Lights!
You’re about 2/3s done, and Red’s back in Rudy’s apartment going for another load of coins when the power cuts out. White’s stuck in the sub-basement where the garbage empties into the compactor for the truck. There’s been an art to getting the coins, dodging other tenants emptying their trash between coins, and not falling in.
The fire escape fail-safe turns on as the elevator cuts. How fast could White climb about 15 flights of stairs?
Camera!
There’s a sound of shattering glass as two black drones the size of cannon balls break through Rudy’s entertaining room window - let’s not delude anyone by calling it a living room, just because he lives here and that’s the shape of it, it’s an imitation of life as a presentable business decision.
Red’s surveillance equipment means she can see without being seen, for the most part. She doesn’t need to do something so stupidly vulnerable as turning a torch on, so she’s safe to get a glimpse of them from behind cover.
They’re new models, heavily armored cores. Normal drones need to be light and zippy to be held aloft by their engines, but these are held up by electrostatics. Their lift sucks, they can only go down and then they can’t go back up again. It’s like they’re standing on air as you’d stand on the rungs of a ladder, with some silent motors to skim them across the horizontal plane. It means they’re not relying on lift to keep them up so they can be way, way heavier, but it also means that whoever launched these things has either taken the time to stake out a neighboring building or camped out on the roof - Probably the roof.
The drones split up and start scanning the apartment for recon, seams in their hulls splitting and scanner heads whirring 360 degrees around them.
Action?
But it’s already over. White is about to find Red’s body, shattered on the pavement out the window, her cracked phone still playing Five Floor Goodbye. This time she got herself down just to make things easier for you. Normally character arcs don’t also mean the trajectory sense of the word, but that’s because other characters are not as powerful as Red, and lack vision.
(Did you know a fall from five stories is only 50% likely to be fatal? Fortunately Red was much higher than that, and her odds of survival are too negligible to be worth rolling for. Always nice to save some dice!)
(You’ve got one point of Preparedness left - if Red spends it here I’ll count it as 2. Describe how she prepared for ambushers, but it still wasn’t enough. If you make that spend and go extremely ham on what November did, I’ll give Red a special bonus for her efforts - she bought herself enough time to make it out of the building with something special.)
(Wait, this would revert her back to before she learned her True Name of Blood, wouldn't it?)
Pope:
His look is curious. “Now that is a difference between us. I wasn’t built for anything. Made, I’ll give you.” There’s a deep irony in his voice for this next bit. “The archetypal Pope was made for human resources. We’ve got ourselves the right amount of emotional intelligence, good communication skills, and a robust tendency towards cowardice. Go in thinking it’s a good way to help people, and then be too scared to leave a good job after you figure out that you’re there to protect the company from its people and not the other way around. While I’m not sure I ever got any braver, I had that fear push me down a different path.” That’s not a self-deprecating joke, that’s honesty.
“Not to lay the obvious on too thick, but I didn’t get raised either. I didn’t have a childhood. I don’t have a mother, or a father. I do have family, who I love more than I can bear; but not like that, and certainly none who ever tried to make anything of me.” Yes, it’s what Orange was thinking and no, there is no jealousy in him. “Maybe that makes the other difference between us. Whether you see yourself as the maker, or the master, you’re removed from the world - you’ve got to be something outside of it. Now me, personally? I want to be a part of it, as much as it’s possible to be. I want to love, and be loved.”
His eyes glide down the street, where a werewolf wrestler walks with Brat, the Ringmaster of the Breakdome. Pope doesn’t know who they are, but he wants to. Those two are barely famous, big fish in very small ponds, but they’re both trying to maintain a low profile, not draw too much attention to themselves, but they’ve started talking shop on how to be the biggest heels possible without losing the crowd, and that means they keep slipping into character and bouncing off each other’s energy. Every time their public mask slips, Pope’s too-big eyes shine, and crinkle at the edges. He slaps his knee laughing when, in a moment of pique, the werewolf lifts Brat high over his head with a snarl, then both of them act like naughty children pretending it didn’t happen and keep moving.
Eyes still on the two performers, Pope finishes wistfully; “Love takes off the masks that we fear we cannot live without and know we cannot live within.”
