ADR - Episode 545: The Last Day of October - Short Hoggers (Chapter 6-9)

[00:00:16] Oh, hello and welcome to Al Dente Rigamortis. I'm Review Cultist.

[00:00:22] I'm Mikey, the U-Stands for Evil.

[00:00:24] The Gamer in Yellow.

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

[00:00:31] And tonight we have, on Halloween night, the last day of October, Short Hoggers Chapter 6-9.

[00:00:41] Nice.

[00:00:44] So I just felt like I should add a little bit of flair since it's our holiday.

[00:00:47] Yeah, I suppose. I was gonna ask where the extra bravado came from.

[00:00:53] So yeah, last day of October, we are finishing up the series with these final chapters.

[00:01:00] Last day of October and all the other, and all the stories affiliated with it are by MMPrat99.

[00:01:06] You can check it out at creeppasta.wiki along with all her other stories.

[00:01:10] And yeah, let's do our initial recommendation before we dive into this, as we finish off this series and the story in particular.

[00:01:23] I'm gonna partially recommend it, but it teeters on a non-recommendation.

[00:01:30] I am also going to partially recommend it.

[00:01:33] I guess I will also say partial, because that's what I wrote down.

[00:01:39] Really?

[00:01:40] Yeah.

[00:01:41] Wow, okay.

[00:01:42] Well, let's find out why we gave it such middling recommendations.

[00:01:48] Starting with the rundown, which I have abbreviated.

[00:01:53] So we continue on with the final four chapters of Shorthoggers.

[00:01:59] Kess is awakened from her flashback slumber in her flashback to a tapping and then knocking on her cottage door, similar to the end of the Ellie Lambert story.

[00:02:10] What differs is as she realizes something is terribly wrong and prepares to fight back with an advanced but prohibited Sephrosian rifle.

[00:02:20] She and her cat, Miss Tabitha, are transitionally teleported to a different time and place.

[00:02:29] A few centuries in the past and roughly 5,500 miles away from Swanwick in an inn run by a pirate captain in Port Bognar on a completely different continent.

[00:02:41] The captain, Jarvis Seavers, and his first mate explain that some ghost things sent her here.

[00:02:50] And after Kess explains what she was in the middle of, they seem to have an idea of what it is and tells Kess yet another story of what this thing might be called or what it is known to these people.

[00:03:04] And telling the story of Captain Jarvis' father, Victor, who was courting a woman in his youth who was likely responsible for this thing's inception.

[00:03:15] Maybe.

[00:03:17] You see, Victor was courting a...

[00:03:19] Oh, like the layers and layers.

[00:03:21] Yeah.

[00:03:22] Inception.

[00:03:22] Hang on.

[00:03:23] Speaking of layers.

[00:03:25] Okay.

[00:03:26] You see, Victor was courting a Clarissa Von Davro.

[00:03:29] You know, the same Clarissa Von Davro, possibly, that Kess read about in that newspaper article who was getting sentenced to a mortal lifespan on Midgard.

[00:03:41] In one of her flashbacks.

[00:03:43] And this Clarissa was rather nasty as it turned out.

[00:03:47] He ended up breaking off the courting when she confessed to luring an ugly servant girl from Hualau Earth from in the family estate, which is known as the Basharn Manor.

[00:03:57] To a strange set of doors up in the attic of the manor.

[00:04:00] It's here that the girl was likely killed by some horror beyond the doors and stairs, and it also likely escaped from whatever horrible dark place beyond it came from.

[00:04:11] This ugly servant, Anne Milton, also had the same frog-like disfigurement that Ellie Lambert took on at the welcome party Kess had attended earlier.

[00:04:23] Though, the Van Davro's had put a glamour spell on her while she was working for them to make her less ugly.

[00:04:31] And in fact, she could even appear as Clarissa, which was probably why Clarissa hated her so.

[00:04:38] After leaving that situation, Victor began having dreams on the one-year anniversary of Anne Milton's disappearance.

[00:04:46] Where he was passing through a strange liminal space known as the Lost Rooms.

[00:04:51] Which were mystically tied to a tragedy that occurred in Basharn Manor.

[00:04:58] Where a bunch of the original rooms of the estate simply vanished from the local reality.

[00:05:05] Um, like apparently the manor had like something like a thousand rooms and then like 700 and some odd rooms just vanished from existence in the manor.

[00:05:15] Uh, and now end up, have ended up in this weird liminal haunted space, uh, known as the Lost Rooms.

[00:05:21] Um, in this place of ghostly manor halls and rooms, he found a locked up set of doors with warnings on them.

[00:05:29] But also heard voices asking to be let out.

[00:05:32] At first he was going to help, but thanks to a certain magic green disc-like object, kind of like a monocle,

[00:05:39] he saw the true nature of the voices beyond and fled.

[00:05:43] Though not before stumbling upon the corpse husk of what he suspected was Anne Milton.

[00:05:49] Seems the good captain would later have to deal with this horror as well.

[00:05:53] Though, they supposedly got a shaman from Midgard to vanquish it.

[00:05:59] Eventually.

[00:06:00] And now it seems to be after Kes back in Swanwick.

[00:06:05] However, to get back, Kes must deal with the same ghost things that pulled her away and dwell in the Lost Rooms.

[00:06:13] Known as the Threshold Guardians.

[00:06:15] But just as Kes is going to deal with these things and get back to Swanwick to finish the fight...

[00:06:20] Finn?

[00:06:23] Yeah, that's...

[00:06:24] The story just kind of ends.

[00:06:26] Yeah, I love that.

[00:06:27] Before we get the...

[00:06:30] End.

[00:06:33] So...

[00:06:33] It's not the court ends.

[00:06:34] Yeah.

[00:06:36] But that is our...

[00:06:38] That is the rundown for the last day of October, short hoggers chapters 6 through 9.

[00:06:45] And without further ado, let's kick it off with...

[00:06:49] Power Instagram Inquisitions!

[00:06:51] At this point.

[00:06:54] I start off strong, and then I got nothing for like the last two chapters.

[00:06:58] Just FYI.

[00:07:01] Same as me.

[00:07:03] Yeah.

[00:07:04] So, chapter 6.

[00:07:05] We got this one here.

[00:07:07] The night was disagreeably cold.

[00:07:10] Unaccountable so for the middle of summer.

[00:07:13] So I feel like it should be unaccountably so for the middle of summer.

[00:07:17] Yep.

[00:07:18] So...

[00:07:19] Mikey, do you have anything for chapter 6?

[00:07:21] Or the other way is you can say unaccountable for the middle of summer as well.

[00:07:26] Yeah.

[00:07:28] It's the so that makes it need to be unaccountably.

[00:07:31] Yeah.

[00:07:32] But I mean, I like the unaccountably so for the middle of summer.

[00:07:35] Like, I do like how that's written.

[00:07:36] It's just...

[00:07:36] It needs to be a kind of lee.

[00:07:39] I'm just saying, the other option is...

[00:07:40] It also, to me, sounds fine to say unaccountable for the middle of summer.

[00:07:44] Yeah, that's true.

[00:07:45] Yeah.

[00:07:48] Mikey, do you have anything for chapter 6?

[00:07:50] Nope.

[00:07:52] Gamer, do you have anything else for chapter 6?

[00:07:55] Uh, yeah.

[00:07:56] Okay.

[00:07:59] Let me read this real quick.

[00:08:01] Also, I like how I bob my head in one direction when I dress Mikey.

[00:08:05] And then I bob my head to the other side.

[00:08:08] Like, you guys are in the same room as me.

[00:08:10] Of course, because we're sitting on a couch together.

[00:08:12] That's what this is.

[00:08:13] Yeah, totally.

[00:08:14] We're on a virtual couch.

[00:08:17] Yeah, totally.

[00:08:20] If I did title cards again, I'd know what I'd be doing.

[00:08:24] Just like a digital couch.

[00:08:26] It's all pixelated.

[00:08:29] So, um, this is kind of like a transition kind of grammar thing.

[00:08:35] Uh, so Kes goes from, like, getting her railgun.

[00:08:39] And then it explains, like, the railgun, what it is, and its legality.

[00:08:46] Yeah.

[00:08:47] Then it suddenly cuts to a flashback of how she got it.

[00:08:51] Yeah.

[00:08:51] But without explaining that that was really happening.

[00:08:55] Yeah, I left that in my, I actually had that in my actual thoughts.

[00:08:57] But, um, but I was, at first it was going to go on my grammar inquisition.

[00:09:01] But yeah, I'm glad you, I'm glad you brought this up too.

[00:09:03] Yeah.

[00:09:04] Because, like, I expected it to cut back to real time.

[00:09:07] Like, as soon as she grabbed it.

[00:09:08] But then, like, it goes on to a talk of glass displays plundered and such.

[00:09:12] And then, like, cutting to Kes describing turning left and going down a corridor.

[00:09:18] Like.

[00:09:18] And there's a sign that's faded that says prohibited techno hands weapons.

[00:09:22] And so it's like, oh, she's in the museum that she stole.

[00:09:25] Why is there no, like, transition from to this?

[00:09:29] Yeah.

[00:09:30] Because at first I thought, like, is she just, like, is she, like, walking through her, like,

[00:09:34] her cottage in Swanwick?

[00:09:36] Does it have, does it also have, like, is it bigger on the inside than on the outside of the thing?

[00:09:41] It could be, yeah.

[00:09:43] Everything is liminal spaces now.

[00:09:46] Like, there's just.

[00:09:49] Yeah.

[00:09:49] A little transition between, like, being told the history and, like, going into the flashback would be nice.

[00:09:55] Because, like, technically the transition here is when it says many of the glass display cases were broken.

[00:10:00] But that didn't really do it for me.

[00:10:02] Yeah.

[00:10:02] Personally, I feel something, like, it was in one of those museums that Kes got hers.

[00:10:07] Like, like, got her rifle or something like that.

[00:10:11] Because that's, like, a cleaner transition between just facts of the history of the weapon and then how she got it.

[00:10:20] Alternatively, it could even, like, so between, like, the thing we get at the top where, like, it's talking about the weapon and, like, the control act of 375.

[00:10:27] So 370, 3755.

[00:10:30] And then it goes on and it's, like, Kes thought back on when she first got the, when she first treaded through that museum or something like that.

[00:10:39] And then we cut to this.

[00:10:40] Yeah, for sure.

[00:10:41] Yeah.

[00:10:41] Like, that would definitely be something.

[00:10:43] Like, again, it just needs, like, a few extra words just to, like, help transition between, like, to let the reader know a little bit more solidly, yes, we are in a flashback.

[00:10:52] Rather than just, like, have us find that out, like, a paragraph later after being confused.

[00:10:57] It removes the whiplash.

[00:10:59] Yeah.

[00:11:02] But, um, my next one is in the, um, the flashback of how she got it.

[00:11:10] It says, uh, Miss Tabitha had watched its removal from the museum, this is the gun, uh, from the museum case with alarm.

[00:11:17] Convinced the mysterious weapon was cursed and that it would turn on its discoverer.

[00:11:22] So when I first read that, I thought it was meaning that Kes removed the rifle from the case, which set off the alarm.

[00:11:29] Yeah.

[00:11:30] Like, I'm not even joking.

[00:11:30] I thought that's what that meant.

[00:11:32] But, no, Miss Tabitha the cat was watching, like, with shock that she did that, basically.

[00:11:40] Yeah.

[00:11:41] Which would have been a better word for that, because alarm has multiple uses in this, because English is annoying.

[00:11:47] Every language has this kind of, it's not just English.

[00:11:53] Because it's entirely plausible that the museum case had an alarm on it.

[00:11:58] So, removing the gun from the museum case with alarm almost sounds like it's referring to the museum case having an alarm on it, you know?

[00:12:06] Yeah.

[00:12:06] And not with, like, with shock.

[00:12:09] With, like, oh, no.

[00:12:10] Like, what are you doing?

[00:12:11] I mean, I got it immediately after I thought about it for half a second, but, yeah.

[00:12:15] Yeah.

[00:12:16] Could be, could be, um, written a little bit more, like, clarity, with a little bit more, like, clarity to it.

[00:12:25] Yeah.

[00:12:25] And then this is when they're, um, when Kes gets into the, uh, the pirate room basically talking to people.

[00:12:32] Um, and the line is, yeah, Kes gave the pirate wrench a baffled glance before continuing.

[00:12:39] Shouldn't it be wench, not wrench?

[00:12:41] Yeah.

[00:12:42] Unless there's a talking wrench here, which I wouldn't put it past this.

[00:12:45] There is so much weird, like, quirky, whimsical shit that, like, yeah, like, a red-headed bar wrench would not have surprised me.

[00:12:55] It wouldn't have, no.

[00:12:56] Just, like, oh, like a large human-sized wrench just turns around in a, in a, in a body outfit and red locks and just, like, it's like, uh, what will that be?

[00:13:07] It's like, it's like, sure, why not?

[00:13:09] Yeah.

[00:13:10] Would it be, like, one of those, like, uh, adjustable wrenches?

[00:13:13] So, like, every time the mouth moves, like, the corkscrews are quickly moving up and down as the mouth.

[00:13:18] Or, or it'd be, like, kind of, like, elastic, have an elasticity to it, like a cartoon.

[00:13:23] So, like, if it's just, like, a, it's just, like, a normal, like, an old-fashioned, like, blacksmith one.

[00:13:27] Like, the, the little, like, the mouth, like, the wide-of-mouth part would still be, like, gabbing, but, like, it would be, like, uncharacteristically, like, rubbery.

[00:13:35] The way it flaps around.

[00:13:36] Yeah.

[00:13:37] For sure.

[00:13:39] Love that we've, it's just amazing.

[00:13:41] We're just in a cartoon.

[00:13:42] I mean, sometimes, yeah.

[00:13:45] It feels like it sometimes.

[00:13:47] Yep.

[00:13:49] But, yeah, back to, yeah, back to your original thing.

[00:13:51] Yeah, it's, I think it's supposed to be a wench.

[00:13:54] Yes, because she's referred to as a wench later.

[00:13:56] And also a witch, I think, if it's the same person.

[00:13:59] Yeah.

[00:14:00] Well, because she has, like, she has, sorry.

[00:14:02] Go ahead.

[00:14:03] Oh, just, well, because she does have, like, I think it does describe her as having, like, kind of witchy features.

[00:14:07] So.

[00:14:08] Yeah.

[00:14:08] So, she's a witch wench.

[00:14:10] Yep.

[00:14:10] But she's not a witch wench wrench.

[00:14:12] She's a witch wench.

[00:14:14] She's a witch wench with a wrench.

[00:14:17] Yes.

[00:14:18] With a wrench wand.

[00:14:21] Makes sense to me.

[00:14:22] Yeah.

[00:14:22] Yeah, that's it for my grammar on that chapter.

[00:14:24] Okay.

[00:14:26] On to chapter seven, then.

[00:14:28] I'm going to go with this one here.

[00:14:29] To avoid detection.

[00:14:31] To avoid detection by either the housekeeper or butler, they decided to use the back stairs.

[00:14:37] Not to be confused with the back rooms.

[00:14:39] Sorry.

[00:14:41] Just the way you said it really did sound like that.

[00:14:44] Yeah.

[00:14:44] They decided to use the back stairs.

[00:14:46] Clarissa leading the way with Anne, nervously alert for the dreaded jingling of the housekeeper's keys.

[00:14:55] Slowly following along like a frightened mouse.

[00:15:01] So, following there is missing an eye.

[00:15:04] So, it's just like following.

[00:15:07] Yeah.

[00:15:08] It's a symbol typo.

[00:15:10] But yeah.

[00:15:11] And that's all I got for chapter seven.

