:39:16] it's a fancy wave.

[00:39:17] It's a fancy last name

[00:39:19] for that, but it's

[00:39:20] basically ink pen.

[00:39:21] Okay.

[00:39:22] Yeah.

[00:39:22] Walter Bick was

[00:39:24] suspected since

[00:39:25] he was a, uh,

[00:39:27] Halal Earth extra.

[00:39:29] Remember it's the

[00:39:30] Halal O or Halal.

[00:39:32] Sure.

[00:39:32] Them, whatever.

[00:39:33] But this was

[00:39:34] soon proven impossible

[00:39:35] given to the poor

[00:39:36] beggar's condition.

[00:39:37] He wasn't a beggar.

[00:39:38] He was a famous author.

[00:39:40] Um, so maybe it should

[00:39:42] be poor buggers

[00:39:42] condition cause he's dead.

[00:39:44] Yeah.

[00:39:44] I was also thinking

[00:39:45] that too, but like

[00:39:45] I left.

[00:39:46] He ain't no beggar.

[00:39:47] He's a writer and a

[00:39:48] boyfriend to the most

[00:39:50] famous woman in the

[00:39:51] entire universe.

[00:39:52] You're so right.

[00:39:53] Yeah.

[00:39:53] No.

[00:39:54] Yeah.

[00:39:54] 100%.

[00:39:54] It's like this beggar.

[00:39:56] It's like, yeah, it

[00:39:56] should be this bugger.

[00:39:57] Yeah.

[00:39:58] Poor bugger later.

[00:39:59] Right.

[00:40:00] Maybe.

[00:40:00] I don't know.

[00:40:02] You read the story,

[00:40:03] right?

[00:40:04] Right.

[00:40:04] Oh yeah.

[00:40:04] I know every single

[00:40:05] word in the whole

[00:40:06] story.

[00:40:06] You're right.

[00:40:08] No bugger does not

[00:40:10] exist in this through

[00:40:11] control F.

[00:40:12] Okay.

[00:40:13] I thought I, I

[00:40:13] thought I heard it.

[00:40:14] Okay.

[00:40:14] Yeah.

[00:40:15] You might be just

[00:40:16] thinking beggar.

[00:40:16] You probably read that

[00:40:17] over as bugger.

[00:40:18] Yeah.

[00:40:18] I might have.

[00:40:19] Yeah.

[00:40:21] But yeah, that's the

[00:40:22] only one I have for that

[00:40:23] chapter.

[00:40:24] Sure.

[00:40:24] All right.

[00:40:25] Moving on to chapter

[00:40:27] five.

[00:40:27] I only have one.

[00:40:30] And we might have just

[00:40:32] see the prime suspect in

[00:40:35] all of this.

[00:40:36] So I know it's dialogue

[00:40:37] again, but I think it

[00:40:40] should be.

[00:40:41] And we might have just

[00:40:42] seen the prime suspect in

[00:40:44] all of this.

[00:40:45] Yeah.

[00:40:46] Mm hmm.

[00:40:48] And then Mikey, do you

[00:40:50] have anything for

[00:40:51] chapter five?

[00:40:52] Yes.

[00:40:55] Yes, I do.

[00:40:57] Okay.

[00:40:58] Um.

[00:41:01] Can.

[00:41:04] No.

[00:41:05] The worst part was

[00:41:07] that huge metal gate

[00:41:10] standing several miles

[00:41:12] deep within the woods

[00:41:13] surrounded by a number

[00:41:15] of arcane stone

[00:41:17] grains.

[00:41:19] Um.

[00:41:20] So I feel like we

[00:41:23] have the wrong type

[00:41:24] of crane.

[00:41:26] Um, cause this is

[00:41:28] the machine crane.

[00:41:31] Yeah.

[00:41:31] Is it?

[00:41:32] You think it means

[00:41:33] like crane is in the

[00:41:33] bird?

[00:41:34] I think so.

[00:41:36] That honestly makes

[00:41:37] more sense to me than

[00:41:38] than like envisioning

[00:41:39] it be having like

[00:41:40] giant stone cranes

[00:41:41] like as in like the

[00:41:42] mechanical cranes.

[00:41:44] Yeah.

[00:41:45] what happened to me is

[00:41:46] later on it's talking

[00:41:48] about, um, I know.

[00:41:50] Yeah.

[00:41:50] Sorry.

[00:41:51] Yeah.

[00:41:51] Go.

[00:41:51] Later on it's talking

[00:41:52] about like stone

[00:41:54] cranes that are like

[00:41:56] laid out as a barrier.

[00:41:57] And then like, I'm like,

[00:41:59] this is wrong.

[00:42:00] I'm Googling stone crane

[00:42:01] in that spelling.

[00:42:02] And it came up with

[00:42:03] stone carn.

[00:42:04] I was like the, the

[00:42:06] stackings of rocks.

[00:42:08] Yeah.

[00:42:08] So then I'm like,

[00:42:09] okay, maybe this first

[00:42:10] one means that.

[00:42:11] And there's just huge

[00:42:13] stacks of rocks in that

[00:42:15] same reason as well.

[00:42:16] Yeah.

[00:42:17] That makes more sense.

[00:42:17] I think if it was

[00:42:18] Karen's, um, yeah,

[00:42:21] yeah, that makes more

[00:42:22] sense.

[00:42:23] My other thought was

[00:42:24] that it could also be a

[00:42:25] misspelling and be, um,

[00:42:27] arcane stone brains.

[00:42:30] Yeah.

[00:42:31] Fair.

[00:42:32] Yeah.

[00:42:32] Why not?

[00:42:33] I can also see the bird,

[00:42:34] the bird, uh, imagery I

[00:42:36] could also see because

[00:42:37] like Swanwick and like,

[00:42:39] yeah, I like that honestly.

[00:42:39] Yeah.

[00:42:41] Yeah.

[00:42:41] But yeah, I think, I

[00:42:42] think, I think, uh,

[00:42:43] gamer might have it with

[00:42:44] Karen's and it's just

[00:42:45] like a typo, but nice

[00:42:48] unless again, it's

[00:42:49] supposed to be cranes

[00:42:50] like mechanical cranes,

[00:42:51] but like, I, it's

[00:42:52] just kind of odd, but

[00:42:53] yeah.

[00:42:54] Or the birds, it

[00:42:55] could be the birds,

[00:42:56] at least for the first

[00:42:57] one, it's plausible for

[00:42:58] the birds.

[00:42:58] I don't think the

[00:42:59] barriers made it a birds,

[00:43:01] but what do I know?

[00:43:02] Well, again, they're

[00:43:03] arcane stone cranes.

[00:43:04] So like they're statues

[00:43:05] of birds.

[00:43:05] So like, yeah.

[00:43:08] Yeah.

[00:43:11] All right.

[00:43:12] Uh, so my next one is a

[00:43:15] bit of caveman speak.

[00:43:16] Oh, great.

[00:43:17] Love it.

[00:43:18] Uh, yes, but supposing

[00:43:21] they don't kill it.

[00:43:23] Dr.

[00:43:23] Arkhan insisted.

[00:43:25] Supposing they miss the

[00:43:27] brain or hurt.

[00:43:29] What will we do if

[00:43:31] doesn't die?

[00:43:34] What does it die?

[00:43:39] What's that, uh, the final

[00:43:40] part of that?

[00:43:41] And if internal

[00:43:42] even death may die?

[00:43:44] Uh, yeah.

[00:43:44] Hang on.

[00:43:45] It's like, uh, and in

[00:43:46] strange eons, even death

[00:43:47] may die.

[00:43:48] Yeah.

[00:43:48] There you go.

[00:43:48] Yeah.

[00:43:49] I mean, yeah, that's

[00:43:50] actually very operative.

[00:43:51] That's very, uh, relatable

[00:43:51] to the story.

[00:43:52] Cause again, cats of

[00:43:53] Uthar Lovecraft, like

[00:43:54] mentioned even straight

[00:43:55] up.

