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<blockquote data-quote="Lackhand" data-source="post: 3808279" data-attributes="member: 36160"><p>Val^H^H^H Himura <em>(stupid brain fart. You know what I meant.)</em>: </p><p></p><p>The bedraggled blonde is still there, her ætherial beauty somewhat marred by bruises and dirt.</p><p>She'd given up begging when you show up, and is instead using a few of the large posters to shelter from the muddy rain.</p><p></p><p>She looks at you with a flash of suspicion, quickly swallowed by a greedy hope. She looks sickly and has a tremor in her limbs, and as soon as you mention a warm meal, is pathetically eager to follow you anyway, young sirs, anywhere in the city.</p><p></p><p>She abandons her post and follows you, shiveringly, into the night.</p><p></p><p><em>(where do you want to go? What do you give her to eat? What do you want to talk about?)</em></p><p></p><p>Her name is Vára, and her husband is dead.</p><p></p><p></p><p>Darrien: You're sort of stuck in the BDtP until it resolves, one way or the other. The couple can't keep you in the house, so if you get bored, you can just leave; think of this like combat. Combat started when you swung, then resisted like woah, and their counterattack put you on defensive. The next round, you *both* whiffed. We're on round three; you can, of course, run; surrender, give up. But then no one gets what they want. So you're plotting swings here, basically.</p><p></p><p>Deceit isn't *really* the skill, but meh, it's close enough <img src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" class="smilie smilie--sprite smilie--sprite1" alt=":)" title="Smile :)" loading="lazy" data-shortname=":)" /> This really is sway (diplomacy/intimidate), but for this scene, we'll let you keep using deceit. Spend a reason point to make me feel better about this, though, please. Or instinct, if that makes more sense/you have more in that pool/want to. You can use it here, though probably in the future, you might want to swap deceit for sway. It'll probably be more useful, in general.</p><p></p><p>You mention the danger to their daughter; this only makes them draw in closer. The wife protests that the daughter couldn't have seen anything, the man that you're just trying to bully them, and that you should be ashamed that an officer of the law would stoop so low.</p><p></p><p>With a -0-, and no ranks in sway, I'm not convinced that you're buying their argument here. They've clearly undermined their case (suffering a collective bruise to sway, thus a penalty die to the next sway roll) and are regrouping.</p><p></p><p>They're going to try to, while remaining in the conversation, ignore you until you go away, simply <em>resist</em>ing each conversational gambit you suggest with a laundry list of reasons why it won't work.</p><p></p><p></p><p>The runner isn't going to interrupt until at LEAST the end of the scene.</p><p></p><p></p><p><em>PS: I've given up using authorial past tense. It's hard to express what I mean, I was inconsistent using it, and it just got annoying. Deal, I'm an engineer, not an english major.</em></p></blockquote><p></p>
[QUOTE="Lackhand, post: 3808279, member: 36160"] Val^H^H^H Himura [i](stupid brain fart. You know what I meant.)[/i]: The bedraggled blonde is still there, her ætherial beauty somewhat marred by bruises and dirt. She'd given up begging when you show up, and is instead using a few of the large posters to shelter from the muddy rain. She looks at you with a flash of suspicion, quickly swallowed by a greedy hope. She looks sickly and has a tremor in her limbs, and as soon as you mention a warm meal, is pathetically eager to follow you anyway, young sirs, anywhere in the city. She abandons her post and follows you, shiveringly, into the night. [i](where do you want to go? What do you give her to eat? What do you want to talk about?)[/i] Her name is Vára, and her husband is dead. Darrien: You're sort of stuck in the BDtP until it resolves, one way or the other. The couple can't keep you in the house, so if you get bored, you can just leave; think of this like combat. Combat started when you swung, then resisted like woah, and their counterattack put you on defensive. The next round, you *both* whiffed. We're on round three; you can, of course, run; surrender, give up. But then no one gets what they want. So you're plotting swings here, basically. Deceit isn't *really* the skill, but meh, it's close enough :) This really is sway (diplomacy/intimidate), but for this scene, we'll let you keep using deceit. Spend a reason point to make me feel better about this, though, please. Or instinct, if that makes more sense/you have more in that pool/want to. You can use it here, though probably in the future, you might want to swap deceit for sway. It'll probably be more useful, in general. You mention the danger to their daughter; this only makes them draw in closer. The wife protests that the daughter couldn't have seen anything, the man that you're just trying to bully them, and that you should be ashamed that an officer of the law would stoop so low. With a -0-, and no ranks in sway, I'm not convinced that you're buying their argument here. They've clearly undermined their case (suffering a collective bruise to sway, thus a penalty die to the next sway roll) and are regrouping. They're going to try to, while remaining in the conversation, ignore you until you go away, simply [i]resist[/i]ing each conversational gambit you suggest with a laundry list of reasons why it won't work. The runner isn't going to interrupt until at LEAST the end of the scene. [i]PS: I've given up using authorial past tense. It's hard to express what I mean, I was inconsistent using it, and it just got annoying. Deal, I'm an engineer, not an english major.[/i] [/QUOTE]
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