There’s no question for you here. Just the space to make your own comparison, or for you to ask your own. For you to note the sames and differences you find most important here. Or just to cut to the chase of what you’re supposed to be doing. But he'll probably be more open with you if he likes you more, understands you better.
Goat:
Singh covers his eyes with his hand while he thinks, like even the light through his eyelids will break his concentration. “Maybe have Goat try and find anything incriminating? No shortage of things for him to find, anyway. Right, right, then we just, we make a points-based system, multiplying the severity of the evidence by the size of the resources of the company - Lorraine was, she was always better at this. Nepenthe might be able to make it up as we go, she thinks fast enough and she's got too much of her mother in her. Not knowing if there’s a payout or not might end up teaching Goat the kind of screwball problem solving we’re hoping for if we let him select his own targets, but that means risk, but learning risk is what we're meant to be teaching...” He uncovers his eyes and scratches his jaw. “We can do this. It'll take a bit to start - We should probably hibernate Goat soon, and wake him back up when we know it's safe to occupy that brutally buzzing brain of his. I don’t know how long it'll be before he's ready to help you though, it could be years or it could be minutes. I never could tell for sure what Goat was going to find easy, or impossible.”
Goat’s answer to the trolley problem, for instance, do you flip the switch? No. Without knowledge of what is further down both tracks, it is best to assume that the switch is flipped that way for a reason. Unforeseen consequences may cause greater harm. (71% self-consensus). Push the fat man though? Yes. (93% self-consensus).
He was always a slow chess player, too. His plays were immediate, but he always spent more time trying to understand why an opponent would make a sub-optimal move. Most games he would focus on trying to find what he already missed, because he couldn't think of the opponent being worse than him - he didn't conceptualize an opponent at all. There was only the board, and the moves, and the outcomes. If the game was so simple, fixed and solvable, how could wrong moves be possible? The question caused endless, frustrated debates with himself.
At least the assumption of perfect play is a safe one in espionage, safe to leave with Singh for a while. You don't need to be done here, but you've accomplished what you needed to.
You’re about 2/3s done, and Red’s back in Rudy’s apartment going for another load of coins when the power cuts out. White’s stuck in the sub-basement where the garbage empties into the compactor for the truck. There’s been an art to getting the coins, dodging other tenants emptying their trash between coins, and not falling in.
The fire escape fail-safe turns on as the elevator cuts. How fast could White climb about 15 flights of stairs?
Camera!
There’s a sound of shattering glass as two black drones the size of cannon balls break through Rudy’s entertaining room window - let’s not delude anyone by calling it a living room, just because he lives here and that’s the shape of it, it’s an imitation of life as a presentable business decision.
Red’s surveillance equipment means she can see without being seen, for the most part. She doesn’t need to do something so stupidly vulnerable as turning a torch on, so she’s safe to get a glimpse of them from behind cover.
They’re new models, heavily armored cores. Normal drones need to be light and zippy to be held aloft by their engines, but these are held up by electrostatics. Their lift sucks, they can only go down and then they can’t go back up again. It’s like they’re standing on air as you’d stand on the rungs of a ladder, with some silent motors to skim them across the horizontal plane. It means they’re not relying on lift to keep them up so they can be way, way heavier, but it also means that whoever launched these things has either taken the time to stake out a neighboring building or camped out on the roof - Probably the roof.
The drones split up and start scanning the apartment for recon, seams in their hulls splitting and scanner heads whirring 360 degrees around them.
Action?
But it’s already over. White is about to find Red’s body, shattered on the pavement out the window, her cracked phone still playing Five Floor Goodbye. This time she got herself down just to make things easier for you. Normally character arcs don’t also mean the trajectory sense of the word, but that’s because other characters are not as powerful as Red, and lack vision.
(Did you know a fall from five stories is only 50% likely to be fatal? Fortunately Red was much higher than that, and her odds of survival are too negligible to be worth rolling for. Always nice to save some dice!)
(You’ve got one point of Preparedness left - if Red spends it here I’ll count it as 2. Describe how she prepared for ambushers, but it still wasn’t enough. If you make that spend and go extremely ham on what November did, I’ll give Red a special bonus for her efforts - she bought herself enough time to make it out of the building with something special.)