[00:43:56] So yeah.

[00:44:00] Yeah.

[00:44:00] I only truly know that

[00:44:02] quote through the South

[00:44:03] Park episode.

[00:44:05] Yeah.

[00:44:05] A little bit like, Hey,

[00:44:06] you know what?

[00:44:06] I'll, I'll take any kind

[00:44:08] of exposure to Cthulhu

[00:44:09] mythos.

[00:44:10] Like I will take it.

[00:44:11] Yeah, for sure.

[00:44:14] All right.

[00:44:17] Uh, and my next one

[00:44:19] here.

[00:44:20] If this guy thinks I

[00:44:22] should help him wrangle

[00:44:23] some nameless terror from

[00:44:26] who knows where without

[00:44:28] proper nullifying

[00:44:30] equipment, then he

[00:44:31] he should hire someone

[00:44:33] else.

[00:44:33] Them.

[00:44:37] Yeah.

[00:44:37] I forgot about that.

[00:44:38] Yeah.

[00:44:39] Yeah.

[00:44:39] It should be someone

[00:44:40] else.

[00:44:40] Then.

[00:44:41] Yeah.

[00:44:42] Yeah.

[00:44:43] Or even just get rid of

[00:44:44] the then you don't even

[00:44:45] need that.

[00:44:45] It's just like, yeah,

[00:44:46] it's true.

[00:44:47] Period.

[00:44:48] Yeah.

[00:44:49] That's true.

[00:44:50] Yep.

[00:44:51] And that's in my

[00:44:52] chapter five.

[00:44:53] Okay.

[00:44:55] Gamer.

[00:44:56] Okay.

[00:44:58] Um, so at the start

[00:45:00] of chapter five, when

[00:45:01] does the switch happen?

[00:45:03] I don't remember.

[00:45:06] It starts at four.

[00:45:07] Nevermind.

[00:45:08] So start of five.

[00:45:09] Um, uh, he paused when

[00:45:11] he saw the incredulous look

[00:45:13] I was giving him.

[00:45:13] Is something the matter

[00:45:14] Cass?

[00:45:16] Is what he says.

[00:45:17] Um, did she ever tell

[00:45:19] him her name?

[00:45:20] Because he basically just

[00:45:22] jump scared her.

[00:45:23] Then she's like, well, what

[00:45:25] the hell?

[00:45:26] And then he explains his

[00:45:27] story and then started

[00:45:28] starts explaining another

[00:45:29] story.

[00:45:30] And that's it.

[00:45:32] There's I don't think

[00:45:34] there's any mention through

[00:45:35] the whole previous entry

[00:45:36] on how the first three

[00:45:38] chapters are from the

[00:45:39] doctor viewpoint either

[00:45:41] considering like, but

[00:45:43] like he also knows

[00:45:44] Cass's history and

[00:45:45] thoughts and actions in

[00:45:46] the moment.

[00:45:48] And like, like her

[00:45:49] like walking outside and

[00:45:51] coming in.

[00:45:52] So like he's been

[00:45:53] straight up stalking her.

[00:45:54] I have to actually

[00:45:55] stop.

[00:45:55] Oh yeah.

[00:45:55] Yeah.

[00:45:56] Okay.

[00:45:56] That's yeah.

[00:45:56] That's true.

[00:45:56] Cause yeah, I'm looking

[00:45:57] at this.

[00:45:57] Like I'm looking at the

[00:45:58] second one.

[00:45:59] It's like, uh, cause

[00:46:02] this is, this is pulled

[00:46:02] from a journal entry for

[00:46:03] of Cass.

[00:46:05] Uh, like as of chapter

[00:46:06] four, like there's a,

[00:46:07] yes.

[00:46:08] So maybe in like the

[00:46:11] previous entry from

[00:46:13] Cass's journal, it

[00:46:15] mentioned something about

[00:46:16] that.

[00:46:16] Yeah.

[00:46:16] It's so it's there.

[00:46:17] I don't think they

[00:46:18] actually like properly

[00:46:19] introduced themselves.

[00:46:21] No, I think he

[00:46:23] introduces himself

[00:46:23] eventually.

[00:46:25] No, he introduces

[00:46:26] himself right away.

[00:46:27] So I'm Ben.

[00:46:28] Bonjour, Mazum as well.

[00:46:29] Yeah.

[00:46:30] Yeah.

[00:46:30] And again, this kind of

[00:46:31] goes into actual,

[00:46:32] into actual thought.

[00:46:33] I think of like, um,

[00:46:34] him, him knowing her

[00:46:36] thoughts.

[00:46:36] So like, maybe that's

[00:46:37] how he knows her name

[00:46:38] is because like he read

[00:46:39] her thoughts.

[00:46:41] And knows everything she

[00:46:42] did that whole day.

[00:46:43] And the reason she's

[00:46:44] there and that she like

[00:46:45] rides a scooter or

[00:46:45] whatever it was.

[00:46:46] Yeah.

[00:46:47] Cause like she was, he

[00:46:48] was clearly stalking

[00:46:49] her.

[00:46:50] Yeah.

[00:46:50] I don't know.

[00:46:51] Can Lamias read minds?

[00:46:53] Is that a ability they

[00:46:54] have?

[00:46:55] Cause Lamias are an

[00:46:56] actual like folkloric

[00:46:57] thing.

[00:46:58] Oh, okay.

[00:46:59] What powers do Lamias

[00:47:00] have?

[00:47:01] Okay.

[00:47:02] That's terrifying.

[00:47:02] The first thing is they

[00:47:03] have removable eyes.

[00:47:06] That's pretty neat.

[00:47:07] Yeah.

[00:47:08] Um, okay.

[00:47:09] Yeah.

[00:47:10] This is, yeah.

[00:47:10] I, I, I'm not going to

[00:47:12] look this up right now.

[00:47:13] This is, yeah.

[00:47:13] Sorry.

[00:47:14] Not important.

[00:47:15] Yeah.

[00:47:16] But it's weird how it's

[00:47:18] not explained.

[00:47:19] Yeah.

[00:47:19] Like he shows up,

[00:47:21] scares her and then

[00:47:23] says like, it says

[00:47:24] hi.

[00:47:26] Cause like the first thing

[00:47:28] that she says to him is

[00:47:28] holy crap.

[00:47:30] I have that entire, like

[00:47:32] Aussie, that whole like

[00:47:33] thing in my actual thoughts

[00:47:34] because I love, I actually

[00:47:35] kind of really like it.

[00:47:36] Like, yeah.

[00:47:37] But the weird thing is

[00:47:38] like in between the two,

[00:47:41] there is stuff missing

[00:47:42] because right after that

[00:47:43] we jump into in chapter

[00:47:45] four and they're friends.

[00:47:46] Yeah.

[00:47:47] Well, because yeah, for

[00:47:48] some reason, like, yeah,

[00:47:48] again, like we, it sort of

[00:47:50] cuts away and like now

[00:47:51] he's explaining like the

[00:47:52] situation and some of that

[00:47:53] from her point of view

[00:47:55] because from her it's,

[00:47:56] it's pulled from her

[00:47:56] journal entries.

[00:47:57] So we, we, we don't

[00:48:00] get that part where they

[00:48:01] actually properly introduce

[00:48:02] each other if they do.

[00:48:03] In fact.

[00:48:04] Yeah.

[00:48:05] Yeah.

[00:48:05] I'll move on from there.

[00:48:07] Okay.

[00:48:08] You know, I just realized

[00:48:09] that's that chapter starts

[00:48:11] at me to rest.

[00:48:14] Technically.

[00:48:14] Yeah.

[00:48:15] Maybe that's why I'm having

[00:48:16] a problem with it.

[00:48:18] Yeah.

[00:48:19] It's fine.

[00:48:21] I wonder Dr.

[00:48:22] A curtain.

[00:48:23] Do you say Akron or

[00:48:24] a current?

[00:48:25] I think it's Akron.

[00:48:26] Okay.

[00:48:26] I wonder Dr.