[00:15:13] So, Mikey.

[00:15:15] I'm good.

[00:15:17] Gamer.

[00:15:18] Gamer.

[00:15:19] Okay.

[00:15:22] This one.

[00:15:23] It must have been some scarifying things that go bump in the night name.

[00:15:29] In regards to like her questioning what her actual name is.

[00:15:33] The waif.

[00:15:34] It kind of sounds odd to me saying it like that.

[00:15:36] Like, yeah, this is dialogue.

[00:15:38] But didn't she simply say like some scary things that go bump in the night name?

[00:15:43] Not scarifying?

[00:15:45] Yeah.

[00:15:46] Is that a thing?

[00:15:47] No.

[00:15:48] I don't think it's a proper use of the word.

[00:15:51] I don't think scarifying.

[00:15:52] It's terrifying and scary at the same time.

[00:15:55] Yeah.

[00:15:55] But honestly, like terrifying.

[00:15:57] Terrifying.

[00:15:58] Oh, my God.

[00:15:59] Scarifying is actually a word.

[00:16:02] Is it?

[00:16:02] I've never heard that.

[00:16:03] Scarifying.

[00:16:04] Adjective.

[00:16:04] It's informal.

[00:16:05] But it's basically an informal version of frightening.

[00:16:08] A scarifying mix of extreme violence and absurdist humor.

[00:16:13] Wow.

[00:16:14] We learned a thing.

[00:16:15] Yeah.

[00:16:15] I did not think that was a word.

[00:16:21] But I guess it's like, it's like terrifying, scarifying, frightening.

[00:16:24] Like they're all horrifying.

[00:16:26] Like they're all.

[00:16:26] Yeah.

[00:16:27] It's like, but like to me, like scarifying is like on the low end of that spectrum of like

[00:16:31] words to use.

[00:16:32] It works though.

[00:16:32] Apparently.

[00:16:33] Apparently.

[00:16:34] Yeah.

[00:16:35] When I first read this though, I thought it was saying like, she must have some

[00:16:39] scarifying things, comma, because like, yeah, sorry.

[00:16:45] Go on.

[00:16:46] No, it's all right.

[00:16:47] Okay.

[00:16:48] I was just saying, does that mean that like there's a startifying or startle-ifying?

[00:16:54] Because it's like going down like a specter of like, like terrifying, horrifying, frightening,

[00:16:59] scarifying, startle-ifying.

[00:17:00] Because you're so startled.

[00:17:03] Sixth episode of South Park.

[00:17:05] Yeah.

[00:17:06] What were they, giant guinea pigs?

[00:17:08] Uh, yeah, I think so.

[00:17:10] We're getting off the rails a bit.

[00:17:10] I'll move on.

[00:17:11] Yes.

[00:17:14] Lining the walls were priceless paintings and statues of various gods and mystical creatures.

[00:17:19] Every niche and cranny was filled.

[00:17:23] I assume this is meant to be every nook and cranny?

[00:17:26] Yeah.

[00:17:27] I stumbled on that myself, but I kind of just went over it.

[00:17:31] But yeah, now that you point that out again, like, yeah, no, I thought there was something

[00:17:34] off about that, but I left it.

[00:17:36] I let it go.

[00:17:37] Yeah.

[00:17:38] Also, as far as my Google says, cranny is just Y on the end, not IE.

[00:17:42] Yeah.

[00:17:42] Well, yeah, it might just be like a misspelling.

[00:17:45] It could be.

[00:17:46] Yeah.

[00:17:47] Also, niche and cranny might be a regional dialect for all I know, but I don't know.

[00:17:52] Yeah, because I've only heard it one way.

[00:17:54] Well, to be fair, like, yeah, niche and nook are kind of a similar word.

[00:17:58] But yeah.

[00:17:59] So again, it might be just a dialect thing.

[00:18:02] I thought a niche is like a type of thing.

[00:18:05] So a niche is like kind of what our show is, like where we tap into a niche topic.

[00:18:12] Yeah, but we don't have a nitpick niche.

[00:18:14] Oh, God, I wish.

[00:18:16] I could really go for some quiche in my nitpick niche.

[00:18:21] No.

[00:18:21] Instead, you just sit there and cook in your nitpick nook.

[00:18:24] Ah, yes.

[00:18:25] Let him cook.

[00:18:28] But I'll move on.

[00:18:30] Wow.

[00:18:30] We are like really like whimsically like rhyming today.

[00:18:34] I wonder why.

[00:18:35] Yeah.

[00:18:36] I wonder why.

[00:18:39] But yes, I'll move on.

[00:18:41] Yeah.

[00:18:42] But even several hundred thousand pounds, oh, hush doubloons and threats, oh, exile ain't gonna keep them folks from Natrin.

[00:18:50] Or keep hidden a dark and dreadful secret such as Thwaif.

[00:18:56] Thwaif, I guess is how that would be said.

[00:18:58] Regardless, I mentioned this last time, but so it's the same sort of grammar thing as I did in the previous recording.

[00:19:10] But O-R-E sounds exactly the same as O-R.

[00:19:15] Yeah, but like also in when you're writing that stuff down, like even in like old English, sometimes I've seen that actually written like that.

[00:19:23] Okay, but is every single instance of O-R spelled O-R-E through this entire story?

[00:19:29] I don't know.

[00:19:30] I highly doubt it.

[00:19:31] Yeah, it might also be just an error because like they were already like going through like a huge long thing of like old English dialogue.

[00:19:40] So I guess it just kind of sounds like it was written that way to try to do an accent, but it sounds the same either way.

[00:19:47] So I don't know what that sound should have been.

[00:19:50] Yeah.

[00:19:50] Okay.

[00:19:51] And my last one for this chapter.

[00:19:52] What Clarissa Vandevereux did was far more worse than mere burglary.

[00:19:59] And just like a previous recording, I think I also brought this sort of thing up before too.

[00:20:04] Far worse would be better, not far more worse because it's doubling down.

[00:20:08] But again, it's also dialogue.

[00:20:11] It's just dialogue though.

[00:20:13] It's the way the pirates talk.

[00:20:16] I mean, yeah, like technically, yes, but to that.

[00:20:22] They're more like guidelines than actual rules.

[00:20:26] Yeah, but to that rule, we should not do any grammar for any of these at all because all these stories are 90% dialogue.

[00:20:33] And 90%, yeah, like the characters are either like telling this in a flashback or it's in a journal.

[00:20:38] So like, yeah, so my immersion.

[00:20:41] We're damned if we do.

[00:20:42] We're damned if we don't.

[00:20:44] Yeah, exactly.

[00:20:46] But that's it for that chapter.

[00:20:48] All right.

[00:20:49] Chapter eight.

[00:20:50] I have nothing, as I said earlier.

[00:20:51] So Mikey, do you have anything?

[00:20:53] Nope.

[00:20:54] Yeah, you guys are slipping.

[00:20:57] Or we just don't like, we didn't see much of a problem.

[00:21:00] I guess.

[00:21:02] So much tech on knees going on.

[00:21:05] Yeah, apparently.

[00:21:06] It was suddenly all very quiet except for the soft sobbing beyond the door.

[00:21:11] Victor felt his eyes filled with tears.

[00:21:16] My face is tired.

[00:21:18] Yeah.

[00:21:18] Shouldn't it be like his felt his eyes fill with tears?

[00:21:21] Yeah.

[00:21:22] And like, I know this story is being told from the past.

[00:21:25] So filled is the past tense of fill, but it doesn't sound right.

[00:21:29] Hang on.

[00:21:30] So like felt his.

[00:21:31] No, except his eyes filled with tears.

[00:21:34] Because he felt there's the past tense that's necessary in that sentence.

[00:21:38] Ah, yes.

[00:21:39] So that immediately puts everything into the past.

[00:21:43] Yeah.

[00:21:44] Thank you, Mr. Tenseman.

[00:21:45] Welcome to my tense talk.

[00:21:47] Yeah.

[00:21:50] But that's it for chapter eight.

[00:21:52] Okay.

[00:21:52] I've got nothing on chapter nine.

[00:21:54] So Mikey.

[00:21:56] I got nothing.

[00:21:57] Ah, you guys.

[00:21:59] I got one at least.

[00:22:02] You just tell those ghost ears to bring back another working porter.

[00:22:08] And while they're at it, drop kick that waif demon into whatever halal pit she crawled out of.

[00:22:15] So.

[00:22:16] Yeah.

[00:22:17] What?

[00:22:18] You're going to talk about porter versus portal.

[00:22:21] Yeah.

[00:22:22] I honestly, I saw that and I was like, I mean, porter as a word could honestly work.

[00:22:29] Again, based off of a regional dialect thing.

[00:22:32] Although it does like scream like that.

[00:22:34] It's a typo for portal.

[00:22:36] Yeah, I would think.

[00:22:37] Because like the word, the word porter.

[00:22:39] Porter.

[00:22:39] It's like a dude that carries luggage.

[00:22:41] That's what a porter is.

[00:22:42] Actually.

[00:22:43] So, yeah.

[00:22:43] That's the first one.

[00:22:45] Actually, the next thing is dark brown, bitter beer brewed.

[00:22:49] It's neither of those things, though.

[00:22:50] Hang on.

[00:22:50] More definitions.

[00:22:53] Would you like to know more?

[00:22:56] No, you're right.

[00:22:57] Yeah.

[00:22:57] Well, yeah.

[00:22:58] It does.

[00:22:58] Porter comes from the Latin portair, which means carry.

[00:23:02] And then middle English porter.

[00:23:04] I mean, she's being carried from one room to another.

[00:23:07] So like, well, no, she's being carried away back to her home world.

[00:23:10] So like, I send a porter.

[00:23:12] But yeah, honestly, it's probably portal.

[00:23:14] Probably.

[00:23:16] Just being like really pedantic here.

[00:23:20] But that's all I got for nine.

[00:23:22] Okay.

[00:23:23] Well, that Mikey, do we have a conjunction?

[00:23:27] Okay.

[00:23:28] Yes, we do.

[00:23:29] All right.

[00:23:30] And next stop, Conjunction Junction.

[00:23:33] Chapter six.

[00:23:35] It was close to midnight when Kess awoke.

[00:23:39] It had to have been an animal then.

[00:23:42] Maybe even a bat or an owl brushing up against the glass.

[00:23:47] It's like Fimblewinter in here.

[00:23:50] It's me.

[00:23:52] It's cold.

[00:23:53] It's late.

[00:23:54] It's 12 a.m.

[00:23:56] But while the blades put on the display were just inert metal,

[00:24:04] The ones dug deep around the door were of a completely different nature.

[00:24:10] It was a Safrasian-made rifle.

[00:24:17] A room-temperature superconducting Langston rail gun with a telescopic scope and a carbon fiber barrel, to be exact.

[00:24:31] But the gun, it seemed, was content to be resurrected and put to good use once again.

[00:24:40] It was a multilingual booklet with clear page protectors.

[00:24:48] The pages were a little faded, but still quite legible, and included her native language.

[00:24:56] But even this indomitable warrior girl armed with formidable hardware was now quaking at the prospect at facing the thing standing outside.

[00:25:12] But no sooner did that unpleasant thought enter her mind than she quickly shut it out.

[00:25:21] It was just like an Errol Flynn movie, only much worse due to the soupy miasma of odors assaulting her senses and numerous diabolical eyes staring at her with fixed intent.

[00:25:40] It would probably eat up all the animals first before it gets on to wrecking the furniture.

[00:25:50] It didn't sound like a voice you'd expect a seafaring man to have.

[00:25:55] More like that of a country vicar or a barrister.

[00:26:03] And just when I was going to do something very important.

[00:26:09] And what would that be?

[00:26:12] It came at midnight to my place.

[00:26:15] I thought it was someone from town at first.

[00:26:18] Then my cat started hissing.

[00:26:21] It's a her?

[00:26:23] It might save your life one day.

[00:26:28] Chapter 7

[00:26:31] So what would you call this thing exactly?

[00:26:37] It.

[00:26:38] And it's antique, she added as the second beast went to open the door.

[00:26:47] So treat it with great respect.

[00:26:51] But he shouldn't do that.

[00:26:55] And where is here then?

[00:26:59] It was carrying a cargo of spices, liquor, and art objects bound for Europe,

[00:27:07] and had stopped for supplies in the port of Libertalia.

[00:27:13] And the rest of the crew?

[00:27:17] It looked so out of place among the treasure trove of trinkets and trophied mementos.

[00:27:24] It looked very old.

[00:27:26] It's previous owners must have been doing some tailoring on it,

[00:27:33] since there were a lot of silver pins sticking out of the front.

[00:27:39] It's part of a family fortune taken from the eastern Nye Alps,

[00:27:46] the kingdom of Valyrian to be exact.

[00:27:49] Or maybe even burglars.

[00:27:54] But that secret cabin soon proved to be a tome that concealed something far worse than any black-spotted mummified feral.

[00:28:07] And why is that?

[00:28:10] But even several hundred thousand pounds of hush-dabloons in threats,

[00:28:17] oh exile ain't going to keep some folks from nattering.

[00:28:23] But just who is this waif?

[00:28:30] So he probably knew the Van Devereux.

[00:28:36] So when did this particular Stilton thing happen?

[00:28:41] It was at the Van Devereux annual All Hallows' Eve celebration,

[00:28:49] and as usual, Victor was quietly fuming as he watched Arthur and Clarissa dance merrily in the Earl's Grand Hall.

[00:29:01] But that was impossible, for he had just seen Clarissa in the Grand Hall,

[00:29:07] and as flighty as she was, it wasn't like her at all to suddenly run off

[00:29:14] right in the middle of an important dance with her parents and neighbors watching.

[00:29:21] But was it really her?

[00:29:24] It was supposed to be a replica of a similar dress

[00:29:29] that had been worn by one of the former inhabitants of the estate,

[00:29:35] a Cinderella-type ancestor who married some of the Duke's sons

[00:29:40] and moved overseas to Woldalashia.

[00:29:47] But it wasn't the eye itself that made Victor's blood run cold,

[00:29:52] but what he saw when he looked back at Clarissa again.

[00:29:59] It resembled something you would see in a freak show or a marionette puppet theater,

[00:30:08] a human-sized doll with a bloated, cupid face with a wide, frog-like grin.

[00:30:16] So numbed with icy horror was he that he couldn't utter a sound,

[00:30:23] let alone twitch a muscle.

[00:30:27] So this wife was a shapeshifter then?

[00:30:32] But what she lacked in natural magic and letter smarts,

[00:30:37] she made up for in hypnotic deceit and cunning,

[00:30:41] and by sheer stubborn will alone,

[00:30:44] was able to manipulate the glamour spell that had been imposed upon her.

[00:30:49] But she wasn't cunning enough, Martina chimed in,

[00:30:55] for she was caught when she blundered into a servant coming through aft entrance.

[00:31:06] And after that...

[00:31:09] And shortly after that,

[00:31:11] she wasn't seen again,

[00:31:13] said Captain Jarvis with a shrug,

[00:31:15] not in the village nor in the halls of Bizharn Manor.

[00:31:22] Or maybe she caught Anne trying on one of her dresses,

[00:31:27] suggested another.

[00:31:29] And couldn't even stomach the thought of a scullery maid

[00:31:37] looking handsomer in it than herself.

[00:31:42] And just for that,

[00:31:44] she was fired and sent back to the mortal realm.

[00:31:48] But didn't she come from Holau Earth?

[00:31:56] And what did young Victor think?

[00:31:59] And as the weeks came and went,

[00:32:02] and no word was heard of Anne,

[00:32:05] things eventually got back to normal.

[00:32:08] But what made him change his mind about Clarissa?

