Posted by: markfender | May 19, 2015

C:tL – Eyes on Fire: Session 16

“Existentialism on Prom Night”

I debated using this song for quite a bit, actually. There’s a big, loud break that didn’t feel right for the tone of the rest of the music used for the game. However, the video edit of the song didn’t feature that bombast, so it worked a little better. But the lyrics were so spot on, I felt that I pretty much had to use it. And how is that not the greatest band name ever?

The PCs are looking for Uile’s fetch. Of course, they have no idea where he is and so spend some time debating it. They are interrupted by a large Shadow of the Colossus figure that tears his way out of the port and begins to wreak havoc on the city. They’re too far away to tell, but it’s obviously Hail the Ash’s latest form, one that looks like it would pretty difficult to reason with.

The group meets a lone man walking down the street. He’s haggard, wounded, and nursing a limp. It’s Uile’s fetch (if not a bit older and paunchier). He pulls a book out of his messenger bag and gives it to Uile, asking him to finish the story. Flipping through the book, Uile sees that his fetch has been recording the entire campaign, from the first moment of Darby meeting an old friend, to the present moment of Uile reuniting with his fetch. His fetch asks him to finish the book, as the fetch “obviously” won’t be around to complete it. The trees around the party turn to television static (which the rest of the group actually sees this time) and Uile hears his Keeper’s voice asking him to complete the tale.

Uile asks his fetch about his story so that Uile can add it to the book. His fetch has been working for a Swedish electronic label as an AR man in LA. He talks about his harrowing trip from LA, avoiding the roving gangs of looters and receiving visions at night that he wrote down. Uile writes this up and adds it to the book and then puts his fetch out of his misery (He’s been seeping blood from a wound this entire time).

I tried to pick the most soul-crushing music possible for Uile’s fetch, because obviously Uile would think Swedish dance music has no soul. I also don’t think anyone ever figured this out, but Uile’s Keeper was always present as the forest that grew in Portland. I even specifically told people this fact, but I think it bounced off of them. Uile’s Keeper was the literal manifestation of the “Into the Woods” aspect the group had decided upon when they were making the setting.

After much consolation with the other PCs, Uile decides to write the ending. He rewinds time to the night of the apocalypse. But he makes sure that his Motley (and Nettle and Shimmer’s motley) remember the events that happened. The sun comes out and they hear the dripping of water. The End.

And thus my game ends. Maybe it’s a cop-out to have the PCs come up with the ending, but I’d pretty much intended that outcome from the beginning. But I think that went along with the arty and pretentious part of the game. Overall, I think I achieved most of my goals for this game, from incorporating music to joint setting creation.

If you’re super-fascinated, next week’s podcast features the players giving their own thoughts on how it worked. I leave you with the ending credits music. Because, of course, there was ending credits music.

 

 

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