[00:48:28] Akron began.

[00:48:30] His voice ceased as he

[00:48:32] glanced about him sharply

[00:48:34] before looking me

[00:48:36] squarely in the eye.

[00:48:37] I feel like it should be

[00:48:39] glanced about himself

[00:48:40] sharply instead of about

[00:48:42] him sharply.

[00:48:43] Yeah.

[00:48:44] Because about him sounds

[00:48:44] like he is glancing at

[00:48:46] someone else who is a

[00:48:47] him.

[00:48:48] Yeah.

[00:48:50] Or like about his

[00:48:50] person.

[00:48:51] Yeah.

[00:48:53] Just glanced about

[00:48:54] him.

[00:48:55] Just glanced about.

[00:48:56] Get rid of the

[00:48:57] him.

[00:48:57] Yeah.

[00:48:58] But the him

[00:49:00] gives a direction.

[00:49:02] It's saying that he's

[00:49:03] looking at himself.

[00:49:03] I don't know why he

[00:49:05] looked at himself

[00:49:05] actually.

[00:49:06] Unless he's just

[00:49:07] meant to be looking

[00:49:08] around and then he

[00:49:09] focuses on her.

[00:49:10] Yeah.

[00:49:11] Oh, he glanced about

[00:49:12] himself like he

[00:49:13] himself was glancing

[00:49:14] about.

[00:49:15] That's where you're

[00:49:15] getting at, Mikey?

[00:49:16] Well, just the.

[00:49:21] He's just glancing

[00:49:22] about.

[00:49:23] Yeah.

[00:49:24] Like it lost in

[00:49:24] thought type thing.

[00:49:26] Yeah.

[00:49:26] Not necessarily.

[00:49:28] You're probably right

[00:49:29] actually.

[00:49:29] He also kind of seems a

[00:49:30] little like he like I

[00:49:31] threw through this

[00:49:32] section of the story.

[00:49:33] He's also like looking

[00:49:33] back over his shoulder

[00:49:34] and like like look he's

[00:49:36] he's on he's on the

[00:49:37] lookout for that

[00:49:37] apparition or for that

[00:49:39] thing.

[00:49:39] So.

[00:49:40] Yeah.

[00:49:41] I think that's where

[00:49:42] that's trying to get

[00:49:43] at is like he's like I

[00:49:44] wonder and then like he

[00:49:45] like looks around just

[00:49:45] like make sure no one's

[00:49:47] looking.

[00:49:49] Yeah.

[00:49:50] OK.

[00:49:50] That makes a lot more

[00:49:51] sense because like I was

[00:49:52] confused why he was like

[00:49:53] looking down at himself

[00:49:56] because that didn't really

[00:49:57] do anything.

[00:49:58] But him looking around

[00:49:59] worried that makes more

[00:50:00] sense.

[00:50:00] So, yeah.

[00:50:01] Removing that entirely

[00:50:02] would be nice.

[00:50:03] Just the him part.

[00:50:05] Yeah.

[00:50:05] And that's it for that

[00:50:06] chapter.

[00:50:07] All right.

[00:50:08] Then on to chapter six.

[00:50:09] We're almost done with

[00:50:10] grammar.

[00:50:10] Yes.

[00:50:12] Of course, I have a bunch

[00:50:13] of them for chapter six.

[00:50:14] Of course you do.

[00:50:16] Then I heard Dr.

[00:50:17] Akron bellow.

[00:50:18] I'm like maneuver before

[00:50:20] I was suddenly being

[00:50:21] hoisted into the air and

[00:50:23] several abrupt squeeze

[00:50:24] were applied to my

[00:50:26] diaphragm.

[00:50:27] The moth shot out of my

[00:50:29] moth like a little green

[00:50:30] cannonball soaring high

[00:50:32] into the air before

[00:50:33] landing out of sight on

[00:50:35] one of the nearest top

[00:50:36] shelves.

[00:50:37] Yeah.

[00:50:38] So.

[00:50:38] So.

[00:50:39] And several abrupt

[00:50:41] squeezes were applied to

[00:50:42] my diaphragm.

[00:50:44] Yeah.

[00:50:45] And the moth shout

[00:50:47] shot out of my mouth.

[00:50:50] Not.

[00:50:50] Yeah.

[00:50:50] I don't think she had a

[00:50:51] moth with her.

[00:50:52] Yeah.

[00:50:52] It's like like it's

[00:50:54] like and then the moth

[00:50:54] shout out of my moth

[00:50:56] like like.

[00:50:57] Yeah.

[00:50:58] Like a moth shot out of

[00:50:59] her mouth, which

[00:51:00] didn't shot out a moth.

[00:51:02] It's like a Russian

[00:51:03] nesting doll situation.

[00:51:05] Or like the xenomorph

[00:51:06] mouth.

[00:51:07] Oh, yeah.

[00:51:09] So silly.

[00:51:11] Xenomoth.

[00:51:13] Xenomoth.

[00:51:13] I need to draw that

[00:51:15] now.

[00:51:16] Xenomoth.

[00:51:17] That's got to be a

[00:51:18] mothman xenomorph

[00:51:19] hybrid.

[00:51:21] Oh, that's so that's

[00:51:22] looks actually like

[00:51:23] actually like visualizing

[00:51:23] that in my head.

[00:51:24] That sounds that looks

[00:51:25] so cool.

[00:51:26] Yeah.

[00:51:28] All right.

[00:51:29] Moving on to my

[00:51:30] next.

[00:51:31] My next quote here.

[00:51:33] Oh, I'm fine.

[00:51:34] I croaked period

[00:51:35] before another fit of

[00:51:37] coughing and gagging

[00:51:38] earned a few whacked

[00:51:40] on a few whacked

[00:51:42] on the back by

[00:51:43] Dr.

[00:51:43] Akron.

[00:51:44] So I feel like it

[00:51:45] should be before

[00:51:47] law.

[00:51:48] So like that,

[00:51:49] like, okay, I feel

[00:51:50] oh, I feel fine.

[00:51:51] Oh, I'm fine.

[00:51:52] I croaked period.

[00:51:53] That's fine.

[00:51:54] I'm fine with that.

[00:51:54] I died.

[00:51:55] I croaked.

[00:51:56] Yeah.

[00:51:57] I croaked like to

[00:51:58] croak is like like,

[00:51:59] yeah, it's like a

[00:52:00] weight like when

[00:52:01] you're when you've

[00:52:02] got like a sore throat

[00:52:03] or like something in

[00:52:03] your mouth is like,

[00:52:04] I'm fine.

[00:52:05] Like that's a croak.

[00:52:06] I understand.

[00:52:07] But like then the

[00:52:08] next thing should be

[00:52:09] like before long

[00:52:11] and comma

[00:52:12] another fit of

[00:52:13] coughs and gagging

[00:52:15] earned a few

[00:52:16] whacks on the

[00:52:18] back from Dr.

[00:52:19] Akron.

[00:52:20] Yes.

[00:52:22] Like, cause yeah,

[00:52:22] otherwise it's just a

[00:52:23] little, it's a little

[00:52:23] disjointed at that

[00:52:24] sentence.

[00:52:24] Um, and the,

[00:52:25] has some, the wrong

[00:52:27] tense on a, on a, on a,

[00:52:29] on a word.

[00:52:29] So welcome to my

[00:52:30] tense talk.

[00:52:31] Yep.

[00:52:31] Always.

[00:52:32] Yep.

[00:52:33] And then this one I've

[00:52:35] got to add, I've got

[00:52:36] like a, um, I couldn't

[00:52:37] find online, but like,

[00:52:38] I was curious about it

[00:52:39] for you guys, what you

[00:52:40] think.

[00:52:41] So I'll go to this.

[00:52:42] Like, uh, don't be

[00:52:43] daft.

[00:52:43] That's werps that do

[00:52:44] the blooming egg

[00:52:45] injections, not moffs

[00:52:47] honest gov.

[00:52:48] Okay.