[00:32:14] But she knew people like Anne were protected

[00:32:18] not only by rules of hospitality,

[00:32:22] which granted charity to any stranger,

[00:32:24] no matter how lowly in rank,

[00:32:26] but also by the gods who protected both children

[00:32:30] and people of low intellect.

[00:32:33] But a few were utterly true,

[00:32:36] and one such tale stood out in its strangeness and macableness.

[00:32:43] It concerns a secret attic room

[00:32:47] somewhere in the southeast corner of the manor.

[00:32:52] And this was the very same room

[00:32:54] those workmen discovered years later?

[00:32:59] It's like what happened to me when I was living in Saphrasia,

[00:33:05] she angrily muttered.

[00:33:08] But did this spoiled brat ever take a life?

[00:33:13] So what does this monstrous girl do next?

[00:33:19] But most of the people here in Bizarn

[00:33:25] completely ignored her,

[00:33:28] just like the people back in her universe,

[00:33:33] including her very own family

[00:33:35] who focused all their attention

[00:33:37] on her more gifted, bitter-looking siblings.

[00:33:42] But Anne reassured her

[00:33:44] she was much better now

[00:33:46] and could make the journey to the attic space.

[00:33:51] And when the stone door swung inward again,

[00:33:54] and when Anne,

[00:33:56] shaking with fright

[00:33:58] and holding the flickering paper lantern high,

[00:34:03] crept into the dust-filled space

[00:34:05] and up the stairs,

[00:34:07] Clarissa waited.

[00:34:09] It was all quiet

[00:34:12] and dark as a grave

[00:34:13] up in the small corner of the house.

[00:34:18] It was the practice

[00:34:19] of the village elders

[00:34:21] to keep a close watch

[00:34:22] on the younger members of the community,

[00:34:25] especially any courting couples.

[00:34:29] But unlike Arthur,

[00:34:32] whose head was full of pompous,

[00:34:34] self-absorbed daydreams

[00:34:36] and esoteric lore,

[00:34:37] Victor was a down-to-earth realist

[00:34:40] who wasn't blinded by lust

[00:34:42] nor greedy ambition.

[00:34:45] So it must have come

[00:34:47] to a total shock

[00:34:49] to my father

[00:34:50] when the object of his passion

[00:34:52] suddenly confessed

[00:34:53] to a heinous crime.

[00:34:56] But why keep silent?

[00:34:59] It was as though Anne Milton

[00:35:01] had never existed,

[00:35:03] as though an iron door

[00:35:05] had slammed shut

[00:35:06] on the memory

[00:35:07] in Victor's mind.

[00:35:09] And then,

[00:35:11] on the first anniversary

[00:35:12] of Anne's disappearance,

[00:35:14] the nightmares began.

[00:35:18] Chapter 8

[00:35:19] Because a ghost

[00:35:23] is still a person,

[00:35:24] even though

[00:35:25] it is dead

[00:35:26] and without a body.

[00:35:29] It still possesses

[00:35:31] human thought

[00:35:33] and emotion.

[00:35:34] It's a well-known

[00:35:36] Valerian legend.

[00:35:39] It also brought about

[00:35:41] a curse

[00:35:42] that corrupted

[00:35:43] their bloodline,

[00:35:44] leading to various kinds

[00:35:45] of physical

[00:35:46] and mental aberrations.

[00:35:48] It might also

[00:35:51] just be cause

[00:35:52] she was

[00:35:55] the youngest

[00:35:56] of three sisters

[00:35:57] in the

[00:35:59] spoiled

[00:36:00] rotten

[00:36:01] old

[00:36:02] rotten apple

[00:36:04] oh the lot.

[00:36:06] Martina broke in.

[00:36:09] But

[00:36:10] Victor

[00:36:11] would only

[00:36:13] learn about

[00:36:14] those

[00:36:15] defections

[00:36:16] years later.

[00:36:18] It would be

[00:36:20] impossible

[00:36:20] to describe

[00:36:21] every door

[00:36:23] and room

[00:36:23] he passed through

[00:36:24] in such a short time,

[00:36:26] but he had

[00:36:27] little fear

[00:36:28] in the beginning.

[00:36:30] And why was that?

[00:36:32] Because

[00:36:33] there was life

[00:36:34] within those rooms,

[00:36:35] he replied.

[00:36:37] It was

[00:36:38] also

[00:36:39] surrounded

[00:36:40] by a circle

[00:36:41] of salt

[00:36:41] and quicklime.

[00:36:44] And

[00:36:44] did he ever

[00:36:46] open that door?

[00:36:47] It

[00:36:48] was a

[00:36:49] plague door

[00:36:50] marked with

[00:36:51] an ominous

[00:36:51] red X

[00:36:52] with an

[00:36:53] inscription

[00:36:54] scrawled

[00:36:55] across it.

[00:36:56] Do not

[00:36:57] enter.

[00:36:59] It wasn't

[00:37:00] until the

[00:37:00] third night

[00:37:01] of his

[00:37:02] discovery

[00:37:02] that

[00:37:03] they

[00:37:04] finally

[00:37:04] made

[00:37:05] their

[00:37:05] appearance

[00:37:06] known.

[00:37:07] It can

[00:37:08] only be

[00:37:09] opened

[00:37:09] by someone

[00:37:10] with magic.

[00:37:12] It can't

[00:37:13] be opened

[00:37:13] by an

[00:37:14] ordinary

[00:37:14] human.

[00:37:15] but

[00:37:16] we're not

[00:37:17] monsters

[00:37:18] and

[00:37:19] inborn

[00:37:20] killers.

[00:37:22] It

[00:37:22] was suddenly

[00:37:24] all very

[00:37:25] quiet

[00:37:26] except for

[00:37:27] the soft

[00:37:27] sobbing

[00:37:28] beyond

[00:37:28] the door.

[00:37:30] It

[00:37:31] somehow

[00:37:31] felt wrong

[00:37:32] to demolish

[00:37:34] an old

[00:37:35] magical relic

[00:37:36] built by

[00:37:36] an ancient

[00:37:37] people.

[00:37:38] It

[00:37:39] appeared

[00:37:40] to be

[00:37:40] a

[00:37:41] folding

[00:37:41] knife

[00:37:42] of

[00:37:42] some

[00:37:42] kind,

[00:37:43] but

[00:37:44] no

[00:37:44] amount

[00:37:45] of

[00:37:45] flicking

[00:37:45] or

[00:37:46] prying

[00:37:46] could

[00:37:47] induce

[00:37:48] a

[00:37:48] blade

[00:37:49] to

[00:37:49] appear.

[00:37:51] But

[00:37:51] I

[00:37:52] might

[00:37:52] have

[00:37:52] a

[00:37:53] whetstone

[00:37:53] with

[00:37:53] me.

[00:37:55] It

[00:37:55] didn't

[00:37:56] sound

[00:37:56] like

[00:37:57] a

[00:37:57] little

[00:37:57] girl

[00:37:57] now,

[00:37:58] nor

[00:37:58] anything

[00:37:59] with

[00:37:59] a

[00:37:59] human

[00:38:00] shaped

[00:38:00] mouth

[00:38:00] or

[00:38:01] throat

[00:38:01] or

[00:38:02] lungs.

[00:38:04] Chapter

[00:38:05] Nine.

[00:38:07] It

[00:38:08] was only

[00:38:09] afterwards

[00:38:09] that he

[00:38:10] became

[00:38:10] really

[00:38:11] afraid

[00:38:12] because

[00:38:13] he

[00:38:13] found

[00:38:14] the

[00:38:14] knife

[00:38:14] and

[00:38:15] the

[00:38:16] grab

[00:38:16] marks

[00:38:17] on

[00:38:17] his

[00:38:18] ankle

[00:38:18] the

[00:38:19] next

[00:38:19] morning.

[00:38:20] It

[00:38:21] was

[00:38:22] like

[00:38:22] a

[00:38:22] log

[00:38:23] or

[00:38:23] a

[00:38:24] stack

[00:38:24] of

[00:38:24] grain

[00:38:25] sacks

[00:38:26] was

[00:38:26] wedged

[00:38:27] up

[00:38:27] tight

[00:38:27] against

[00:38:28] the

[00:38:34] form

[00:38:35] of

[00:38:35] afterlife

[00:38:36] or

[00:38:37] pass

[00:38:37] into

[00:38:37] the

[00:38:38] next

[00:38:38] reincarnation.

[00:38:41] But

[00:38:41] there

[00:38:42] is

[00:38:42] still

[00:38:42] remnants

[00:38:44] left

[00:38:44] of

[00:38:45] the

[00:38:45] deceased

[00:38:48] in

[00:38:49] the

[00:38:50] fresh

[00:38:50] blood,

[00:38:51] in

[00:38:52] the

[00:38:52] brain

[00:38:52] tissue

[00:38:53] memories,

[00:38:54] fears,

[00:38:55] and

[00:38:55] desires.

[00:38:57] Its

[00:38:58] nature

[00:38:58] is

[00:38:58] ambiguous

[00:38:59] and

[00:39:00] unpredictable

[00:39:00] as a

[00:39:01] wild

[00:39:01] beast.

[00:39:03] It

[00:39:04] foul

[00:39:05] deed

[00:39:05] what

[00:39:06] she

[00:39:06] did

[00:39:07] that

[00:39:07] November

[00:39:07] night

[00:39:08] and

[00:39:09] on

[00:39:09] what

[00:39:10] would

[00:39:10] have

[00:39:11] been

[00:39:11] an

[00:39:12] auspicious

[00:39:12] time

[00:39:13] of the

[00:39:13] year.

[00:39:14] Or

[00:39:15] else

[00:39:15] the

[00:39:16] varmint

[00:39:16] gained

[00:39:17] access

[00:39:18] to

[00:39:18] a

[00:39:19] less

[00:39:19] secured

[00:39:20] gate,

[00:39:21] Martina

[00:39:22] interjected.

[00:39:24] But

[00:39:24] were

[00:39:25] they

[00:39:25] really

[00:39:26] human

[00:39:27] bones?

[00:39:28] And

[00:39:29] were

[00:39:29] they

[00:39:30] that

[00:39:30] of a

[00:39:31] young

[00:39:31] girl?

[00:39:33] or

[00:39:34] else

[00:39:34] it

[00:39:35] could

[00:39:35] have

[00:39:35] sprouted

[00:39:36] legs

[00:39:37] and

[00:39:37] crawled

[00:39:37] off,

[00:39:38] Kess

[00:39:38] remarked,

[00:39:40] remembering

[00:39:40] the scene

[00:39:41] with

[00:39:41] Norris'

[00:39:42] head

[00:39:43] in

[00:39:43] the

[00:39:43] thing.

[00:39:45] But

[00:39:46] at

[00:39:46] the

[00:39:46] time

[00:39:47] we

[00:39:47] didn't

[00:39:48] stand

[00:39:48] around

[00:39:48] asking

[00:39:49] such

[00:39:50] questions.

[00:39:52] And

[00:39:52] his

[00:39:53] will

[00:39:54] proved

[00:39:54] strong

[00:39:54] enough

[00:39:55] to

[00:39:55] drive

[00:39:56] the

[00:39:56] waif

[00:39:56] far

[00:39:57] from

[00:39:57] the

[00:39:57] streets

[00:39:58] of

[00:39:58] Port

[00:39:58] Bognar

[00:39:59] and

[00:40:00] forced

[00:40:01] her

[00:40:02] down

[00:40:02] into

[00:40:02] the

[00:40:03] first

[00:40:03] place

[00:40:03] she

[00:40:04] ever

[00:40:04] haunted.

[00:40:06] But

[00:40:06] it

[00:40:07] didn't

[00:40:07] affect

[00:40:07] your

[00:40:08] father

[00:40:08] when

[00:40:09] he

[00:40:09] went

[00:40:10] through

[00:40:10] the

[00:40:10] lost

[00:40:11] rooms.

[00:40:12] And

[00:40:13] if

[00:40:14] I'm

[00:40:14] unlucky,

[00:40:17] then

[00:40:19] Oh,

[00:40:22] you're

[00:40:22] done?

[00:40:22] Wow.

[00:40:25] Sorry.

[00:40:26] Dozed off

[00:40:27] there,

[00:40:27] I think.

[00:40:29] Thank you

[00:40:32] for that

[00:40:33] very

[00:40:34] long

[00:40:36] synopsis

[00:40:38] of the

[00:40:38] story.

[00:40:40] Yeah.

[00:40:42] There was

[00:40:42] a lot

[00:40:43] of

[00:40:43] words

[00:40:43] that

[00:40:44] started

[00:40:44] sentences

[00:40:45] that

[00:40:45] started

[00:40:45] with

[00:40:45] words

[00:40:45] that

[00:40:46] they

[00:40:46] probably

[00:40:46] shouldn't

[00:40:46] like

[00:40:46] its

[00:40:47] ends

[00:40:47] or

[00:40:47] buts

[00:40:47] because

[00:40:47] there's

[00:40:48] always

[00:40:48] better

[00:40:48] words

[00:40:48] to

[00:40:48] use

[00:40:48] except

[00:40:49] when

[00:40:49] it's

[00:40:49] dialogue

[00:40:50] and

[00:40:50] it

[00:40:50] doesn't

[00:40:50] matter.

[00:40:51] Also,

[00:40:52] I would

[00:40:52] contend

[00:40:53] a couple

[00:40:53] of

[00:40:58] in

[00:40:58] your

[00:40:58] conjunction

[00:40:58] junction

[00:40:59] but

[00:41:00] sure.

[00:41:01] Front

[00:41:02] sewer?

[00:41:03] Front

[00:41:03] sews?

[00:41:04] He did

[00:41:05] a couple

[00:41:06] of

[00:41:06] front

[00:41:06] sews.

[00:41:06] No,

[00:41:07] you're

[00:41:07] with

[00:41:08] front

[00:41:08] sews?

[00:41:09] I'm

[00:41:10] for some

[00:41:10] front

[00:41:10] sews.

[00:41:11] front

[00:41:12] sews.

[00:41:13] Yeah.

[00:41:14] Okay,

[00:41:14] fair

[00:41:14] enough.

[00:41:16] Yeah,

[00:41:17] what

[00:41:17] of

[00:41:17] it?

[00:41:18] Yeah.

[00:41:19] Want

[00:41:19] a

[00:41:19] foot

[00:41:20] about

[00:41:20] it?

[00:41:22] Come

[00:41:22] at me,

[00:41:23] bro.

[00:41:23] What

[00:41:23] are you

[00:41:23] going

[00:41:24] to

[00:41:24] do?

[00:41:28] As

[00:41:28] I

[00:41:28] started.

[00:41:30] That's

[00:41:30] fine.

[00:41:31] Okay.

[00:41:33] Well,

[00:41:33] with that

[00:41:34] out of

[00:41:34] the way,

[00:41:35] I suppose

[00:41:36] we'll move

[00:41:36] on to

[00:41:37] actual

[00:41:37] thoughts.

[00:41:38] So,

[00:41:39] before we

[00:41:39] even get

[00:41:40] ahead into

[00:41:40] any of

[00:41:41] the chapters,

[00:41:41] let's go

[00:41:42] with the

[00:41:42] images.

[00:41:44] Again,

[00:41:45] there's only

[00:41:46] really,

[00:41:46] I think,

[00:41:46] one that

[00:41:47] is an

[00:41:48] actual

[00:41:49] illustration

[00:41:49] by M.

[00:41:50] M.

[00:41:50] Pratt,

[00:41:50] that being

[00:41:51] of the

[00:41:51] Sphinx

[00:41:52] creatures,

[00:41:54] which is

[00:41:54] a really

[00:41:55] interesting

[00:41:55] collage

[00:41:56] design that

[00:41:57] she went

[00:41:57] with.