(Wait, this would revert her back to before she learned her True Name of Blood, wouldn't it?)
Pope:
His look is curious. “Now that is a difference between us. I wasn’t built for anything. Made, I’ll give you.” There’s a deep irony in his voice for this next bit. “The archetypal Pope was made for human resources. We’ve got ourselves the right amount of emotional intelligence, good communication skills, and a robust tendency towards cowardice. Go in thinking it’s a good way to help people, and then be too scared to leave a good job after you figure out that you’re there to protect the company from its people and not the other way around. While I’m not sure I ever got any braver, I had that fear push me down a different path.” That’s not a self-deprecating joke, that’s honesty.
“Not to lay the obvious on too thick, but I didn’t get raised either. I didn’t have a childhood. I don’t have a mother, or a father. I do have family, who I love more than I can bear; but not like that, and certainly none who ever tried to make anything of me.” Yes, it’s what Orange was thinking and no, there is no jealousy in him. “Maybe that makes the other difference between us. Whether you see yourself as the maker, or the master, you’re removed from the world - you’ve got to be something outside of it. Now me, personally? I want to be a part of it, as much as it’s possible to be. I want to love, and be loved.”
His eyes glide down the street, where a werewolf wrestler walks with Brat, the Ringmaster of the Breakdome. Pope doesn’t know who they are, but he wants to. Those two are barely famous, big fish in very small ponds, but they’re both trying to maintain a low profile, not draw too much attention to themselves, but they’ve started talking shop on how to be the biggest heels possible without losing the crowd, and that means they keep slipping into character and bouncing off each other’s energy. Every time their public mask slips, Pope’s too-big eyes shine, and crinkle at the edges. He slaps his knee laughing when, in a moment of pique, the werewolf lifts Brat high over his head with a snarl, then both of them act like naughty children pretending it didn’t happen and keep moving.
Eyes still on the two performers, Pope finishes wistfully; “Love takes off the masks that we fear we cannot live without and know we cannot live within.”
There’s no question for you here. Just the space to make your own comparison, or for you to ask your own. For you to note the sames and differences you find most important here. Or just to cut to the chase of what you’re supposed to be doing. But he'll probably be more open with you if he likes you more, understands you better.
Goat:
Singh covers his eyes with his hand while he thinks, like even the light through his eyelids will break his concentration. “Maybe have Goat try and find anything incriminating? No shortage of things for him to find, anyway. Right, right, then we just, we make a points-based system, multiplying the severity of the evidence by the size of the resources of the company - Lorraine was, she was always better at this. Nepenthe might be able to make it up as we go, she thinks fast enough and she's got too much of her mother in her. Not knowing if there’s a payout or not might end up teaching Goat the kind of screwball problem solving we’re hoping for if we let him select his own targets, but that means risk, but learning risk is what we're meant to be teaching...” He uncovers his eyes and scratches his jaw. “We can do this. It'll take a bit to start - We should probably hibernate Goat soon, and wake him back up when we know it's safe to occupy that brutally buzzing brain of his. I don’t know how long it'll be before he's ready to help you though, it could be years or it could be minutes. I never could tell for sure what Goat was going to find easy, or impossible.”
Goat’s answer to the trolley problem, for instance, do you flip the switch? No. Without knowledge of what is further down both tracks, it is best to assume that the switch is flipped that way for a reason. Unforeseen consequences may cause greater harm. (71% self-consensus). Push the fat man though? Yes. (93% self-consensus).
He was always a slow chess player, too. His plays were immediate, but he always spent more time trying to understand why an opponent would make a sub-optimal move. Most games he would focus on trying to find what he already missed, because he couldn't think of the opponent being worse than him - he didn't conceptualize an opponent at all. There was only the board, and the moves, and the outcomes. If the game was so simple, fixed and solvable, how could wrong moves be possible? The question caused endless, frustrated debates with himself.
At least the assumption of perfect play is a safe one in espionage, safe to leave with Singh for a while. You don't need to be done here, but you've accomplished what you needed to.