[00:52:49] So a lot of British

[00:52:50] phrasing in this and

[00:52:51] accenting in, in this

[00:52:53] stretch of dialogue, like

[00:52:54] in, like in and around

[00:52:55] this, this quote

[00:52:56] specifically, but is

[00:52:57] werps.

[00:52:59] So like W E R E P S

[00:53:01] werps.

[00:53:03] Is that like a term

[00:53:05] for wasps?

[00:53:06] I guess that's, it was

[00:53:09] also specific in that

[00:53:10] part.

[00:53:11] I'm like, that's gotta be

[00:53:12] legit.

[00:53:12] Yeah.

[00:53:13] Like it's so specific,

[00:53:14] but like, maybe it's

[00:53:15] also even a typo, like

[00:53:16] where it should have been

[00:53:16] like worse.

[00:53:18] W. E. R. S. P. S.

[00:53:21] Um, like, but yeah, like

[00:53:23] werps, just like werps or

[00:53:25] werps, like it just see

[00:53:26] like, I guess like, again,

[00:53:28] like there's a lot of

[00:53:28] like accenting in here

[00:53:29] and I'm fine with that.

[00:53:31] Like, cause yeah, I love

[00:53:32] that's fantastic.

[00:53:33] I'd love to see it, but

[00:53:34] like, yeah, it's like, I

[00:53:35] was trying to grab, I

[00:53:36] even like looked up is

[00:53:37] werps like a folklore

[00:53:38] creature.

[00:53:39] And as far as I know it,

[00:53:39] I couldn't find anything

[00:53:40] about a werps.

[00:53:42] So like it, maybe it's

[00:53:43] just like a slang term

[00:53:45] or like the, the, the

[00:53:46] accented version of

[00:53:47] wasp.

[00:53:48] Yeah.

[00:53:49] It's how the character

[00:53:51] I understand.

[00:53:53] I am.

[00:53:53] You did it.

[00:53:54] But how does it feel?

[00:53:56] But this was one of those

[00:53:58] times where it was like,

[00:53:59] I under, like I, everything

[00:54:00] else is fine, but like, I'm

[00:54:01] just confused by this one.

[00:54:05] So yeah, I'll move on to the

[00:54:07] last one I have here.

[00:54:11] While they, so I'll say

[00:54:12] this, so this one starts

[00:54:13] with a quotation and does

[00:54:16] not end with a quotation at

[00:54:17] all.

[00:54:18] It's like, while the rest of

[00:54:19] the story is all in quotes,

[00:54:22] while the lively discussion

[00:54:24] continued, I could only

[00:54:25] stare in shock, unable to

[00:54:27] believe that this unholy

[00:54:29] relic would be finally

[00:54:31] coming back to me.

[00:54:32] So this is the very, like,

[00:54:34] I think the last paragraph

[00:54:36] and I, I don't think she's

[00:54:37] saying this.

[00:54:38] So I don't think that

[00:54:39] actually needs to also the

[00:54:40] set, the, the paragraph

[00:54:41] before, uh, does not have

[00:54:42] like, does not have, or it

[00:54:45] has an end quotation.

[00:54:47] So it's not like continuing

[00:54:48] dialogue or, or like a

[00:54:50] narration by dialogue.

[00:54:52] So I just think that this,

[00:54:53] this front quotation, it

[00:54:54] was a typo and doesn't need

[00:54:55] to be there.

[00:54:56] Yeah, I guess.

[00:54:57] Yeah.

[00:54:58] Because otherwise, like,

[00:54:58] she's not, she's not, she's

[00:54:59] not saying this out loud.

[00:55:01] Like, it's like, no, while

[00:55:02] the lively discussion

[00:55:03] could do like, guys, we're

[00:55:04] right here.

[00:55:05] Only stare in shock.

[00:55:07] It's like, she is staring

[00:55:08] in shock.

[00:55:10] Um, but yeah, so that's,

[00:55:12] that's the end of my, my

[00:55:13] grammar acquisition for

[00:55:14] chapter six and the rest

[00:55:15] of the story.

[00:55:16] So Mikey, I don't have

[00:55:19] any grammar for chapter

[00:55:19] six.

[00:55:27] Um, unless both of you

[00:55:29] typonized over this or

[00:55:30] I'm wrong somehow.

[00:55:32] Um, a bright green moth,

[00:55:34] at least that's what I

[00:55:35] thought it was, flew right

[00:55:36] into my mouth and straight

[00:55:37] to the back of my mouth

[00:55:39] and straight to the back

[00:55:40] of my throat.

[00:55:41] Um, I, I don't like the

[00:55:44] repetitive nature of that

[00:55:46] because you could just say

[00:55:47] into my mouth and straight

[00:55:49] to the back of my throat

[00:55:50] because the back of your

[00:55:51] mouth is your throat

[00:55:52] anyway.

[00:55:52] So it's describing the

[00:55:54] throat and then described

[00:55:55] as the throat.

[00:55:56] Yeah, I think, I think

[00:55:57] I was, I gave it a pass,

[00:55:59] but like it did kind of

[00:56:00] seem like it just stretched

[00:56:01] on for the sake of

[00:56:02] stretching on like the

[00:56:04] use of filler.

[00:56:06] Yeah.

[00:56:07] I think you're, you're also

[00:56:08] in the right on that one.

[00:56:09] Like it could just be

[00:56:09] like, it shot, shot into

[00:56:11] my mouth and straight to

[00:56:14] the back of the back of

[00:56:15] the back of the back.

[00:56:15] Yeah, exactly.

[00:56:15] Don't have to go straight

[00:56:16] into the back of my mouth

[00:56:17] and straight into the back

[00:56:18] of my throat.

[00:56:18] It's like, you don't need

[00:56:19] that.

[00:56:20] Because like how many

[00:56:21] layers are going to do

[00:56:21] this?

[00:56:21] It flew right into my

[00:56:22] mouth, past my lips,

[00:56:24] over top my teeth.

[00:56:26] Under my, went over my

[00:56:27] tongue.

[00:56:27] Yeah, exactly.

[00:56:29] It's like describing it in

[00:56:31] painful detail all the way

[00:56:32] back.

[00:56:33] It's just like the, the,

[00:56:36] the, the try to do the,

[00:56:37] uh, the trench run.

[00:56:40] Yeah.

[00:56:42] Wow.

[00:56:45] It's a whole like video game.

[00:56:47] It's a whole like game

[00:56:47] sequence.

[00:56:48] It's just like,

[00:56:48] do, do, do, do, do, do,

[00:56:50] do, do, do, do.

[00:56:51] Mm-hmm.

[00:56:52] Sorry, continue.

[00:56:53] That's fine.

[00:56:54] All right.

[00:56:54] My last one.

[00:56:55] Everyone looked up to see a

[00:56:56] trio of, uh, kobold kids,

[00:56:58] uh, peering down at us over

[00:57:00] the edge of the topmost

[00:57:02] shelf.

[00:57:03] She okay?

[00:57:03] The oldest one inquired.

[00:57:07] So my problem here is the

[00:57:08] dialogue doesn't ring true

[00:57:09] for them.

[00:57:10] I feel because clearly it

[00:57:12] should be she okay?

[00:57:13] Kobold.

[00:57:15] I definitely, my thoughts,

[00:57:17] there is a line where it's

[00:57:18] like, uh, I think that,

[00:57:19] that exact scene, that exact

[00:57:21] thing.

[00:57:22] Kobold invisibility.

[00:57:23] Kobold.

[00:57:24] Yeah.

[00:57:24] I recently started rewatching

[00:57:26] an old flash slash YouTube

[00:57:28] or whatever it was called

[00:57:29] Unforgotten Realms.

[00:57:31] That's the other.

[00:57:31] Yeah.

[00:57:32] Yeah.

[00:57:33] Sorry.

[00:57:33] It's also technically connected

[00:57:35] to issues time.

[00:57:36] Cause we were talking about

[00:57:37] this recently.

[00:57:37] That's my notes.