[00:41:58] It's kind

[00:41:59] of like a

[00:41:59] mix of

[00:41:59] photo cutouts

[00:42:00] and some

[00:42:04] illustrations

[00:42:04] around it.

[00:42:05] Yeah,

[00:42:05] like the

[00:42:06] faces are

[00:42:07] photoshopped

[00:42:08] onto them,

[00:42:08] basically.

[00:42:09] Yeah.

[00:42:11] But,

[00:42:11] other than

[00:42:12] that,

[00:42:12] all the

[00:42:12] other

[00:42:13] images in

[00:42:14] this story

[00:42:15] are photos

[00:42:16] that generally

[00:42:17] complement,

[00:42:18] or in

[00:42:20] even a

[00:42:21] small way,

[00:42:22] the writing

[00:42:23] that's going

[00:42:23] on as it

[00:42:24] goes.

[00:42:25] The little

[00:42:26] cheese dish,

[00:42:27] there's ones

[00:42:29] of...

[00:42:30] When she

[00:42:31] ends up in

[00:42:32] that tavern,

[00:42:32] there's a

[00:42:32] pirate,

[00:42:33] or a skull

[00:42:34] on what

[00:42:35] looks like

[00:42:35] a bar

[00:42:39] counter.

[00:42:41] Stuff like

[00:42:42] that.

[00:42:42] It's just

[00:42:43] complimentary

[00:42:44] photos to

[00:42:45] help the

[00:42:46] visualization of

[00:42:47] what's going

[00:42:47] on.

[00:42:48] There's an

[00:42:48] image of

[00:42:49] the railgun

[00:42:51] taken directly

[00:42:51] from Halo.

[00:42:53] Yeah,

[00:42:53] there is

[00:42:53] that,

[00:42:54] yeah.

[00:42:55] Yeah,

[00:42:55] it's a

[00:42:56] straight up

[00:42:56] a...

[00:42:57] What is

[00:42:57] that?

[00:42:58] Is that

[00:42:58] a...

[00:42:59] Oh,

[00:43:00] is that

[00:43:00] like the

[00:43:00] Promethean

[00:43:01] weapon?

[00:43:01] Yeah,

[00:43:02] I think so,

[00:43:02] yeah.

[00:43:02] Yeah,

[00:43:03] from like

[00:43:03] Halo 4,

[00:43:04] Halo 5.

[00:43:05] I forget

[00:43:05] which one,

[00:43:06] but it's

[00:43:06] one of

[00:43:06] them.

[00:43:07] Yeah.

[00:43:08] They blend

[00:43:08] together.

[00:43:09] But it's

[00:43:10] very serviceable

[00:43:10] for what

[00:43:11] it's described

[00:43:11] the weapon

[00:43:12] to be,

[00:43:13] so that's

[00:43:13] fine.

[00:43:14] Yeah,

[00:43:14] and then

[00:43:15] even later

[00:43:15] on we get

[00:43:16] some images

[00:43:16] of the

[00:43:17] hallways

[00:43:17] and the

[00:43:19] decrepit

[00:43:20] rooms

[00:43:20] and stuff

[00:43:21] like that

[00:43:21] that help

[00:43:22] visualize

[00:43:22] the lost

[00:43:23] rooms

[00:43:24] and such.

[00:43:26] Yeah,

[00:43:27] no,

[00:43:27] that's basically

[00:43:27] all I got

[00:43:28] for the images.

[00:43:29] They're serviceable.

[00:43:31] There's no

[00:43:33] photographs

[00:43:33] that were

[00:43:35] sourced

[00:43:36] from other

[00:43:36] places,

[00:43:37] like not

[00:43:37] made by

[00:43:38] M.M.

[00:43:38] Pratt,

[00:43:38] so I can't

[00:43:39] really go

[00:43:40] into the

[00:43:40] critique of

[00:43:41] that stuff.

[00:43:43] It's just

[00:43:44] basically their

[00:43:45] accuracy in

[00:43:46] regards to

[00:43:46] what's going

[00:43:47] on and stuff

[00:43:47] like that.

[00:43:48] Yeah.

[00:43:50] But I guess

[00:43:51] I'll move on

[00:43:51] to chapter

[00:43:52] six,

[00:43:53] night visitors.

[00:43:55] You start with

[00:43:55] this quote

[00:43:55] here.

[00:43:56] Her spine

[00:43:56] tingled as

[00:43:57] her hair

[00:43:58] rose on

[00:43:58] end.

[00:43:59] Instinctively,

[00:44:00] she took

[00:44:00] several steps

[00:44:01] back and

[00:44:02] as she did,

[00:44:03] she heard a

[00:44:04] voice call

[00:44:05] out from

[00:44:05] the other

[00:44:06] side of

[00:44:06] the door.

[00:44:06] It's me,

[00:44:07] Vanessa,

[00:44:08] let me in.

[00:44:09] It's cold.

[00:44:10] Vanessa?

[00:44:11] Despite the

[00:44:11] cold,

[00:44:12] Kes started

[00:44:12] walking

[00:44:13] toward the

[00:44:13] door.

[00:44:14] What are

[00:44:15] you doing?

[00:44:15] It's late.

[00:44:16] So I think

[00:44:17] we covered

[00:44:18] this a little

[00:44:19] bit about

[00:44:20] not answering

[00:44:21] the door

[00:44:22] or not

[00:44:23] answering

[00:44:23] voices at

[00:44:24] your door

[00:44:24] at night,

[00:44:25] even if

[00:44:25] you recognize

[00:44:26] them in

[00:44:28] our Ellie

[00:44:29] Lambert story

[00:44:29] or Ellie

[00:44:30] Lambert episode.

[00:44:33] But like

[00:44:33] and how

[00:44:34] that whole

[00:44:35] like this

[00:44:35] whole like

[00:44:36] part kind

[00:44:36] of brought

[00:44:36] to mind

[00:44:36] like the

[00:44:37] current

[00:44:37] sort of

[00:44:38] like trending

[00:44:40] material

[00:44:41] that's out

[00:44:41] there online

[00:44:41] of like

[00:44:42] Appalachia

[00:44:43] horror and

[00:44:44] like how

[00:44:44] you there's

[00:44:45] just like

[00:44:46] this kind

[00:44:46] of

[00:44:48] unspoken

[00:44:49] thing that

[00:44:51] of like

[00:44:52] yeah,

[00:44:53] at night

[00:44:53] you lock

[00:44:54] your doors,

[00:44:55] you don't

[00:44:55] go near

[00:44:56] the windows.

[00:44:56] If you hear

[00:44:58] somebody's

[00:44:58] voice that's

[00:44:59] outside that

[00:44:59] sounds like

[00:45:00] familiar to

[00:45:00] you calling

[00:45:01] you to go

[00:45:01] outside,

[00:45:02] you don't

[00:45:02] answer it

[00:45:03] because it's

[00:45:03] something from

[00:45:04] beyond the

[00:45:04] woods.

[00:45:05] So I just

[00:45:06] like this

[00:45:07] sort of

[00:45:08] similarity

[00:45:09] of like

[00:45:09] the situation

[00:45:10] that's

[00:45:10] happening

[00:45:10] and like

[00:45:11] how it's

[00:45:11] kind of

[00:45:11] played out

[00:45:12] even in

[00:45:12] like the

[00:45:14] earlier part

[00:45:14] of the

[00:45:14] story or

[00:45:15] even like

[00:45:15] the previous

[00:45:15] story where

[00:45:16] like Madam

[00:45:16] Mosley was

[00:45:17] saying like

[00:45:17] you don't

[00:45:17] open the

[00:45:18] doors for

[00:45:18] anything

[00:45:18] that's

[00:45:19] like after

[00:45:19] midnight

[00:45:21] because it's

[00:45:22] all like

[00:45:22] how we're

[00:45:23] finally getting

[00:45:23] that kind

[00:45:23] of play

[00:45:24] out of

[00:45:25] like what

[00:45:25] Madam

[00:45:26] Mosley like

[00:45:26] warned her

[00:45:27] about in

[00:45:27] the previous

[00:45:28] story and

[00:45:28] now we got

[00:45:28] like it

[00:45:29] all comes

[00:45:30] together

[00:45:30] here.

[00:45:33] And and

[00:45:34] here also

[00:45:34] after reading

[00:45:36] the previous

[00:45:36] story.

[00:45:37] Oh,

[00:45:37] if I can

[00:45:38] mention that

[00:45:38] okay,

[00:45:38] no mind.

[00:45:40] Language.

[00:45:41] Yeah.

[00:45:43] And then my

[00:45:44] next thing I

[00:45:45] have here is

[00:45:46] actually regarding

[00:45:46] the the rifle

[00:45:47] bit.

[00:45:49] In an effort

[00:45:50] to secure

[00:45:51] universal

[00:45:51] peace,

[00:45:52] the Langston

[00:45:52] rifle along

[00:45:53] with the

[00:45:53] other

[00:45:54] techno-hanced

[00:45:55] weaponry

[00:45:55] were banned

[00:45:57] for were

[00:45:58] banned from

[00:45:59] the mortal

[00:45:59] and free

[00:46:00] folk

[00:46:00] territories.

[00:46:01] The few

[00:46:01] remaining

[00:46:02] weapons that

[00:46:03] had escaped

[00:46:04] dismantlement

[00:46:04] under the

[00:46:05] techno-hance

[00:46:06] weaponry

[00:46:06] control act

[00:46:07] of 3755

[00:46:09] were largely

[00:46:10] consigned to

[00:46:11] museums and

[00:46:12] subterranean

[00:46:13] vaults guarded

[00:46:13] by djinn and

[00:46:15] dragons.

[00:46:16] God,

[00:46:17] this line is

[00:46:17] so shadow

[00:46:18] run.

[00:46:19] Sorry.

[00:46:20] It's 3755

[00:46:21] as well.

[00:46:22] Yeah,

[00:46:23] the year

[00:46:23] 3755.

[00:46:24] Oh yeah,

[00:46:24] like this is

[00:46:25] very,

[00:46:25] this is very

[00:46:25] shadow run.

[00:46:26] It could also

[00:46:26] be because I've

[00:46:27] also been like

[00:46:27] I've been

[00:46:28] listening to a

[00:46:28] game,

[00:46:29] an actual play

[00:46:30] of riffs.

[00:46:31] This kind of

[00:46:31] feels a very,

[00:46:32] very riffs

[00:46:32] like as well.

[00:46:34] But yeah,

[00:46:34] like just like

[00:46:35] again,

[00:46:35] one of those

[00:46:36] like science

[00:46:37] fantasy,

[00:46:37] like kitchen

[00:46:38] sink kind of

[00:46:39] settings.

[00:46:40] And it's just

[00:46:41] so interesting,

[00:46:42] just like this

[00:46:42] high technology

[00:46:43] from like future

[00:46:44] times.

[00:46:45] Because again,

[00:46:45] you gotta think

[00:46:46] like we're

[00:46:46] thinking also

[00:46:46] like I thought

[00:46:48] it was also

[00:46:48] strange that,

[00:46:48] oh,

[00:46:49] so this is

[00:46:50] 3755,

[00:46:50] but like we

[00:46:51] know that this

[00:46:51] story in

[00:46:52] particular takes

[00:46:52] place in 2012.

[00:46:54] I think that

[00:46:55] actually has to

[00:46:55] do with like,

[00:46:56] again,

[00:46:56] the different

[00:46:57] parallel universes

[00:46:58] and stuff like

[00:46:58] some realities

[00:47:00] are farther along

[00:47:02] a timeline than

[00:47:02] ours.

[00:47:03] Yeah,

[00:47:05] so like

[00:47:05] perhaps the

[00:47:06] Gurdon civilization

[00:47:07] because the

[00:47:07] Gurdon,

[00:47:08] like this,

[00:47:09] this is all

[00:47:09] like,

[00:47:10] I think this

[00:47:11] is Gurdon

[00:47:11] tech.

[00:47:13] It's a

[00:47:14] Sephrasian

[00:47:14] made rifle.

[00:47:15] Yeah,

[00:47:16] but it's

[00:47:16] of her people.

[00:47:17] Yeah,

[00:47:18] well,

[00:47:18] because it's

[00:47:18] of her people.

[00:47:19] So I think

[00:47:20] Gurdons come

[00:47:20] from Sephrasia

[00:47:21] or came from

[00:47:22] Sephrasia.

[00:47:22] Then yeah,

[00:47:23] I guess so.

[00:47:24] Yeah.

[00:47:25] Again,

[00:47:25] we're learning

[00:47:25] more about

[00:47:26] the about

[00:47:27] Gurdons in

[00:47:27] the story as

[00:47:28] well,

[00:47:28] like as I

[00:47:28] find it as

[00:47:29] I as I find

[00:47:30] later in

[00:47:30] the story.

[00:47:32] But yeah,

[00:47:32] again,

[00:47:33] just like

[00:47:33] these techno

[00:47:34] hands weapons

[00:47:35] that weren't

[00:47:35] that weren't

[00:47:36] dismantled or

[00:47:37] like kept in

[00:47:37] museums and

[00:47:38] subterranean

[00:47:38] vaults guarded

[00:47:39] by mystical

[00:47:40] and mythological

[00:47:41] animal like

[00:47:41] monsters.

[00:47:42] Like just like

[00:47:43] God,

[00:47:44] that's so

[00:47:44] shadow run

[00:47:45] like it

[00:47:46] really is.

[00:47:46] yeah.

[00:47:49] And then the

[00:47:50] next thing I

[00:47:50] have here,

[00:47:52] Miss Tabitha's

[00:47:53] unhappy muse

[00:47:54] confirmed that

[00:47:56] she confirmed

[00:47:57] what she

[00:47:58] already feared.

[00:47:59] There was no

[00:47:59] escape out of

[00:48:00] this madness.

[00:48:01] Not only did

[00:48:02] she blunder

[00:48:03] straight into

[00:48:04] an earlier

[00:48:04] time period,

[00:48:06] it happened to

[00:48:07] be one of

[00:48:08] the more

[00:48:08] archaic periods.

[00:48:10] So apparently

[00:48:11] time anomalies

[00:48:12] are not out of

[00:48:13] the realm of

[00:48:14] weirdness.

[00:48:14] Wait,

[00:48:15] were the

[00:48:16] pirate swords

[00:48:17] and grappling

[00:48:18] ropes on the

[00:48:19] doors an

[00:48:21] earlier sign of

[00:48:22] this alteration

[00:48:23] happening?

[00:48:24] Because like

[00:48:25] originally when I

[00:48:26] had read like an

[00:48:27] Ellie Lambert and

[00:48:28] then because we

[00:48:28] I think me and

[00:48:29] Mikey had talked

[00:48:30] about this on on

[00:48:30] the Ellie Lambert

[00:48:31] episode,

[00:48:32] like the

[00:48:32] the cutlasses

[00:48:33] like embedded

[00:48:34] in the in the

[00:48:35] door and then

[00:48:36] like the the

[00:48:36] grappled ropes on

[00:48:37] the other door.

[00:48:38] I thought it

[00:48:39] was I I

[00:48:40] perceived it to

[00:48:41] be like some

[00:48:41] kind of like

[00:48:42] perhaps some

[00:48:43] kind of like

[00:48:44] security system

[00:48:45] for the the

[00:48:45] cottage had like

[00:48:46] they just magically

[00:48:46] like embed to

[00:48:48] keep things out

[00:48:48] and such because

[00:48:49] initially even when

[00:48:50] reading this story,

[00:48:51] I thought like,

[00:48:52] oh, are these

[00:48:52] cutlasses like poking

[00:48:53] out from like the

[00:48:54] from the gaps on

[00:48:56] the other side of

[00:48:57] the door?