[00:57:38] That's my notes.

[00:57:39] Like, weren't we just talking

[00:57:40] about kobolds the other day?

[00:57:42] Like what?

[00:57:43] Specifically the day, like

[00:57:44] we were talking about it

[00:57:45] like earlier in the day as

[00:57:46] I was reading this story.

[00:57:48] Yes.

[00:57:49] Because later in the day,

[00:57:50] I'm like, huh,

[00:57:51] come on.

[00:57:52] Come on.

[00:57:53] Also actually type,

[00:57:55] uh, possible typony or

[00:57:56] type, uh, possible grammar

[00:57:57] acquisition for this.

[00:57:59] Um, kobolds is spelled

[00:58:00] wrong.

[00:58:02] It is.

[00:58:03] There's an L, there's an

[00:58:04] extra L in there.

[00:58:05] I think that might now

[00:58:06] that could also be,

[00:58:07] there could also be other

[00:58:10] type way of saying it.

[00:58:12] Um, because kobold is a,

[00:58:14] um, in, in, is a general

[00:58:16] name, uh, for household

[00:58:18] spirits in German folklore.

[00:58:20] Um, like in actual folklore

[00:58:22] outside of D and D like

[00:58:24] dungeon dragons, where it's

[00:58:25] like that, where they're just

[00:58:25] like dragon people or like

[00:58:26] little, like little,

[00:58:28] little draconic people or

[00:58:29] like, or dragon goblins or,

[00:58:32] uh, rat people or dog people,

[00:58:35] depending on the type or the

[00:58:36] version edition.

[00:58:38] It was interesting.

[00:58:38] Um, you told how you told me

[00:58:40] the, uh, the origin of why

[00:58:42] some of them are dog-like

[00:58:43] cause I didn't know that

[00:58:44] before.

[00:58:44] Why don't you tell our

[00:58:45] audience?

[00:58:46] For anybody who doesn't

[00:58:47] know, uh, so like kobolds

[00:58:48] outside of like actual

[00:58:50] folklore are in dungeon

[00:58:51] and dragons, the tabletop

[00:58:52] RPG.

[00:58:53] And in the Western version of

[00:58:55] dungeon dragons, like the

[00:58:55] original version of dungeon

[00:58:56] dragons, uh, they're

[00:58:58] portrayed as these, um,

[00:58:59] short stunted, basically

[00:59:00] like dragon goblins, like

[00:59:02] they're reptilian.

[00:59:04] Um, they're about the

[00:59:05] size of like a, of like a

[00:59:06] little, of a child.

[00:59:07] Um, and they are like

[00:59:09] these like little, like

[00:59:09] scampy little, like

[00:59:10] critters that roam around

[00:59:12] in tribes and such.

[00:59:13] Um, in when, when they

[00:59:15] were porting dungeon

[00:59:17] dragons to the East out to

[00:59:19] like Japan and stuff like

[00:59:20] that.

[00:59:20] And like Japan was like,

[00:59:21] was, was translating it

[00:59:23] for, um, for their

[00:59:25] audiences and for their

[00:59:25] gamers, there was

[00:59:27] apparently some kind of

[00:59:28] translation, translation

[00:59:29] issue.

[00:59:29] And so they ended up

[00:59:32] drawing them as dog

[00:59:33] people rather than

[00:59:34] dragon or like reptile

[00:59:36] people.

[00:59:37] So that's kind of where

[00:59:38] the more mammalian version

[00:59:40] of kobolds that you see

[00:59:41] in like Japanese animes

[00:59:43] and even like in like

[00:59:44] video games and stuff

[00:59:45] like World of Warcraft.

[00:59:46] I wonder if like their

[00:59:47] version is more inspired

[00:59:48] by the Japanese

[00:59:49] interpretation of kobolds

[00:59:51] than the, um, than the

[00:59:53] Western version.

[00:59:54] I didn't know that the

[00:59:55] kobolds in wow.

[00:59:57] Oh yeah, right.

[00:59:58] They got the beards.

[00:59:59] and shit.

[01:00:00] Yeah.

[01:00:00] You don't take candle

[01:00:01] like they're, they're the

[01:00:02] one, they're the, they're

[01:00:03] the, they're the like

[01:00:04] rat people mining, uh,

[01:00:05] with a candle over their

[01:00:06] head.

[01:00:07] Wow.

[01:00:09] Yeah.

[01:00:10] And, and that again,

[01:00:11] types like kind of falls

[01:00:12] into a technically those

[01:00:13] ones, like, like those

[01:00:13] kinds of kobolds are

[01:00:14] actually close, uh, kind

[01:00:15] of a mix between like

[01:00:16] traditional folkloric

[01:00:17] kobolds and Tommy

[01:00:18] knockers, um, which are

[01:00:20] a type of folkloric

[01:00:22] creature that were like,

[01:00:23] uh, that, or it's kind

[01:00:24] of like almost like a

[01:00:25] superstition with

[01:00:25] miners.

[01:00:26] Like if you hear, start

[01:00:27] hearing knocking while

[01:00:28] you're down in the

[01:00:28] mines, it's the Tommy

[01:00:30] knockers, uh, warning

[01:00:31] you, the cave is about

[01:00:32] the mines about to

[01:00:33] collapse.

[01:00:34] Yeah.

[01:00:35] So yeah, it's like, yeah.

[01:00:38] So that, that's been

[01:00:39] your, that's been my, uh,

[01:00:41] um, uh, my, my, my, uh,

[01:00:44] explanation for the

[01:00:45] kobold.

[01:00:46] Um, now looking on, looking

[01:00:47] on Google, just like a

[01:00:48] quick Google thing.

[01:00:49] I'm not seeing a version

[01:00:50] of the term kobold where

[01:00:52] there is a K O L B O L D.

[01:00:56] Yeah.

[01:00:56] So it might be a typo.

[01:00:57] Yeah.

[01:00:58] Or it's a different race

[01:00:59] that we're unaware of because

[01:01:00] this whole universe that is

[01:01:02] being portrayed to us is

[01:01:03] made of not just manner.

[01:01:05] Yeah.

[01:01:06] All manner of fairy and

[01:01:07] creature.

[01:01:07] Yeah.

[01:01:08] Um, also I do want to

[01:01:09] point out, so like, uh,

[01:01:11] again, this is kind of,

[01:01:12] this is kind of, uh,

[01:01:13] bleeding into actual

[01:01:14] thought.

[01:01:15] Um, when it, when it

[01:01:16] referred to the, in the

[01:01:16] first chapter, when it

[01:01:17] referred to like, um,

[01:01:19] fairy and even the

[01:01:20] underworld, um, like, uh,

[01:01:23] did that kind of like,

[01:01:24] like they like, um,

[01:01:26] created a barrier between

[01:01:27] like the living and the

[01:01:28] dead kind of thing.

[01:01:28] Um, fairy is an actual

[01:01:31] term.

[01:01:32] It like, so fairy is the

[01:01:35] term for, for the place

[01:01:37] that fairies come from

[01:01:38] and also the, the name

[01:01:40] for the, for the

[01:01:41] creatures that come from

[01:01:42] fairy.

[01:01:43] Like, especially in like a

[01:01:44] lot of like, uh, folklore,

[01:01:46] uh, when they said the

[01:01:47] land of fairy, like, or

[01:01:49] they, that's what that,

[01:01:50] that they actually, it's,

[01:01:51] it's the land is called

[01:01:52] fairy as well.

[01:01:54] Oh, so it's like if

[01:01:55] instead of us being

[01:01:56] humans, we are earth

[01:02:00] or like inside, well,

[01:02:01] in sci-fi novels and

[01:02:02] stuff like that, sometimes

[01:02:03] we're, uh, humans from

[01:02:04] earth are called Terrans.

[01:02:05] Um, because it's

[01:02:06] referenced to, uh, to

[01:02:07] our planet, which is

[01:02:08] earth, uh, which, or

[01:02:10] terra because like earth

[01:02:12] terra is just another

[01:02:13] word for earth.