[00:48:57] Like is this like

[00:48:58] the the the

[00:48:59] the creature on

[00:49:00] the other side

[00:49:00] like stabbing

[00:49:01] through but then

[00:49:02] you find out no

[00:49:03] it's it's on the

[00:49:04] inside and they're

[00:49:04] embedding and

[00:49:05] keeping things in

[00:49:05] place.

[00:49:06] Yeah, but now it

[00:49:08] has me wondering

[00:49:08] it's like are

[00:49:09] these since since

[00:49:10] there's this pirate

[00:49:12] motif in the in

[00:49:13] the in the time

[00:49:13] period that Kes

[00:49:14] ends up in after

[00:49:17] this happens like

[00:49:18] were those like

[00:49:19] sort of a like

[00:49:21] she was seeing

[00:49:22] that and wasn't

[00:49:22] sure what they

[00:49:23] were what that

[00:49:23] was all about

[00:49:24] was that like

[00:49:25] sort of like a

[00:49:26] sort of a

[00:49:29] like a sort

[00:49:30] preceding the

[00:49:31] her being

[00:49:32] displaced to

[00:49:33] a to the

[00:49:34] appropriate

[00:49:34] timeline or

[00:49:36] the appear

[00:49:37] it's like that

[00:49:37] other timeline

[00:49:38] grabbing onto

[00:49:39] her timeline and

[00:49:40] like pulling her

[00:49:40] through basically.

[00:49:41] Yeah, kind of

[00:49:42] like that.

[00:49:43] Yeah.

[00:49:43] Yeah.

[00:49:44] So it just had

[00:49:44] me wondering

[00:49:45] about that.

[00:49:46] And again, I

[00:49:47] shouldn't be

[00:49:47] surprised like

[00:49:48] like time

[00:49:48] anomalies.

[00:49:50] Sure.

[00:49:50] Why not?

[00:49:53] It's possible

[00:49:54] that the timeline

[00:49:55] that you got

[00:49:55] pulled into

[00:49:56] they're like

[00:49:56] they have

[00:49:57] like active

[00:49:59] wards or

[00:50:00] whatever to

[00:50:01] like detect

[00:50:02] when other

[00:50:02] people are

[00:50:03] being attacked

[00:50:03] by the

[00:50:04] waif.

[00:50:05] Maybe like

[00:50:06] OK, this

[00:50:06] person being

[00:50:07] attacked, grab

[00:50:07] them.

[00:50:08] That's why

[00:50:08] it's all

[00:50:08] like piratey

[00:50:10] and shit.

[00:50:10] Yeah.

[00:50:11] And it

[00:50:11] could be also

[00:50:12] like those

[00:50:13] threshold

[00:50:13] guardians like

[00:50:14] closed it off

[00:50:15] and then sent

[00:50:15] her to that

[00:50:16] other time

[00:50:16] period to find

[00:50:18] out more

[00:50:19] information about

[00:50:19] the creature

[00:50:20] or about the

[00:50:20] thing because

[00:50:22] you know, we

[00:50:22] didn't need

[00:50:23] more.

[00:50:23] We needed

[00:50:23] more information

[00:50:24] about this

[00:50:24] thing already to

[00:50:25] as a reader.

[00:50:26] Of course.

[00:50:28] All the

[00:50:28] information.

[00:50:29] Yeah.

[00:50:30] And then the

[00:50:31] next thing I

[00:50:32] have here.

[00:50:34] Listen to my

[00:50:34] story for one.

[00:50:36] He answered,

[00:50:37] I might save

[00:50:38] your life one

[00:50:38] day or it

[00:50:40] might save

[00:50:40] your life one

[00:50:40] day.

[00:50:41] Come.

[00:50:41] He turned

[00:50:42] away.

[00:50:43] What?

[00:50:44] Nothing.

[00:50:45] OK.

[00:50:46] He turned

[00:50:46] away and began

[00:50:47] walking toward

[00:50:48] the dark

[00:50:49] archway,

[00:50:49] following closely

[00:50:50] by the red

[00:50:51] main witch.

[00:50:52] Stay a while

[00:50:53] and listen to

[00:50:54] my tale.

[00:50:55] Thanks,

[00:50:56] Deckard

[00:50:56] Kane from

[00:50:57] Diablo.

[00:50:59] Just like I

[00:51:01] just got the

[00:51:01] same vibe.

[00:51:02] It was like

[00:51:02] listen to my

[00:51:02] story for one.

[00:51:05] Voice by

[00:51:06] freaking.

[00:51:06] No,

[00:51:08] Sean Connery.

[00:51:09] Yeah,

[00:51:10] no, it's just

[00:51:10] like he's got

[00:51:11] that kind of

[00:51:11] like that

[00:51:13] kind of old

[00:51:13] man like kind

[00:51:14] of voice.

[00:51:16] Gotcha.

[00:51:17] So.

[00:51:19] But yeah,

[00:51:20] that's the end

[00:51:21] of chapter six

[00:51:21] for me for

[00:51:22] actual thoughts.

[00:51:23] So Mikey.

[00:51:26] Um,

[00:51:27] well,

[00:51:27] my actual

[00:51:28] thought for

[00:51:29] chapter six

[00:51:30] is that I

[00:51:30] I liked

[00:51:32] that this

[00:51:33] changed the

[00:51:34] ending of

[00:51:35] Ellie Lambert.

[00:51:37] Yeah,

[00:51:37] like we

[00:51:38] aren't just

[00:51:38] rereading

[00:51:39] another part

[00:51:40] of the

[00:51:41] Ellie Lambert

[00:51:41] story.

[00:51:42] Like it did

[00:51:42] diverge.

[00:51:43] Because I

[00:51:45] went into

[00:51:45] chapter six

[00:51:46] like I know

[00:51:47] what's going

[00:51:48] to happen.

[00:51:48] Yeah.

[00:51:49] And this

[00:51:50] happens and

[00:51:51] this happens

[00:51:52] and oh,

[00:51:52] this isn't

[00:51:53] what happened

[00:51:53] last time.

[00:51:55] Wasn't

[00:51:56] Lee surprised

[00:51:57] at the

[00:51:58] moment.

[00:51:59] Hmm.

[00:52:01] So

[00:52:03] that was

[00:52:04] my takeaway

[00:52:05] from chapter

[00:52:05] six is that

[00:52:06] it gave

[00:52:09] us more

[00:52:10] weirdness

[00:52:11] as opposed

[00:52:12] to just

[00:52:13] ending

[00:52:14] like Ellie

[00:52:15] Lambert

[00:52:16] did.

[00:52:17] although I

[00:52:18] kind of

[00:52:18] wish again

[00:52:20] this is like

[00:52:21] not on the

[00:52:21] part of the

[00:52:21] story and

[00:52:22] like nothing

[00:52:22] against the

[00:52:22] story.

[00:52:23] But it's

[00:52:23] like I do

[00:52:24] kind of wish

[00:52:24] that we

[00:52:24] had gotten

[00:52:25] that part

[00:52:25] like the

[00:52:26] full version

[00:52:26] of that

[00:52:27] part and

[00:52:28] then we

[00:52:28] had gotten

[00:52:28] the after

[00:52:29] effects.

[00:52:30] But that's

[00:52:31] kind of

[00:52:31] like tying

[00:52:31] into the

[00:52:32] end of the

[00:52:32] story anyway

[00:52:33] as well.

[00:52:34] Like but

[00:52:35] yeah,

[00:52:36] because like

[00:52:36] that story

[00:52:36] like ends

[00:52:37] with like her

[00:52:38] blasting the

[00:52:39] the thing

[00:52:40] through the

[00:52:40] door with the

[00:52:41] gun and

[00:52:42] then her

[00:52:42] like seeing

[00:52:43] it like kind

[00:52:44] of decompose

[00:52:45] and like die

[00:52:45] away and

[00:52:46] some of

[00:52:46] that and

[00:52:46] then going

[00:52:47] to repair

[00:52:48] her door or

[00:52:49] repair the

[00:52:50] door of her

[00:52:50] cottage and

[00:52:52] and that's

[00:52:53] how it ends

[00:52:53] like her just

[00:52:54] like crap

[00:52:55] and then she

[00:52:56] goes and

[00:52:56] fixes her

[00:52:57] door.

[00:52:58] Yeah.

[00:53:01] So I was

[00:53:01] kind of hoping

[00:53:02] for this story

[00:53:03] to have like

[00:53:04] more after

[00:53:04] that but we

[00:53:05] don't get

[00:53:05] that.

[00:53:07] No,

[00:53:07] but like there

[00:53:08] was a tiny

[00:53:08] inch of hope

[00:53:09] because like

[00:53:09] it was like

[00:53:09] she goes through

[00:53:10] this like she

[00:53:11] goes to like do

[00:53:11] that thing and

[00:53:12] then she ends

[00:53:12] up somewhere

[00:53:13] completely different

[00:53:13] and the story

[00:53:14] is diverged

[00:53:14] like.

[00:53:16] Like we're

[00:53:17] going to get

[00:53:17] more and

[00:53:18] then I

[00:53:18] finished the

[00:53:19] story and I

[00:53:19] was like,

[00:53:20] oh, we

[00:53:20] got more

[00:53:22] and her

[00:53:22] gun is

[00:53:23] immediately

[00:53:23] taken away

[00:53:23] from her

[00:53:24] and she

[00:53:24] never uses

[00:53:24] it.

[00:53:25] Yeah, right.

[00:53:26] At least in

[00:53:27] the other

[00:53:27] story, she

[00:53:27] got to use

[00:53:28] the gun.

[00:53:33] I'm not sure

[00:53:34] if it's going

[00:53:35] to be a

[00:53:35] Chekhov's gun

[00:53:35] situation like

[00:53:36] a gun is

[00:53:36] described.

[00:53:37] Will it

[00:53:38] ever be

[00:53:38] used?

[00:53:39] Yeah, I

[00:53:40] don't know.

[00:53:41] They described

[00:53:41] it so well.

[00:53:42] I feel like

[00:53:42] it's going to

[00:53:43] be a pivotal

[00:53:43] thing in the

[00:53:44] story, right?

[00:53:45] Yeah, well,

[00:53:46] it was in

[00:53:47] the in the

[00:53:47] previous version

[00:53:48] of the story

[00:53:48] of these events,

[00:53:50] but then yeah,

[00:53:54] but I'm with

[00:53:55] you there on

[00:53:55] Mikey with

[00:53:56] the divergence

[00:53:57] divergence.

[00:54:01] And that's

[00:54:02] all I have

[00:54:03] for chapter

[00:54:03] six.

[00:54:05] All right,

[00:54:05] gamer.

[00:54:07] Okay, so

[00:54:13] my first one

[00:54:14] is in regards

[00:54:14] to rail gun

[00:54:15] law.

[00:54:17] It's saying

[00:54:18] that they

[00:54:19] were banned.

[00:54:20] The few

[00:54:21] remaining

[00:54:21] weapons that

[00:54:22] had escaped

[00:54:23] dismantlement

[00:54:23] under the

[00:54:25] weapon control

[00:54:25] act were

[00:54:26] largely consigned

[00:54:27] to museums

[00:54:27] and subterranean

[00:54:28] vaults guarded

[00:54:28] by jinn and

[00:54:29] dragons.

[00:54:31] Realistically,

[00:54:33] which starting

[00:54:34] this note by

[00:54:35] saying realistically

[00:54:35] is kind of

[00:54:36] dumb anyways,

[00:54:38] but realistically

[00:54:39] in the real

[00:54:39] world, if

[00:54:41] they were this

[00:54:41] serious about

[00:54:42] removing weapons

[00:54:42] from circulation

[00:54:43] like this,

[00:54:44] odds are the

[00:54:45] few that are

[00:54:45] in museums

[00:54:46] would either

[00:54:46] be non

[00:54:47] functioning

[00:54:48] replicas or

[00:54:49] they'd be

[00:54:50] deactivated,

[00:54:51] which means

[00:54:51] like they'd

[00:54:52] be irreversibly

[00:54:53] modified internally

[00:54:54] so they can't

[00:54:55] be fired

[00:54:55] anymore.

[00:54:57] Yeah,

[00:54:58] similar to

[00:54:58] how like some

[00:54:59] guns are like

[00:54:59] like they just

[00:55:00] like file down

[00:55:01] the pins or

[00:55:01] something.

[00:55:02] Yeah,

[00:55:03] they do stuff

[00:55:03] to it internally

[00:55:04] where you can't

[00:55:05] just put parts

[00:55:06] back in and it

[00:55:07] works like they've

[00:55:08] removed pieces of

[00:55:10] the metal that

[00:55:10] like need to be

[00:55:11] there to make it

[00:55:12] all work together.

[00:55:15] So yeah,

[00:55:16] she kind of lucked

[00:55:17] out getting a

[00:55:17] fully functional

[00:55:18] one just from a

[00:55:19] museum with the

[00:55:20] ammo and everything

[00:55:20] and like a very

[00:55:23] in-depth like

[00:55:24] maintenance guide

[00:55:24] and everything.

[00:55:26] Yeah,

[00:55:26] I mean,

[00:55:27] there's a museum

[00:55:27] trying to show

[00:55:28] like this is

[00:55:29] stuff from the

[00:55:30] era.

[00:55:30] This is what it

[00:55:31] was.

[00:55:31] This is how it

[00:55:32] works.

[00:55:32] So and it

[00:55:33] totes works.

[00:55:34] So you can just

[00:55:34] like like don't

[00:55:36] don't break the

[00:55:36] glass and take

[00:55:37] this thing.

[00:55:38] Yeah,

[00:55:40] I feel like the

[00:55:41] one there probably

[00:55:42] should have been

[00:55:43] a replica or

[00:55:47] like decommissioned

[00:55:48] like I said and

[00:55:49] not with the ammo

[00:55:50] like live ammo.

[00:55:51] Yeah,

[00:55:51] seriously.

[00:55:53] Yeah,

[00:55:54] yeah,

[00:55:54] specifically like

[00:55:55] anti-fag

[00:55:56] anti-fag

[00:55:58] or anti-magic

[00:55:58] rounds like

[00:55:59] seriously like

[00:56:00] like iron

[00:56:02] rounds with

[00:56:02] copper cores

[00:56:03] and silver

[00:56:04] tips like

[00:56:05] that's straight

[00:56:05] up just like

[00:56:06] anti-magic

[00:56:07] bullets.

[00:56:08] Hey,

[00:56:08] I actually have a

[00:56:09] question about

[00:56:09] that.

[00:56:10] Yeah,

[00:56:10] what is the

[00:56:10] advantage of

[00:56:11] the copper

[00:56:11] core?

[00:56:12] Um,

[00:56:14] I know copper

[00:56:15] actually does

[00:56:16] have a role

[00:56:17] in some

[00:56:19] some mythologies

[00:56:21] and faiths.

[00:56:22] I think out

[00:56:22] in like the

[00:56:22] in like Asia

[00:56:23] of like containing

[00:56:25] evil.

[00:56:27] although that

[00:56:28] might be brass.

[00:56:29] I might be

[00:56:29] thinking of

[00:56:29] hang on

[00:56:30] copper.

[00:56:30] I was trying

[00:56:30] to find it.

[00:56:31] The closest

[00:56:31] thing I could

[00:56:32] find is people

[00:56:33] theorizing just

[00:56:34] for like their

[00:56:35] own made up

[00:56:37] universes using

[00:56:38] copper as an

[00:56:38] L as a

[00:56:41] metal against

[00:56:42] elementals because

[00:56:43] it conducts like

[00:56:44] electricity.

[00:56:45] Yeah,

[00:56:46] that that I'll

[00:56:46] see.

[00:56:47] Yeah,

[00:56:47] iron and

[00:56:47] copper in

[00:56:48] fantasy.

[00:56:49] Yeah,

[00:56:49] I'm seeing.

[00:56:49] Yeah,

[00:56:51] and copper is

[00:56:51] bad for magic

[00:56:52] itself,

[00:56:53] probably because

[00:56:53] it's a conductor

[00:56:54] of some kind.

[00:56:54] So like,

[00:56:55] yeah,

[00:56:55] yeah,

[00:56:58] yeah,

[00:56:58] because again,

[00:56:59] I think I

[00:57:01] again,

[00:57:02] I'm kind of

[00:57:02] basing my

[00:57:03] initial like

[00:57:04] surface level

[00:57:05] like remembering

[00:57:06] of like what

[00:57:07] copper is used

[00:57:07] for in mythology

[00:57:08] and folklore

[00:57:09] from the latest

[00:57:10] Ghostbusters movie

[00:57:12] where I think

[00:57:13] they use copper

[00:57:14] or might have

[00:57:14] been brass

[00:57:16] to to keep

[00:57:17] the like

[00:57:18] basically the

[00:57:19] house or

[00:57:19] or imprison

[00:57:21] certain

[00:57:22] certain ghostly

[00:57:23] creatures.

[00:57:24] but it

[00:57:25] makes

[00:57:25] doesn't

[00:57:25] make

[00:57:25] sense.

[00:57:26] Yeah,

[00:57:27] of course,

[00:57:28] but it

[00:57:29] does also

[00:57:29] make sense

[00:57:29] because like

[00:57:30] copper is

[00:57:30] a conductive

[00:57:31] metal.

[00:57:31] So like

[00:57:31] anything with

[00:57:32] like an

[00:57:33] anything of

[00:57:33] a like an

[00:57:34] energy

[00:57:34] with an

[00:57:35] energy kind

[00:57:36] of like

[00:57:37] component to

[00:57:37] it might

[00:57:38] like be

[00:57:39] able to be

[00:57:39] channeled

[00:57:40] through it

[00:57:40] maybe.

[00:57:42] Perhaps.

[00:57:43] Yeah,

[00:57:44] but the

[00:57:44] problem I

[00:57:45] had with

[00:57:45] that is

[00:57:47] it's in a

[00:57:48] railgun which

[00:57:49] is moving

[00:57:50] the projectile

[00:57:50] through

[00:57:51] magnetism.

[00:57:51] copper is

[00:57:52] not magnetic.

[00:57:53] So depending

[00:57:54] on how thick

[00:57:54] the copper

[00:57:55] core of

[00:57:55] this round

[00:57:56] is you're

[00:57:56] making the

[00:57:57] entire projectile

[00:57:59] less magnetic

[00:57:59] and the

[00:58:00] magnetism is

[00:58:01] what is causing

[00:58:02] it to work.

[00:58:03] Are you

[00:58:03] saying that

[00:58:04] this this

[00:58:04] fantasy series

[00:58:06] is not

[00:58:06] scientifically

[00:58:07] accurate?

[00:58:08] Yes.

[00:58:10] How a

[00:58:11] fictional

[00:58:12] sci-fi

[00:58:13] gun would

[00:58:14] work?

[00:58:15] Hey,

[00:58:15] man,

[00:58:16] you're an

[00:58:16] all-star.

[00:58:17] Get your

[00:58:17] game on.

[00:58:18] Go play.

[00:58:19] Yeah,

[00:58:21] I like

[00:58:22] realistic

[00:58:22] fantasy,

[00:58:23] okay?

[00:58:24] Yep.

[00:58:25] And to

[00:58:26] the story's

[00:58:27] credit,

[00:58:28] it does

[00:58:29] explain it

[00:58:30] as a

[00:58:31] proper

[00:58:32] railgun

[00:58:32] because when

[00:58:33] I first

[00:58:33] started hearing

[00:58:33] about it,

[00:58:34] I was like,

[00:58:35] okay,

[00:58:36] is this

[00:58:36] going to be

[00:58:36] a video

[00:58:37] game and

[00:58:38] movie railgun

[00:58:38] where it's

[00:58:39] just like

[00:58:39] it shoots

[00:58:40] energy?

[00:58:41] Yeah.

[00:58:42] But no,

[00:58:43] like it is

[00:58:44] described as a

[00:58:44] proper railgun.

[00:58:46] Yeah.

[00:58:47] Oddly enough,

[00:58:48] she has enough

[00:58:49] ammo to go

[00:58:49] hunting with

[00:58:50] it,

[00:58:50] which seems

[00:58:51] like overkill

[00:58:53] and unnecessary

[00:58:54] when she has

[00:58:54] bows and

[00:58:55] such,

[00:58:55] but I'm

[00:58:56] not going

[00:58:57] to judge.

[00:58:58] Hey,

[00:58:58] I mean,

[00:58:58] it's something

[00:59:00] that she

[00:59:00] got.

[00:59:01] Again,

[00:59:01] I'd like to,

[00:59:02] you know,

[00:59:02] honestly,

[00:59:03] like we were

[00:59:03] kind of like

[00:59:04] talking about

[00:59:04] like,

[00:59:04] again,

[00:59:04] her flashback.

[00:59:05] I don't know

[00:59:06] that story.

[00:59:08] There's that

[00:59:08] story of her

[00:59:09] breaking into

[00:59:10] an ancient

[00:59:11] Safrasian

[00:59:11] museum and

[00:59:14] acquiring this

[00:59:15] rifle and

[00:59:16] some friends

[00:59:16] of hers.

[00:59:17] Like what,

[00:59:19] what happened

[00:59:19] there?

[00:59:20] I want to

[00:59:20] see that

[00:59:20] story.

[00:59:22] I feel like

[00:59:23] for her

[00:59:24] getting the

[00:59:25] gun,

[00:59:25] it would

[00:59:25] make more

[00:59:25] sense if

[00:59:26] she broke

[00:59:27] into one

[00:59:27] of those

[00:59:28] underground

[00:59:28] vaults that's

[00:59:29] guarded by

[00:59:29] jinn and

[00:59:30] dragons.

[00:59:31] Yeah.

[00:59:31] Because it's

[00:59:32] not a public

[00:59:32] museum,

[00:59:33] you know,

[00:59:35] that people

[00:59:36] can just grab

[00:59:37] live firearms

[00:59:38] and run away

[00:59:38] fully loaded

[00:59:39] and good to

[00:59:40] go.

[00:59:40] Oh,

[00:59:41] and then she

[00:59:41] can use the

[00:59:42] gun against

[00:59:42] the one of

[00:59:43] the jinn

[00:59:43] because jinn's

[00:59:44] are generally

[00:59:44] an elemental

[00:59:45] kind of race

[00:59:46] or creature.

[00:59:48] So like

[00:59:48] there's the

[00:59:49] use for the

[00:59:49] copper.

[00:59:51] For sure.

[00:59:52] Yeah.

[00:59:54] Yeah.

[00:59:54] The idea of

[00:59:55] her hunting with

[00:59:56] it is a little

[00:59:57] ridiculous,

[00:59:57] especially with

[00:59:58] how like

[00:59:58] very illegal

[00:59:59] it is.

[01:00:00] Yeah.

[01:00:01] Like she

[01:00:01] most illegal

[01:00:02] thing possible

[01:00:03] and she's

[01:00:03] going on

[01:00:04] to go

[01:00:04] that.

[01:00:04] Yeah.

[01:00:05] Like I think

[01:00:06] actually in

[01:00:07] the previous

[01:00:08] again,

[01:00:08] iteration of

[01:00:09] the story

[01:00:09] with Ellie

[01:00:09] Lambert,

[01:00:10] we don't get

[01:00:11] part of this.

[01:00:11] We get,

[01:00:12] we get,

[01:00:12] but we get

[01:00:12] another part

[01:00:13] that's like

[01:00:13] says we

[01:00:14] don't get

[01:00:14] the flashback

[01:00:15] of her like

[01:00:15] acquiring the

[01:00:16] gun.

[01:00:16] But we do

[01:00:17] get a part

[01:00:17] where she

[01:00:17] says like

[01:00:18] if she was

[01:00:18] in the

[01:00:19] mortal world,

[01:00:19] this would

[01:00:19] be confiscated

[01:00:20] almost immediately.

[01:00:24] But basically

[01:00:25] insinuating that

[01:00:25] she had smuggled

[01:00:26] this back

[01:00:27] with her and

[01:00:28] like she had

[01:00:28] this in like

[01:00:29] a special

[01:00:29] compartment in

[01:00:30] her luggage

[01:00:31] that she could

[01:00:32] pull it out

[01:00:32] from.

[01:00:34] And that's the

[01:00:35] same case here.

[01:00:35] She was hiding

[01:00:36] it in the

[01:00:36] closet because

[01:00:38] you need like

[01:00:38] very specific

[01:00:39] licenses to

[01:00:40] even own one.

[01:00:41] Yeah.

[01:00:43] I also,

[01:00:44] again,

[01:00:44] just do love

[01:00:45] this scene of

[01:00:45] like this creature

[01:00:46] like knocking

[01:00:47] at her door

[01:00:48] like and

[01:00:48] like she's

[01:00:49] like getting

[01:00:49] freaked out

[01:00:50] and it's

[01:00:50] like,

[01:00:50] all right,

[01:00:51] motherfucker,

[01:00:51] I got a

[01:00:52] surprise for

[01:00:52] you.

[01:00:53] Pulls out

[01:00:54] this like

[01:00:54] giant like

[01:00:55] it's like

[01:00:55] Burt Gummer

[01:00:56] moment.

[01:00:56] Just pulls

[01:00:57] out this

[01:00:57] like high

[01:00:57] end gun.

[01:00:58] It's like

[01:00:59] your one

[01:01:00] weakness

[01:01:01] bullets.

[01:01:02] Yeah,

[01:01:03] pretty much.

[01:01:04] Yeah.

[01:01:08] Again,

[01:01:09] no,

[01:01:10] not in

[01:01:11] this,

[01:01:11] not in

[01:01:12] this iteration,

[01:01:12] sadly.

[01:01:13] Soon.

[01:01:15] Maybe.

[01:01:16] But yeah.

[01:01:18] Yeah,

[01:01:18] I think that's

[01:01:18] basically all my

[01:01:19] notes on

[01:01:20] chapter one,

[01:01:20] all combined

[01:01:21] into one.

[01:01:22] Yeah.

[01:01:23] Because it's

[01:01:24] all just

[01:01:24] basically about

[01:01:25] the railgun.

[01:01:26] Yeah,

[01:01:27] that that

[01:01:27] kick-ass

[01:01:28] railgun.

[01:01:29] So Shadowrun.

[01:01:30] Theoretically

[01:01:31] kick-ass railgun.

[01:01:32] Yeah,

[01:01:33] theoretically.

[01:01:33] Honestly,

[01:01:34] again,

[01:01:34] like this

[01:01:35] feels,

[01:01:35] again,

[01:01:36] very Shadowrun,

[01:01:36] very Rifts,

[01:01:37] sort of like

[01:01:38] D&D tabletop

[01:01:39] RPG kind of

[01:01:40] like leanings

[01:01:41] for me in my

[01:01:42] head.

[01:01:42] Like how I

[01:01:43] am like

[01:01:44] affiliating the

[01:01:45] story.

[01:01:46] You know,

[01:01:46] it would be

[01:01:46] kind of fun

[01:01:48] if it didn't

[01:01:48] mention that

[01:01:49] she hunted

[01:01:49] with it,

[01:01:50] that just

[01:01:51] just that

[01:01:51] she had

[01:01:52] it and

[01:01:53] she like

[01:01:53] has it

[01:01:54] has it

[01:01:54] through this

[01:01:55] whole story

[01:01:55] doesn't use

[01:01:56] it.

[01:01:56] It shows up

[01:01:57] later.

[01:01:57] There's this

[01:01:57] huge creature.

[01:01:58] She loads

[01:01:59] it and it

[01:02:00] doesn't work

[01:02:00] because it's

[01:02:00] like decommissioned.

[01:02:01] Yeah,

[01:02:02] that would be

[01:02:02] so good.

[01:02:04] Like,

[01:02:04] because again,

[01:02:05] I don't think

[01:02:06] the hunting

[01:02:06] aspect was

[01:02:07] even mentioned

[01:02:07] in the other

[01:02:08] story as well.

[01:02:09] So like it

[01:02:10] was to me

[01:02:11] and Mikey

[01:02:11] or it was

[01:02:11] just kind

[01:02:12] of like

[01:02:13] it didn't

[01:02:14] come out of

[01:02:14] left town

[01:02:15] per se,

[01:02:15] but it's

[01:02:15] just like,

[01:02:16] don't worry,

[01:02:16] I got a

[01:02:17] surprise for

[01:02:17] you.

[01:02:19] Like,

[01:02:19] I just like

[01:02:20] she got this

[01:02:21] gun ready

[01:02:21] and she like

[01:02:21] fired it

[01:02:22] through the

[01:02:22] door and

[01:02:23] killed the

[01:02:23] creature.

[01:02:23] And it's

[01:02:24] just like,

[01:02:24] yeah,

[01:02:24] that would

[01:02:24] be so

[01:02:24] funny.

[01:02:25] Like as

[01:02:25] a horror

[01:02:25] moment,

[01:02:26] it's like,

[01:02:26] I got

[01:02:27] this thing

[01:02:27] from this

[01:02:27] museum.

[01:02:29] Taste this

[01:02:29] click

[01:02:31] fuck.

[01:02:33] And then

[01:02:34] the horror,

[01:02:34] like,

[01:02:34] because that's

[01:02:35] the horror

[01:02:35] aspect of

[01:02:35] the story

[01:02:36] or it's

[01:02:36] just like

[01:02:36] the sure

[01:02:38] you can

[01:02:38] have this

[01:02:38] gun that

[01:02:39] you found

[01:02:39] in a

[01:02:39] museum.

[01:02:40] It

[01:02:51] cache of

[01:02:51] like weapons

[01:02:52] and stuff

[01:02:52] of that.

[01:02:52] That's

[01:02:53] usually a

[01:02:53] bad sign

[01:02:54] that means

[01:02:55] that like,

[01:02:56] oh,

[01:02:56] no,

[01:02:56] this is

[01:02:57] going to

[01:02:57] help.

[01:02:57] Is it?

[01:02:57] It's like

[01:02:58] no,

[01:02:58] but it's

[01:02:58] going to

[01:02:58] make you

[01:02:59] feel better

[01:03:00] up until

[01:03:01] the point

[01:03:01] where the

[01:03:01] shit hits

[01:03:02] the fan

[01:03:02] like that

[01:03:03] guy.

[01:03:03] So,

[01:03:04] yeah,

[01:03:06] that would

[01:03:06] have been

[01:03:06] actually a

[01:03:07] really cool

[01:03:07] moment.

[01:03:07] If they're

[01:03:08] like,

[01:03:08] yeah,

[01:03:08] like eat

[01:03:09] this click

[01:03:11] fuck.

[01:03:13] But that's

[01:03:13] all you got

[01:03:14] for chapter

[01:03:14] six.

[01:03:16] Yes.

[01:03:17] All right.

[01:03:17] Then we move

[01:03:18] on to chapter

[01:03:18] seven.

[01:03:19] The waif.

[01:03:21] So I got

[01:03:22] this one

[01:03:22] here.

[01:03:23] Suddenly,

[01:03:24] something small

[01:03:25] and hard

[01:03:26] jammed

[01:03:26] against his

[01:03:27] rear molar.