[01:02:14] Yeah.

[01:02:15] Yeah.

[01:02:15] Or earthlings from

[01:02:16] earth.

[01:02:17] Yes.

[01:02:19] Um, but yeah, I just

[01:02:20] wanted to like bring

[01:02:21] that up.

[01:02:21] I'm probably going to

[01:02:22] bring some more stuff

[01:02:22] like that up in my

[01:02:23] actual thoughts, but

[01:02:27] um, yeah.

[01:02:28] Do you have anything

[01:02:28] more for chapter six

[01:02:29] though, uh, gamer?

[01:02:30] I forgot that was all

[01:02:31] on, well, that was

[01:02:33] just off of Kaba.

[01:02:35] Kobolds, man.

[01:02:36] We love kobolds here

[01:02:37] at one less, uh, at

[01:02:38] identity rigors and

[01:02:38] at one less die.

[01:02:39] Yeah.

[01:02:41] Um, but yeah, that's

[01:02:42] all I got.

[01:02:43] All right.

[01:02:44] Well then on to

[01:02:45] actual thoughts.

[01:02:46] Nope.

[01:02:47] Oh, no.

[01:02:48] Oh, no, no, no,

[01:02:50] no, no.

[01:02:51] No.

[01:02:52] That was real.

[01:02:54] Just a simple

[01:02:55] nope.

[01:02:56] Created so much

[01:02:57] fear in Kalta.

[01:02:59] All right, I'm

[01:03:10] back.

[01:03:12] Welcome back.

[01:03:13] How's it going?

[01:03:14] Ready to accept my

[01:03:15] fate.

[01:03:16] Mm hmm.

[01:03:17] So Mikey, what

[01:03:19] do you got?

[01:03:19] I have a conjunction

[01:03:21] junction.

[01:03:22] Very well.

[01:03:25] And next stop,

[01:03:27] conjunction junction.

[01:03:28] Doot doot.

[01:03:29] Chapter one.

[01:03:31] And what was she

[01:03:33] trying to do

[01:03:34] exactly?

[01:03:36] It is an

[01:03:37] otherworldly

[01:03:38] horror brought

[01:03:39] about by a

[01:03:42] rain hell

[01:03:43] bent upon

[01:03:45] possible revenge

[01:03:46] and mind in

[01:03:48] league with

[01:03:49] not only

[01:03:50] with a

[01:03:51] cosmic power

[01:03:52] of darkness,

[01:03:53] but also

[01:03:55] that which

[01:03:56] lies at the

[01:03:57] heart of

[01:03:57] every human

[01:03:58] and near

[01:03:59] human being.

[01:04:01] Because of

[01:04:02] this walking

[01:04:04] blight,

[01:04:05] this creeping

[01:04:06] corruption,

[01:04:07] this secret

[01:04:08] more terrible

[01:04:09] than all

[01:04:10] the night

[01:04:10] terrors of

[01:04:11] childhood,

[01:04:13] evil legends

[01:04:14] now hang

[01:04:15] over this

[01:04:15] ancient coastal

[01:04:17] city like a

[01:04:18] shroud as they

[01:04:19] do in the

[01:04:20] mortal towns

[01:04:21] of Curtisville,

[01:04:23] Boulderville,

[01:04:24] Arkham,

[01:04:25] Kingsport,

[01:04:27] Dunwich,

[01:04:29] Niswich,

[01:04:30] and of course

[01:04:31] terrible

[01:04:31] Innsmouth.

[01:04:33] Chapter two.

[01:04:34] It was a

[01:04:36] bustling seaport

[01:04:37] situated at

[01:04:38] the mouth

[01:04:39] of the river

[01:04:40] Vlar,

[01:04:41] whose waters

[01:04:43] emptied

[01:04:44] sluggishly

[01:04:45] into a bay

[01:04:46] sheltered by

[01:04:48] the high

[01:04:49] chalk cliffs.

[01:04:51] It wasn't

[01:04:52] very far

[01:04:53] from Harnam,

[01:04:56] and lay

[01:04:57] just across

[01:04:59] the river

[01:05:00] from

[01:05:03] Waldaltia's

[01:05:05] capital,

[01:05:07] Gerwalland.

[01:05:09] It was a

[01:05:11] literary

[01:05:12] Aladdin's

[01:05:13] cave,

[01:05:14] stacks of

[01:05:15] leather and

[01:05:16] cloth-bound

[01:05:17] volumes

[01:05:18] piled haphazardly

[01:05:20] to the

[01:05:21] ceiling,

[01:05:22] warm,

[01:05:23] friendly

[01:05:23] lighting,

[01:05:26] jazz music

[01:05:27] playing on

[01:05:28] the hidden

[01:05:29] speakers,

[01:05:30] cats nestled

[01:05:32] like cushiony

[01:05:34] bookends in

[01:05:35] shelves or in

[01:05:36] the overstuffed

[01:05:37] chairs dotting

[01:05:39] one corner

[01:05:40] of the room.

[01:05:42] It was just

[01:05:43] like being in

[01:05:45] Lum House

[01:05:46] all over

[01:05:47] again.

[01:05:48] It could

[01:05:50] have just

[01:05:50] been a

[01:05:51] lightning flash

[01:05:52] as well as

[01:05:54] her wild

[01:05:54] imagination

[01:05:55] overreacting

[01:05:56] as usual.

[01:05:59] It's nice

[01:06:01] to meet you.

[01:06:02] It was

[01:06:04] probably for

[01:06:05] the best,

[01:06:05] since many

[01:06:06] of the

[01:06:07] inns and

[01:06:07] hotels in

[01:06:09] escard,

[01:06:10] didn't

[01:06:11] accommodate

[01:06:12] companion

[01:06:13] animals,

[01:06:14] and Miss

[01:06:15] Tabitha

[01:06:16] barely tolerated

[01:06:17] the boarding

[01:06:18] house cats

[01:06:20] or even

[01:06:21] being put

[01:06:22] into a

[01:06:23] catry for

[01:06:24] two weeks.

[01:06:26] Chapter

[01:06:27] Three.

[01:06:28] So what's

[01:06:29] going on?

[01:06:32] But then

[01:06:33] the vision

[01:06:35] faded when

[01:06:36] she remembered

[01:06:36] that the

[01:06:38] fennec had

[01:06:39] been dead

[01:06:40] at least

[01:06:40] fourteen

[01:06:41] years now,

[01:06:42] snatched

[01:06:43] off the

[01:06:44] roof by

[01:06:45] a wild

[01:06:45] hunt never

[01:06:46] to return.

[01:06:49] And

[01:06:49] Barfaroney.

[01:06:51] It will

[01:06:53] eventually

[01:06:54] rip and

[01:06:55] devour

[01:06:56] your

[01:06:56] foulness

[01:06:57] until

[01:06:58] nothing

[01:06:59] remains but

[01:07:00] a grease

[01:07:01] spot not

[01:07:02] even the

[01:07:03] ants or

[01:07:04] feral dogs

[01:07:05] will lick

[01:07:05] up.

[01:07:06] And that

[01:07:09] hate dedication

[01:07:10] was from

[01:07:11] all the

[01:07:12] lost and

[01:07:13] lurking

[01:07:13] remnants

[01:07:14] from the

[01:07:16] wilds of

[01:07:17] beautiful

[01:07:18] northern

[01:07:19] Humboldt

[01:07:20] County.

[01:07:23] And I

[01:07:24] also didn't

[01:07:25] see a real

[01:07:26] spook,

[01:07:27] just someone

[01:07:28] in a

[01:07:29] really good

[01:07:30] costume,

[01:07:31] and a

[01:07:33] really lousy

[01:07:34] choice of

[01:07:35] personal

[01:07:36] scent.

[01:07:36] different.

[01:07:38] And

[01:07:39] just who

[01:07:40] exactly is

[01:07:41] this

[01:07:42] Clarissa

[01:07:42] Van

[01:07:43] Devereux?