[01:03:28] Victor cursed

[01:03:29] under his

[01:03:30] breath as

[01:03:31] he extracted

[01:03:31] something that

[01:03:32] resembled a

[01:03:33] flattened glass

[01:03:34] eye.

[01:03:35] As he

[01:03:35] stared at

[01:03:36] stared in

[01:03:37] astonishment,

[01:03:38] the gem

[01:03:38] began to

[01:03:39] flicker and

[01:03:39] flame.

[01:03:40] It's eerie

[01:03:41] green glow

[01:03:42] resembling that

[01:03:42] of a

[01:03:43] firefly.

[01:03:43] It's the

[01:03:44] gem.

[01:03:45] The

[01:03:46] blood

[01:03:46] pickens,

[01:03:47] the threads,

[01:03:48] they connect.

[01:03:50] Also,

[01:03:51] later on,

[01:03:51] it describes

[01:03:52] it as a

[01:03:53] monocle in

[01:03:53] his dream

[01:03:54] state when

[01:03:54] he's in

[01:03:55] the lost

[01:03:55] rooms.

[01:03:56] It allows

[01:03:57] Victor to

[01:03:58] look through

[01:03:59] doors or

[01:03:59] see the

[01:04:00] truth of

[01:04:00] something that's

[01:04:01] in front of

[01:04:01] him,

[01:04:01] kind of

[01:04:02] like the

[01:04:02] lens of

[01:04:02] truth from

[01:04:03] Legend of

[01:04:03] Zelda.

[01:04:05] I just

[01:04:05] thought that

[01:04:05] was really

[01:04:06] cool that

[01:04:06] we actually

[01:04:07] get to see

[01:04:07] what this

[01:04:08] thing does,

[01:04:08] even though

[01:04:09] in the

[01:04:10] previous

[01:04:10] story it

[01:04:10] seemed like

[01:04:11] it had a

[01:04:11] more sinister

[01:04:13] aspect to

[01:04:14] it.

[01:04:15] All it's

[01:04:15] done so

[01:04:16] far is

[01:04:16] choke,

[01:04:17] cast,

[01:04:17] and confuse

[01:04:18] me.

[01:04:20] Now we

[01:04:21] found out

[01:04:22] it's sort

[01:04:23] of a

[01:04:23] monocle

[01:04:24] device.

[01:04:25] You can

[01:04:25] see the

[01:04:26] truth of

[01:04:27] things through

[01:04:27] its lens,

[01:04:28] which is

[01:04:29] actually really

[01:04:29] cool.

[01:04:33] It seems

[01:04:33] to only

[01:04:34] show up

[01:04:35] when shit

[01:04:35] hits the

[01:04:35] fan.

[01:04:36] Yeah.

[01:04:38] Defense

[01:04:38] mechanism.

[01:04:38] Yeah.

[01:04:39] So it

[01:04:40] just pops

[01:04:40] in.

[01:04:42] Blue

[01:04:42] emerald.

[01:04:43] Give me

[01:04:44] sight beyond

[01:04:44] sight.

[01:04:46] Blue

[01:04:46] emerald.

[01:04:47] What?

[01:04:47] That's what

[01:04:48] it is.

[01:04:48] I know,

[01:04:49] I know.

[01:04:49] Also,

[01:04:50] yeah,

[01:04:50] this version

[01:04:51] says it

[01:04:51] flickers and

[01:04:52] flames green.

[01:04:53] It's like,

[01:04:54] all right,

[01:04:54] it's clearly

[01:04:55] green,

[01:04:56] not blue.

[01:04:56] It can be

[01:04:57] blue and

[01:04:58] glow green.

[01:04:59] It's a

[01:04:59] magical

[01:05:00] artifact.

[01:05:01] It's

[01:05:01] aquamarine.

[01:05:03] It's blue

[01:05:03] and green.

[01:05:05] It's magic.

[01:05:07] Yeah.

[01:05:08] Okay,

[01:05:08] if I have

[01:05:08] a magic

[01:05:09] wand,

[01:05:09] it is

[01:05:11] glowing

[01:05:12] blue.

[01:05:13] That doesn't

[01:05:14] mean that

[01:05:14] the wand

[01:05:15] is blue.

[01:05:15] It could

[01:05:16] be a

[01:05:16] wood stick

[01:05:17] that's

[01:05:18] glowing

[01:05:18] blue.

[01:05:19] I

[01:05:20] understand.

[01:05:21] Yes.

[01:05:22] Yeah.

[01:05:23] I'll move

[01:05:24] on to the

[01:05:24] next thing

[01:05:24] I have.

[01:05:26] He must

[01:05:27] have fainted

[01:05:28] at some

[01:05:28] point for

[01:05:29] the next

[01:05:29] thing he

[01:05:30] knew he

[01:05:30] was on

[01:05:31] the drawing

[01:05:32] room

[01:05:33] divan

[01:05:33] or divan.

[01:05:35] And to

[01:05:36] that I

[01:05:36] was like,

[01:05:36] what the hell

[01:05:37] is a divan?

[01:05:38] So apparently

[01:05:38] it's a type

[01:05:39] of sofa

[01:05:39] that you

[01:05:41] see it a lot

[01:05:42] in Victorian

[01:05:43] London

[01:05:45] films that

[01:05:46] are set

[01:05:46] in Victorian

[01:05:47] England.

[01:05:48] It's that

[01:05:49] lounging

[01:05:50] sofa.

[01:05:50] I was

[01:05:51] going to

[01:05:51] say,

[01:05:52] is it the

[01:05:52] lounging

[01:05:52] sofa thing?

[01:05:53] Yeah.

[01:05:54] So I

[01:05:54] learned what

[01:05:56] that couch

[01:05:57] is called.

[01:05:59] So that

[01:06:01] was cool.

[01:06:02] Our interior

[01:06:03] decorator knowledge

[01:06:03] increased

[01:06:04] today.

[01:06:05] Hooray.

[01:06:05] that's a

[01:06:05] first.

[01:06:06] I can use

[01:06:07] this in

[01:06:08] descriptors in

[01:06:08] my tabletop

[01:06:11] games.

[01:06:13] On one

[01:06:13] less die.

[01:06:14] Plug,

[01:06:14] plug,

[01:06:14] plug,

[01:06:15] plug.

[01:06:18] The next

[01:06:18] thing I

[01:06:19] have here

[01:06:19] is when

[01:06:21] she was a

[01:06:22] kitchen maid,

[01:06:23] even with

[01:06:24] her plain

[01:06:25] Jane glamour

[01:06:25] mask,

[01:06:26] the village

[01:06:27] folks still

[01:06:27] viewed her

[01:06:28] with contempt,

[01:06:29] bordering on

[01:06:30] superstitious

[01:06:30] dread.

[01:06:31] But most

[01:06:32] of the people

[01:06:34] here at

[01:06:35] Basharn

[01:06:36] manner,

[01:06:36] or at

[01:06:37] Basharn.

[01:06:38] That's how

[01:06:39] I'm going to

[01:06:39] say it.

[01:06:40] It might be

[01:06:41] Basharn,

[01:06:41] but Basharn.

[01:06:42] We're going to

[01:06:43] say it wrong

[01:06:44] regardless.

[01:06:44] Yeah.

[01:06:45] So it's fine.

[01:06:45] Until corrected

[01:06:48] by the author.

[01:06:51] Basharn

[01:06:51] completely ignored

[01:06:52] her.

[01:06:54] But most of

[01:06:55] the people at

[01:06:55] Basharn

[01:06:56] completely ignored

[01:06:56] her,

[01:06:57] just like the

[01:06:58] people back

[01:06:58] in her

[01:06:59] universe,

[01:06:59] including her

[01:07:00] very own

[01:07:01] family who

[01:07:02] focused all

[01:07:03] their attention

[01:07:03] on her

[01:07:04] more gifted,

[01:07:05] better looking

[01:07:05] siblings.

[01:07:08] Man.

[01:07:09] So this

[01:07:10] series has

[01:07:12] really taken a

[01:07:13] turn in

[01:07:14] making the

[01:07:14] waif short

[01:07:16] hoggers,

[01:07:16] the thing at

[01:07:17] the door,

[01:07:19] have a tragic

[01:07:19] past.

[01:07:22] Like,

[01:07:23] yeah,

[01:07:23] actually,

[01:07:24] if this is

[01:07:24] actually like

[01:07:25] the original

[01:07:26] version of

[01:07:26] this creature

[01:07:27] that we've

[01:07:28] been,

[01:07:28] that's been

[01:07:28] stalking,

[01:07:29] Kess,

[01:07:29] and so that,

[01:07:30] and that

[01:07:30] we've been

[01:07:30] dealing with

[01:07:31] this entire

[01:07:31] series,

[01:07:33] like,

[01:07:33] we actually

[01:07:33] get it,

[01:07:34] it actually

[01:07:34] has a pretty

[01:07:34] tragic backstory,

[01:07:36] because it's

[01:07:36] just this,

[01:07:37] it was like

[01:07:38] originally this

[01:07:39] well-out girl.

[01:07:41] We know that

[01:07:42] for a fact that

[01:07:43] that is her.

[01:07:43] Maybe it isn't

[01:07:44] easy,

[01:07:44] because it might

[01:07:45] even just be the

[01:07:46] horror that

[01:07:46] killed Anne,

[01:07:47] and took her

[01:07:48] shape-shifting

[01:07:49] ability,

[01:07:50] because she was

[01:07:50] able to,

[01:07:51] because like,

[01:07:51] maybe it took

[01:07:52] her trait of

[01:07:53] manipulating the

[01:07:54] glamour,

[01:07:55] and that's why

[01:07:56] it can assume

[01:07:56] different forms.

[01:08:00] Yeah,

[01:08:00] because like,

[01:08:01] in the dreams

[01:08:02] that Victor

[01:08:03] was having,

[01:08:04] like,

[01:08:04] she was dead

[01:08:05] on the ground

[01:08:05] as a,

[01:08:06] like,

[01:08:07] a marionette

[01:08:08] or whatever.

[01:08:08] Oh,

[01:08:08] and I got

[01:08:09] that later

[01:08:09] on my story,

[01:08:10] in my notes

[01:08:11] here,

[01:08:12] because like,

[01:08:12] I actually

[01:08:12] really liked

[01:08:13] that description

[01:08:13] of the

[01:08:14] marionette

[01:08:15] stuff,

[01:08:15] but,

[01:08:17] but yeah,

[01:08:17] like,

[01:08:18] yeah,

[01:08:18] maybe,

[01:08:19] but still,

[01:08:19] like,

[01:08:20] we still get,

[01:08:20] like,

[01:08:20] again,

[01:08:20] more tragic

[01:08:21] past stuff

[01:08:22] about this

[01:08:22] creature,

[01:08:22] at least,

[01:08:23] like,

[01:08:23] from its

[01:08:24] victims.

[01:08:25] Yes.

[01:08:26] Yeah.

[01:08:28] Um,

[01:08:29] Mikey,

[01:08:29] did you want

[01:08:29] to say

[01:08:30] something?

[01:08:30] Sorry,

[01:08:30] I think

[01:08:31] you heard

[01:08:32] that.

[01:08:32] Um,

[01:08:32] well,

[01:08:34] I'm sort

[01:08:35] of of the

[01:08:35] opinion that

[01:08:36] there is

[01:08:36] two monsters.

[01:08:38] I mean,

[01:08:38] it was

[01:08:39] apparently

[01:08:39] split in

[01:08:40] two,

[01:08:40] yes,

[01:08:42] though,

[01:08:42] apparently

[01:08:43] that,

[01:08:43] that didn't,

[01:08:44] that didn't

[01:08:44] matter,

[01:08:44] like,

[01:08:45] that doesn't

[01:08:45] mean that

[01:08:45] it's two

[01:08:46] separate

[01:08:46] creatures,

[01:08:47] according

[01:08:47] to one

[01:08:47] character in

[01:08:48] the story.

[01:08:48] It's

[01:08:48] kind of

[01:08:49] convoluted.

[01:08:51] Well,

[01:08:53] it's because

[01:08:54] the,

[01:08:54] um,

[01:08:55] the maid

[01:08:56] that has

[01:08:57] the glamour,

[01:08:58] um,

[01:09:02] basically

[01:09:04] she shows

[01:09:05] up as

[01:09:06] Ellie Lambert.

[01:09:07] Yeah.

[01:09:09] So,

[01:09:09] at that

[01:09:10] point,

[01:09:11] it,

[01:09:12] it's,

[01:09:13] it doesn't

[01:09:14] feel like

[01:09:14] the same

[01:09:15] monster as

[01:09:16] the one

[01:09:16] in the

[01:09:17] lost rooms.

[01:09:18] Yeah,

[01:09:19] that's true.

[01:09:19] Yeah,

[01:09:20] like,

[01:09:20] but then,

[01:09:20] like,

[01:09:21] but we,

[01:09:21] we see

[01:09:21] Ann,

[01:09:22] we,

[01:09:23] we see

[01:09:23] Ann Milton's

[01:09:24] body on

[01:09:25] the ground

[01:09:25] in the

[01:09:26] lost rooms

[01:09:28] and,

[01:09:28] and that

[01:09:29] it had

[01:09:29] been,

[01:09:29] like,

[01:09:29] drained,

[01:09:29] like the,

[01:09:30] um,

[01:09:30] like all

[01:09:31] the other

[01:09:31] victims that

[01:09:32] this thing

[01:09:32] has had.

[01:09:33] Um,

[01:09:34] but then

[01:09:34] again,

[01:09:34] it also

[01:09:35] said later

[01:09:36] on that,

[01:09:37] like,

[01:09:37] it may

[01:09:37] have been

[01:09:38] afraid,

[01:09:38] it may

[01:09:39] have,

[01:09:39] like,

[01:09:39] because it

[01:09:39] was afraid

[01:09:40] of the

[01:09:40] spider web

[01:09:41] thing,

[01:09:41] which I'll

[01:09:41] go into

[01:09:42] later in

[01:09:43] my notes,

[01:09:44] um,

[01:09:45] because it

[01:09:45] might have,

[01:09:46] like,

[01:09:46] taken a part,

[01:09:46] like,

[01:09:47] taken a,

[01:09:48] a part of

[01:09:48] its,

[01:09:49] of its

[01:09:49] victim

[01:09:50] into itself.

[01:09:52] Because,

[01:09:53] like,

[01:09:53] the creature

[01:09:54] seems to have,

[01:09:54] like,

[01:09:55] when it drains

[01:09:55] somebody,

[01:09:56] it takes in

[01:09:56] part,

[01:09:57] aspects and

[01:09:57] parts of

[01:09:58] its,

[01:09:58] of its

[01:09:58] victims.

[01:10:00] So,

[01:10:00] including,

[01:10:01] like,

[01:10:01] memories and

[01:10:01] stuff like

[01:10:02] that.

[01:10:02] So,

[01:10:03] I,

[01:10:03] I think it

[01:10:04] might still

[01:10:04] be,

[01:10:05] like,

[01:10:05] one entity

[01:10:05] or one

[01:10:06] creature.

[01:10:06] It's just

[01:10:07] it can

[01:10:07] assume

[01:10:07] different

[01:10:08] forms.

[01:10:09] That they

[01:10:10] said that

[01:10:10] there's two

[01:10:11] of them

[01:10:11] now.

[01:10:12] It said

[01:10:13] that,

[01:10:13] but then,

[01:10:14] like,

[01:10:14] then when

[01:10:15] Kes was

[01:10:15] worried that

[01:10:16] there's

[01:10:16] actually two

[01:10:17] of them,

[01:10:17] the character,

[01:10:18] the other

[01:10:18] character said,

[01:10:19] like,

[01:10:20] oh,

[01:10:20] don't worry,

[01:10:20] it's,

[01:10:21] it probably

[01:10:21] isn't two

[01:10:22] creatures.