[01:07:45] Anyway,

[01:07:46] that got

[01:07:48] so many

[01:07:48] people peeved

[01:07:49] off at her,

[01:07:50] enough to

[01:07:51] denounce her

[01:07:52] on some

[01:07:52] weird pirate

[01:07:53] radio station.

[01:07:57] It's really

[01:07:57] amazing how

[01:07:58] this storm

[01:07:59] came up

[01:08:00] all of a

[01:08:00] sudden,

[01:08:01] like it

[01:08:02] was all

[01:08:02] paranormal,

[01:08:04] which is

[01:08:04] rather a

[01:08:05] worn-out

[01:08:06] cliche when

[01:08:07] you think

[01:08:08] about it.

[01:08:09] And that

[01:08:10] was when

[01:08:11] I emerged

[01:08:12] from my

[01:08:13] shadowy

[01:08:13] hiding place.

[01:08:16] Chapter

[01:08:17] 4.

[01:08:20] So,

[01:08:21] I guess

[01:08:21] I'm not

[01:08:22] the only

[01:08:23] one here

[01:08:24] seeing and

[01:08:25] hearing things,

[01:08:26] he said

[01:08:27] finally.

[01:08:29] And as

[01:08:31] to a

[01:08:31] figure in

[01:08:33] the

[01:08:33] orange

[01:08:35] poncho,

[01:08:36] well,

[01:08:38] I didn't

[01:08:38] see anyone

[01:08:39] answering that

[01:08:40] description,

[01:08:41] nor did

[01:08:43] I detect

[01:08:44] any strong

[01:08:45] disagreeable

[01:08:46] order.

[01:08:48] And then,

[01:08:50] after winning

[01:08:50] at least

[01:08:51] 20 awards

[01:08:52] for her

[01:08:53] music talent,

[01:08:54] and probably

[01:08:56] 1 million

[01:08:57] for her

[01:08:58] very

[01:08:59] existence,

[01:09:01] everyone in

[01:09:02] the multiverse

[01:09:02] seemed to

[01:09:03] have adored

[01:09:04] this girl.

[01:09:05] She just

[01:09:05] vanished.

[01:09:07] And

[01:09:08] long-legged

[01:09:10] beasties.

[01:09:12] Or,

[01:09:13] that may

[01:09:14] have only

[01:09:16] been an

[01:09:16] illusion,

[01:09:18] and what

[01:09:18] you saw

[01:09:19] was actually

[01:09:20] closer to

[01:09:21] its real

[01:09:21] form as

[01:09:22] your brain

[01:09:23] could

[01:09:23] process.

[01:09:26] Or,

[01:09:27] maybe both

[01:09:27] of us are

[01:09:28] crazy.

[01:09:31] It was so

[01:09:32] utterly

[01:09:32] bizarre,

[01:09:34] like something

[01:09:35] out of one

[01:09:35] of those

[01:09:36] penny dreadfuls.

[01:09:38] So,

[01:09:39] what did

[01:09:40] happen,

[01:09:40] exactly?

[01:09:42] So,

[01:09:43] as he

[01:09:44] was driving

[01:09:45] them back

[01:09:46] to their

[01:09:47] hotel,

[01:09:47] he could

[01:09:48] hear the

[01:09:49] couple talking

[01:09:49] and laughing

[01:09:50] away in

[01:09:51] back.

[01:09:54] It seemed

[01:09:54] terrified,

[01:09:56] trembling

[01:09:57] and sweating

[01:09:58] with its

[01:09:59] eyes rolling

[01:10:00] white and

[01:10:02] its ears

[01:10:02] flattened

[01:10:03] tight against

[01:10:04] its head.

[01:10:05] And,

[01:10:06] as for

[01:10:07] Irelia

[01:10:09] Vong,

[01:10:13] she

[01:10:13] nowhere to

[01:10:15] be found.

[01:10:17] Hmm.

[01:10:19] It was

[01:10:20] her,

[01:10:22] Irelia

[01:10:22] long,

[01:10:25] and she

[01:10:26] had last

[01:10:28] appeared

[01:10:29] as solid

[01:10:31] as you,

[01:10:32] me,

[01:10:33] and you,

[01:10:37] strolling

[01:10:37] slowly

[01:10:38] along

[01:10:39] without a

[01:10:40] care in the

[01:10:41] world,

[01:10:42] and singing

[01:10:43] in that

[01:10:44] heartthrobbingly

[01:10:45] sweet voice

[01:10:46] of hers,

[01:10:47] the green

[01:10:48] hills of

[01:10:49] earth.

[01:10:51] And yet,

[01:10:52] even though

[01:10:53] my ears

[01:10:54] and eyes

[01:10:54] told me

[01:10:55] that this

[01:10:55] was

[01:10:56] Rella,

[01:10:58] my gut

[01:10:59] instinct

[01:11:00] told me,

[01:11:01] no,

[01:11:01] it's not

[01:11:02] her.

[01:11:03] So,

[01:11:04] what did

[01:11:05] you do

[01:11:06] next?

[01:11:09] But,

[01:11:10] watching that

[01:11:11] thing walk

[01:11:11] past,

[01:11:12] I was

[01:11:13] suddenly struck

[01:11:14] by the

[01:11:14] intense feeling

[01:11:15] of dread

[01:11:16] and panic,

[01:11:17] so I

[01:11:18] ducked

[01:11:18] back

[01:11:19] and hid

[01:11:19] in a

[01:11:20] space

[01:11:20] somewhere

[01:11:21] below

[01:11:23] some

[01:11:24] stairs.

[01:11:28] It

[01:11:29] must have

[01:11:29] either

[01:11:30] seen

[01:11:31] or heard

[01:11:32] me

[01:11:32] when I

[01:11:33] ducked

[01:11:33] out of

[01:11:34] sight,

[01:11:34] and it

[01:11:35] knew I

[01:11:36] was in

[01:11:36] there even

[01:11:37] though it

[01:11:38] seemed to

[01:11:38] have trouble

[01:11:39] seeing through

[01:11:40] the dark,

[01:11:40] which was

[01:11:41] rather fortunate

[01:11:42] for me.

[01:11:43] It tried

[01:11:45] to get

[01:11:45] you?

[01:11:46] But,

[01:11:47] then my

[01:11:48] courage

[01:11:48] suddenly

[01:11:49] deserted

[01:11:49] me,

[01:11:50] and my

[01:11:51] only thought

[01:11:52] that remained

[01:11:53] in my

[01:11:54] mind was

[01:11:55] to get,

[01:11:56] get as

[01:11:58] far away

[01:11:59] from this

[01:12:00] place as

[01:12:00] quickly as

[01:12:01] possible,

[01:12:02] perhaps even

[01:12:03] from this

[01:12:04] town.

[01:12:06] But,

[01:12:07] my companion

[01:12:08] didn't laugh

[01:12:09] nor cracked

[01:12:10] a smile.

[01:12:13] It's not

[01:12:14] a ghost,

[01:12:15] he said

[01:12:16] softly.

[01:12:17] Perhaps

[01:12:17] it's a

[01:12:18] demon,

[01:12:18] or even

[01:12:19] a vampire.

[01:12:21] But,

[01:12:21] aren't

[01:12:22] vampires

[01:12:23] supposed to

[01:12:24] be invited

[01:12:24] in first?

[01:12:25] I exclaimed.

[01:12:27] It does

[01:12:28] not matter

[01:12:29] what you

[01:12:29] think,

[01:12:30] Dr.

[01:12:31] Ackern

[01:12:32] told me.

[01:12:33] It

[01:12:34] happened,

[01:12:35] and I'm

[01:12:36] just glad

[01:12:37] I'm not

[01:12:38] joining

[01:12:38] Relia

[01:12:40] Vong,

[01:12:41] and God

[01:12:42] only knows

[01:12:44] how many

[01:12:45] other

[01:12:46] unfortunates

[01:12:47] who wound

[01:12:48] up part

[01:12:49] of that

[01:12:49] thing.