[01:10:23] They're two

[01:10:24] separate things.

[01:10:24] And it

[01:10:25] left me,

[01:10:25] like,

[01:10:25] really,

[01:10:26] like,

[01:10:26] why?

[01:10:27] Why did

[01:10:27] you say

[01:10:27] that?

[01:10:29] She was

[01:10:30] freaking out

[01:10:30] and wanting

[01:10:31] to leave.

[01:10:32] Yeah.

[01:10:33] So,

[01:10:33] he's basically

[01:10:34] said that

[01:10:35] to,

[01:10:35] like,

[01:10:35] keep her

[01:10:36] around.

[01:10:36] He's like,

[01:10:37] oh,

[01:10:37] no,

[01:10:37] it's fine.

[01:10:38] Don't worry

[01:10:39] about it.

[01:10:39] Yeah.

[01:10:40] Well,

[01:10:41] my problem

[01:10:42] is,

[01:10:43] if it

[01:10:43] is one

[01:10:44] creature,

[01:10:45] then in

[01:10:46] my mind,

[01:10:47] it's like

[01:10:49] the whole

[01:10:49] artifact issue

[01:10:50] that we

[01:10:51] had,

[01:10:51] where it

[01:10:53] glowed green

[01:10:54] in one story

[01:10:55] and then it

[01:10:55] didn't glow

[01:10:56] green at all

[01:10:57] in the next

[01:10:57] story,

[01:10:58] but it was

[01:10:59] blue.

[01:10:59] And then

[01:11:00] it just,

[01:11:01] there's,

[01:11:02] the continuity

[01:11:04] for me

[01:11:05] feels like

[01:11:06] two monsters.

[01:11:07] Yeah.

[01:11:09] I get you.

[01:11:10] Each monster

[01:11:11] has its own

[01:11:11] gem.

[01:11:12] One is blue

[01:11:13] and one is

[01:11:13] green.

[01:11:14] God damn

[01:11:15] it.

[01:11:17] Yeah,

[01:11:17] yeah,

[01:11:18] that's how

[01:11:18] that works.

[01:11:18] The blue one

[01:11:19] is the one

[01:11:19] that is the

[01:11:20] lens of truth.

[01:11:21] The green

[01:11:21] one is the

[01:11:21] one that

[01:11:22] turns into

[01:11:23] a butterfly

[01:11:24] and chokes

[01:11:24] people.

[01:11:26] Tries to go

[01:11:26] down your

[01:11:27] gullet.

[01:11:27] That's all

[01:11:28] it does.

[01:11:28] It's just

[01:11:29] a murder

[01:11:30] coin.

[01:11:31] It's an

[01:11:32] assassination

[01:11:32] weapon.

[01:11:33] It's a murder

[01:11:34] poker chip.

[01:11:35] A murder

[01:11:36] chip.

[01:11:38] Wow.

[01:11:41] But,

[01:11:41] uh,

[01:11:42] I'll continue

[01:11:43] on to the

[01:11:43] next thing

[01:11:43] I have

[01:11:44] here.

[01:11:45] Yeah.

[01:11:45] So,

[01:11:46] this is the

[01:11:47] quote here.

[01:11:48] Anna,

[01:11:48] this is no

[01:11:49] time for

[01:11:50] any of your

[01:11:50] wild fancies,

[01:11:51] said Clarissa

[01:11:52] firmly.

[01:11:53] There's

[01:11:54] nothing up

[01:11:54] there except

[01:11:55] for some

[01:11:56] mice and

[01:11:57] cobwebs and

[01:11:57] some old

[01:11:58] furniture.

[01:11:58] We've

[01:11:59] discussed this

[01:12:00] already.

[01:12:00] The wish

[01:12:01] can only

[01:12:02] work if

[01:12:02] there's one

[01:12:03] person at

[01:12:03] a time,

[01:12:04] not two

[01:12:05] or three

[01:12:05] or more.

[01:12:06] Anna's brow

[01:12:07] furrowed

[01:12:08] worriedly.

[01:12:08] You'll

[01:12:09] be,

[01:12:09] you'll

[01:12:09] be right

[01:12:10] here at

[01:12:11] this door

[01:12:11] keeping

[01:12:12] watch.

[01:12:12] And if I

[01:12:13] need any

[01:12:13] help,

[01:12:14] smiling,

[01:12:15] Clarissa

[01:12:16] patted the

[01:12:17] girl's arm

[01:12:17] gently.

[01:12:18] I'll stay

[01:12:18] right.

[01:12:19] She assured

[01:12:20] Anne,

[01:12:21] now hurry

[01:12:21] and finish

[01:12:21] those knocks.

[01:12:23] So,

[01:12:23] and this is

[01:12:24] all being

[01:12:24] told to

[01:12:24] to Kes

[01:12:25] by Captain

[01:12:27] Jarvis.

[01:12:28] And I just

[01:12:29] gotta say,

[01:12:30] Captain

[01:12:30] Jarvis is one

[01:12:31] hell of a

[01:12:32] storyteller,

[01:12:33] since this is

[01:12:34] all dialogue

[01:12:35] as the

[01:12:36] captain tells

[01:12:37] this tale to

[01:12:38] Kes.

[01:12:39] Which means

[01:12:40] it's not

[01:12:40] word for

[01:12:41] word as

[01:12:41] Clarissa's

[01:12:42] explaining it

[01:12:42] all.

[01:12:44] God damn

[01:12:45] it.

[01:12:46] God damn

[01:12:47] you.

[01:12:48] What,

[01:12:48] what's the

[01:12:48] matter?

[01:12:49] Damn you to

[01:12:50] the pits of

[01:12:50] wallow earth.

[01:12:52] What would

[01:12:52] I do?

[01:12:53] Yeah,

[01:12:54] I wonder.

[01:12:55] Any 90s

[01:12:56] kid will know

[01:12:57] what you did.

[01:12:59] You know.

[01:13:01] If you

[01:13:01] know,

[01:13:02] you know.

[01:13:04] Yeah.

[01:13:06] Also,

[01:13:07] it is,

[01:13:07] it is cool

[01:13:08] that this

[01:13:08] story does

[01:13:09] deviate,

[01:13:09] like we

[01:13:10] said earlier

[01:13:10] from the

[01:13:11] Ellie Lambert

[01:13:11] story here.

[01:13:14] And,

[01:13:15] like,

[01:13:16] because I

[01:13:16] was expecting

[01:13:16] it to end

[01:13:17] the way it

[01:13:17] did,

[01:13:18] but we

[01:13:19] shifted gears

[01:13:20] with this

[01:13:21] teleportation of

[01:13:22] Kes and

[01:13:23] getting more

[01:13:24] information on

[01:13:25] the things

[01:13:25] at the

[01:13:26] doorstep,

[01:13:26] like with

[01:13:27] this whole

[01:13:28] conversation

[01:13:28] with the

[01:13:29] captain Jarvis

[01:13:30] and stuff.

[01:13:31] It is a

[01:13:32] kind of

[01:13:33] long-winded.

[01:13:35] like,

[01:13:36] as I

[01:13:36] was reading

[01:13:37] the story,

[01:13:37] like,

[01:13:38] and it

[01:13:38] kept going

[01:13:38] on and

[01:13:39] on and

[01:13:40] on,

[01:13:40] I was

[01:13:41] actually

[01:13:41] kind of

[01:13:41] getting

[01:13:42] bored.

[01:13:43] Like,

[01:13:43] or just

[01:13:44] like,

[01:13:44] maybe not

[01:13:44] bored is

[01:13:45] not the

[01:13:45] right word,

[01:13:45] but like,

[01:13:46] I was

[01:13:46] kind of

[01:13:46] getting

[01:13:46] exhausted.

[01:13:47] It was

[01:13:47] like,

[01:13:48] so when are

[01:13:48] we going

[01:13:49] to deal

[01:13:49] with the

[01:13:49] thing at

[01:13:50] the door?

[01:13:50] Like,

[01:13:50] when are

[01:13:50] we

[01:13:50] going to

[01:13:51] stop

[01:13:51] getting

[01:13:51] exposition

[01:13:52] and

[01:13:52] actually

[01:13:53] do

[01:13:54] something?

[01:13:55] Remember

[01:13:55] this,

[01:13:56] this entire

[01:13:57] entry

[01:13:58] is supposed

[01:13:59] to be

[01:14:00] exposition

[01:14:00] for

[01:14:01] bookstore horror.

[01:14:03] right?

[01:14:05] Hang on,

[01:14:06] is it?

[01:14:07] Yeah,

[01:14:07] isn't it?

[01:14:08] Like,

[01:14:09] because like,

[01:14:09] it goes

[01:14:10] onto this.

[01:14:11] The whole

[01:14:12] point of

[01:14:13] this was

[01:14:13] to try

[01:14:14] to explain

[01:14:15] what the

[01:14:17] green

[01:14:18] emerald

[01:14:18] that glows

[01:14:19] blue and

[01:14:19] chokes

[01:14:19] people does.

[01:14:20] I had

[01:14:21] forgot

[01:14:22] that this

[01:14:23] was actually

[01:14:23] a flashback

[01:14:24] because we

[01:14:25] had so

[01:14:26] many flashbacks.

[01:14:28] Yeah,

[01:14:28] because like,

[01:14:29] we get a

[01:14:29] flashback

[01:14:30] and then

[01:14:30] another

[01:14:31] flashback

[01:14:31] starts and

[01:14:32] then the

[01:14:32] character

[01:14:33] goes

[01:14:33] somewhere

[01:14:33] else and

[01:14:34] other

[01:14:34] people are

[01:14:34] explaining

[01:14:35] something

[01:14:35] else that's

[01:14:35] completely

[01:14:36] unrelated.

[01:14:37] Yeah,

[01:14:37] and like,

[01:14:37] that seems

[01:14:38] to be a

[01:14:38] theme in

[01:14:39] the last

[01:14:40] day of

[01:14:41] October stories

[01:14:42] is like,

[01:14:43] Kes being

[01:14:44] told stories

[01:14:45] by other

[01:14:45] people.

[01:14:46] Yes.

[01:14:47] Like,

[01:14:48] it's just

[01:14:48] a long-winded

[01:14:49] series of

[01:14:50] stories

[01:14:52] recollected

[01:14:52] to the

[01:14:53] main

[01:14:53] character.

[01:14:54] Kes is

[01:14:55] basically

[01:14:55] going from

[01:14:56] movie theater

[01:14:57] to movie

[01:14:57] theater.

[01:14:58] And not

[01:14:59] much is

[01:15:00] happening to

[01:15:00] her in

[01:15:01] between.

[01:15:01] she's

[01:15:02] just

[01:15:02] listening

[01:15:02] to story

[01:15:03] after

[01:15:03] story.

[01:15:04] Yeah.

[01:15:05] The last

[01:15:06] day of

[01:15:06] October.

[01:15:07] Stay a

[01:15:08] while and

[01:15:08] listen to

[01:15:09] my

[01:15:09] tales.

[01:15:11] Like,

[01:15:11] just,

[01:15:12] yeah,

[01:15:12] it's just

[01:15:13] a long

[01:15:13] running

[01:15:13] series of

[01:15:14] just story

[01:15:16] recollections.

[01:15:17] That being

[01:15:17] said,

[01:15:18] this one

[01:15:19] is talking

[01:15:19] about the

[01:15:20] coin.

[01:15:21] Like,

[01:15:21] we did

[01:15:22] get back

[01:15:22] to it.

[01:15:23] Yeah,

[01:15:23] we are

[01:15:23] getting more

[01:15:24] about the

[01:15:24] story of the

[01:15:24] coin.

[01:15:25] We're also

[01:15:26] just getting a

[01:15:26] lot of other

[01:15:27] stuff.

[01:15:28] like,

[01:15:29] about like

[01:15:29] this new

[01:15:30] lost rooms

[01:15:31] location.

[01:15:32] And like,

[01:15:33] we're learning

[01:15:34] actually a little

[01:15:34] bit more

[01:15:34] information about

[01:15:35] the Van

[01:15:35] Devereaux and

[01:15:36] specifically

[01:15:36] Clarissa

[01:15:37] Van

[01:15:37] Devereaux,

[01:15:37] which we

[01:15:37] did hear

[01:15:38] about in

[01:15:39] the short

[01:15:40] hoggers,

[01:15:41] in the

[01:15:41] original part

[01:15:42] of the

[01:15:43] original story

[01:15:43] that Kes

[01:15:45] flashed back

[01:15:45] to when she

[01:15:45] was explaining

[01:15:46] to her

[01:15:46] magical or

[01:15:47] her new

[01:15:49] pets about

[01:15:50] her life

[01:15:51] before ending

[01:15:52] up in

[01:15:52] Swanwick.

[01:15:54] like,

[01:15:54] about that

[01:15:54] newspaper

[01:15:55] article and

[01:15:55] stuff like

[01:15:56] that.

[01:15:56] And how

[01:15:57] it all

[01:15:57] ties together.

[01:15:59] It's just,

[01:16:00] it's really

[01:16:01] long-winded to

[01:16:02] me.

[01:16:02] Well,

[01:16:02] here's the

[01:16:03] thing.

[01:16:03] Most of

[01:16:04] the time

[01:16:04] when we

[01:16:05] are reading

[01:16:05] a creepy

[01:16:06] story,

[01:16:06] it is,

[01:16:08] okay,

[01:16:09] it's the

[01:16:09] real world

[01:16:10] and then a

[01:16:10] spooky monster

[01:16:11] shows up.

[01:16:12] Yeah.

[01:16:12] It's very

[01:16:13] singular,

[01:16:13] this is the

[01:16:14] thing,

[01:16:14] the focus

[01:16:15] is on that

[01:16:16] thing,

[01:16:16] and then

[01:16:16] you're done.

[01:16:17] But with

[01:16:18] this,

[01:16:18] we are in

[01:16:19] a fantasy

[01:16:20] world where

[01:16:21] everything is

[01:16:22] different than

[01:16:22] real life,

[01:16:23] except for

[01:16:23] the stuff

[01:16:23] that isn't.

[01:16:25] But there's

[01:16:26] so much

[01:16:27] stuff that's

[01:16:27] different.

[01:16:28] And yes,

[01:16:29] there is this

[01:16:29] one weird

[01:16:30] thing happening

[01:16:31] and it's

[01:16:32] connected to

[01:16:32] other weird

[01:16:32] things,

[01:16:33] but then all

[01:16:34] these other

[01:16:35] different,

[01:16:35] unrelated weird

[01:16:36] things are

[01:16:36] also happening,

[01:16:37] but also need

[01:16:38] to be described

[01:16:38] to the reader,

[01:16:39] otherwise they're

[01:16:40] confused.

[01:16:41] Yeah,

[01:16:41] and I don't

[01:16:42] want to sound

[01:16:42] like I'm

[01:16:43] like,

[01:16:44] that's

[01:16:44] necessarily a

[01:16:45] bad thing.

[01:16:45] I was

[01:16:46] thinking,

[01:16:47] I hate

[01:16:48] this,

[01:16:48] I don't

[01:16:48] actually hate

[01:16:49] this,

[01:16:49] it's just

[01:16:49] I was getting

[01:16:50] exhausted

[01:16:50] by the end.

[01:16:51] We're on the

[01:16:52] final stretch

[01:16:53] of this

[01:16:53] story,

[01:16:54] and this

[01:16:54] series,

[01:16:55] and I

[01:16:55] think I

[01:16:56] was just

[01:16:56] finally getting

[01:16:57] fatigued.

[01:16:58] You know what