[01:12:52] Chapter

[01:12:53] 5.

[01:12:55] It's a

[01:12:56] wonder

[01:12:56] more people

[01:12:57] haven't gone

[01:12:58] missing.

[01:12:59] And we

[01:13:00] might have

[01:13:01] just seen

[01:13:03] the prime

[01:13:04] suspect in

[01:13:05] all of this,

[01:13:05] I muttered,

[01:13:07] feeling my

[01:13:08] hair bristle

[01:13:09] on end.

[01:13:11] It was

[01:13:12] like some

[01:13:13] major

[01:13:14] cataclysm

[01:13:14] just

[01:13:15] taken place,

[01:13:18] wiping

[01:13:19] out the

[01:13:19] majority of

[01:13:20] animal life,

[01:13:21] leaving only

[01:13:22] the plants

[01:13:23] behind.

[01:13:25] And that

[01:13:26] was not

[01:13:27] the worst

[01:13:27] of it.

[01:13:30] But,

[01:13:31] the most

[01:13:32] important rule

[01:13:33] of all

[01:13:34] was not

[01:13:35] to go

[01:13:36] within

[01:13:37] the

[01:13:37] cranes

[01:13:38] and not

[01:13:40] stand

[01:13:41] in front

[01:13:42] of the

[01:13:42] gate,

[01:13:43] especially

[01:13:43] during the

[01:13:44] hours of

[01:13:45] midnight

[01:13:46] and 3am.

[01:13:49] And,

[01:13:50] just when

[01:13:51] I was

[01:13:51] really enjoying

[01:13:52] my stay

[01:13:53] in that

[01:13:54] idyllic

[01:13:55] place of

[01:13:56] bountiful,

[01:13:57] natural

[01:13:58] splendor

[01:13:58] and pastoral

[01:13:59] harmony,

[01:14:01] someone broke

[01:14:02] the rules

[01:14:03] one day,

[01:14:04] someone who

[01:14:05] thought I

[01:14:05] was one

[01:14:06] of her

[01:14:07] bestest

[01:14:08] friends

[01:14:08] forever

[01:14:08] and always,

[01:14:10] but I

[01:14:11] wasn't

[01:14:12] because I

[01:14:13] completely

[01:14:14] hated her

[01:14:15] guts.

[01:14:17] Chapter 6

[01:14:19] But,

[01:14:20] it quickly

[01:14:21] dissolved

[01:14:22] into coughs

[01:14:23] and wheezes,

[01:14:25] tears began

[01:14:26] streaming from

[01:14:27] my eyes.

[01:14:29] It was

[01:14:30] so bloody

[01:14:31] huge.

[01:14:32] It had

[01:14:33] to have

[01:14:34] been a

[01:14:34] moth,

[01:14:35] judging

[01:14:36] from my

[01:14:37] young

[01:14:37] friend's

[01:14:38] negative

[01:14:39] reaction,

[01:14:40] it was

[01:14:41] quite possibly

[01:14:41] one of

[01:14:42] the bad

[01:14:43] tasting

[01:14:44] varieties.

[01:14:46] It was

[01:14:47] still wriggling

[01:14:48] and stuff.

[01:14:50] It's more

[01:14:51] like an

[01:14:52] emerald.

[01:14:54] It's more

[01:14:55] like one

[01:14:55] of them

[01:14:56] decorative

[01:14:57] glow-in-the-dark

[01:14:58] glass or

[01:15:00] resin stones

[01:15:01] posh folk

[01:15:02] use in

[01:15:04] landscaping

[01:15:05] their gardens

[01:15:07] and

[01:15:07] patios.

[01:15:09] It's got

[01:15:10] to be

[01:15:11] something

[01:15:11] magical and

[01:15:12] legendary,

[01:15:13] like the

[01:15:14] crystal snow

[01:15:15] globe of

[01:15:16] Ritmeister

[01:15:18] Carl,

[01:15:20] or the

[01:15:21] wondrous

[01:15:21] wishing

[01:15:22] eight ball

[01:15:23] of

[01:15:24] Quigahog.

[01:15:26] Finn.

[01:15:27] Wow.

[01:15:28] Thank you

[01:15:29] for that

[01:15:29] secondary

[01:15:32] rundown

[01:15:33] of the

[01:15:34] story.

[01:15:35] I'm both

[01:15:35] surprised and

[01:15:36] not surprised

[01:15:36] at all that

[01:15:37] you went

[01:15:37] through and

[01:15:37] did all

[01:15:38] that.

[01:15:38] Yeah.

[01:15:39] Very

[01:15:39] diligent

[01:15:40] because

[01:15:43] future me

[01:15:43] put the

[01:15:44] timestamp of

[01:15:45] when our

[01:15:45] grammar

[01:15:46] requisition is

[01:15:46] done now.

[01:15:50] That early?

[01:15:52] Even

[01:15:52] though,

[01:15:53] for those

[01:15:54] unaware,

[01:15:55] Mikey

[01:15:56] grabs all

[01:15:56] the

[01:15:56] sentences

[01:15:57] throughout

[01:15:57] a story

[01:15:57] that start

[01:15:58] with words

[01:15:58] that they

[01:15:58] probably

[01:15:58] shouldn't,

[01:15:59] like its

[01:15:59] ands or

[01:16:00] buts,

[01:16:00] because there's

[01:16:00] always better

[01:16:01] words to

[01:16:01] use.

[01:16:03] And he

[01:16:04] puts them

[01:16:04] into a

[01:16:04] story with

[01:16:05] sometimes

[01:16:05] hilarious

[01:16:06] results.

[01:16:07] This one

[01:16:07] kind of had

[01:16:08] some weird

[01:16:09] stuff because

[01:16:10] there wasn't

[01:16:10] too much

[01:16:11] context at

[01:16:12] some point,

[01:16:12] so it's

[01:16:13] talking about

[01:16:14] the girl

[01:16:14] that everyone

[01:16:15] fucking loves,

[01:16:16] but it was

[01:16:16] previously just

[01:16:17] talking about

[01:16:18] Kes,

[01:16:19] so she is

[01:16:20] the person

[01:16:21] that everyone

[01:16:21] in the freaking

[01:16:22] world loves.

[01:16:22] She is the

[01:16:23] actress now.

[01:16:24] Oh yeah,

[01:16:24] she was your

[01:16:25] so you

[01:16:26] also you

[01:16:26] kept saying

[01:16:26] like,

[01:16:27] I mean,

[01:16:27] I kept

[01:16:28] using a

[01:16:28] Urella,

[01:16:29] but like

[01:16:29] the Y could

[01:16:30] also be

[01:16:31] silent,

[01:16:31] so with

[01:16:32] Urella

[01:16:33] Wong.

[01:16:34] Gotcha.

[01:16:35] You're not

[01:16:36] talking to me,

[01:16:36] you're talking

[01:16:37] to Mikey.

[01:16:37] Yeah,

[01:16:37] sorry,

[01:16:38] Mikey.

[01:16:38] But he's

[01:16:39] not responding,

[01:16:39] so I'm

[01:16:40] responding in

[01:16:40] his stead.

[01:16:42] Yep.

[01:16:44] Well,

[01:16:44] he's met

[01:16:45] his quota

[01:16:46] for the day

[01:16:47] of like

[01:16:47] speaking.

[01:16:48] Yeah,

[01:16:48] that's true.

[01:16:49] That's true.

[01:16:55] All right.

[01:16:56] So,

[01:16:57] I suppose

[01:16:58] we'll move

[01:16:58] on to

[01:16:58] actual

[01:16:59] thoughts

[01:16:59] then now.

[01:17:02] So,

[01:17:03] again,

[01:17:04] we're going

[01:17:04] down by

[01:17:05] chapter,

[01:17:06] so starting

[01:17:06] with chapter

[01:17:07] one,

[01:17:08] and I'm

[01:17:09] going to

[01:17:09] bring up

[01:17:09] this quote