Saturday, October 31, 2026

Character Creation: The Deepest Dark

And for my last character of the month, I was gonna do The World of Necroscope, but then I wound up spending most of today coming up with games to pitch for the group that just finished Pugmire so I needed something shorter. Hence:

The Game: The Deepest Dark
The Publisher: Ella Watts
Degree of Familiarity: None, though I've played similar games
Books Required: Just the one


This game reminds me a bit of Ten Candles, and also shares some DNA just in presentation with Harvest. You're playing a group of cavers that died in a rockfall, don't realize they're dead, and figure that out over the course of the game, descending through Strata and explore new chambers. 

I find caving fascinating and terrifying. Few things get as visceral reaction from me as the idea of being trapped in a rock tunnel (which is one reason Descent is such an effective movie for me). I think this would be an interesting game, with the right group (actually I think the group that just started Harvest might get into it, but we need to do human sacrifice first). 

So we pick a character class. These are all twinned with another class; that is, there's a Mycologist and an Entomologist, and it's intended for a given group to only have one of those two, which for my purposes doesn't matter. The classes are really themed around motivation more than ability; both of the ones I mention struggle to be alone, f'rex. 

You know, Volcanologist appeals today, for some reason. Let's say that my character is Izuki Nagai, born in Kagoshima, Japan, near the Aira Caldera. Someone told him when he was small that the volcano was going to erupt and kill everyone, and he had nightmares about it for years, which gradually morphed into a strange fascination with the idea of volcanic destruction and what, if anything, could be don't to avoid it. 

The Volcanologist is fixated on averting disaster, and the book asks me to consider what disaster I failed to avert. Let's move it miles away from volcanoes and say that Izuki made friends with a girl when he was at university. Said girl (Samaar) was very wealthy, and she took Izuki and a bunch of their friends out on a boat one summer. There was a storm, the boat capsized, and Izuki said to her before they left port that there was weather approaching that looked dangerous, but Samaar was always more devil-may-care and Izuki didn't press the issue. Now she's dead. (So is he, but that's unrelated.)

So why am I here? The broad answer is "to find something," and specifically I think it's to find evidence of an impending volcanic event. 

My Fear is: "Why can't you let your guard down?" I think the answer I like best for Izuki is "because no one else will save us."

Gender: This is one of those games that treats gender as a defining, descriptive trait rather than just a reflection of sex. In Izuki's case, one of the options (for Volcanologist) is "impossible to see," and I kinda like that.

Izuki is a Japanese man of about 45. He's trim (he's an avid runner, climber, and swimmer), and has no tolerance for spice in his food (it's not that he has a sensitive stomach, it's that he has a sensitive palate). It's easy for him to fade into the background, and more than once in his life, he's watched people run face-first into dangers he's told them about. 

And that'll do it!

Harvest: Welcome to the Island

Yesterday we started playing Harvest (for which I recently did a character for my project). We didn't actually get into the first act, since character and island creation is a pretty involved process and it's better to take your time, but that was fun. (We also had some good discussions about similar games like Ganakagok with a lot of rich imagery that are replayable despite having the same basic setup each time.)

Anyway! The Island:


The village green and the houses around it are in the central/eastern part of the island, and just south is a long, glassy lake. To the east is the coast, wherein you can find wave-dashed rocks and tidepools. Also on that coast, the wrecked ship rotting on the beach. Moving inland along the northern part of the island, we find a Wheel carved into a big, stone block, where the islanders mark the graves of their dead. Further west, herds of highland sheep graze, and then a river that leads southwest and powers the mill. 

In the northwest corner of the Island is a lighthouse the King's men built a decade ago, and just past that, the beach where visitors arrive. A road leads from that beach up past the smithy to the mill, and then splits and leads to the village green, past the oldest tree on the Island (a white oak called the "Age Tree," as the children of the island try to encircle it, and are said to have come of age when they can do it using only five people, five also being the number of spokes on the Wheel).

The other branch of the road leads south to the dozy bees and straw hives, and past that, to the southwest, acres of apple orchards. 

The Island is alive with animals and plants and people, but should the sacrifice fail, we believe that every beast on the Island will die, rotting where they fall. Of course, that might just be a story. 

Our little play concerns four main characters:
  • Odysseus "Odd" Gregor, The Dreamer: Odd is a young man of the island, and is (was?) betrothed to Maisie. But Odd dreams of leaving - the Gregors are too old and Odd wants to leave the island and be free of his name. But he can't; his family is ill, and it feel to him to marry, even though neither he nor Maisie want this. Odd is notable for his windswept curls, his faraway look, and the calluses on his hands gained climbing the rocks on the south end of the Island. The power that claims him is the Undertow.
  • Maisie Millersend, the Young Blood: Maisie, as mentioned, is betrothed to Odd, but while Odd is bought in to the Island and its gods, Maisie wants out (or that's how she sees it). She sees the island's gods as monsters and Maisie seeks to be kinder, but also wants a partner who puts her, not gods or the Island, first (her first choice would be her friend Stael, but he's a bad fit and they both know it). Maisie's resemblance to her mother (though she is much taller and therefore her clothes don't quite fit) is noticeable, and her family is responsible for keeping the millstone turning. The Sun King watches over Maisie. 
  • Charlotte Teller, the Homecomer: Charlotte left the Island and it cost her. It cost her an engagement and her lover's heart, her best friend friend, and her father's trust. But the world taught her to lie and it took away her faith in the gods of this Island (much to the chagrin of Hart, and Charlotte is now working to discredit him by spreading her newfound knowledge amongst the youth). Charlotte wears a shockingly modern gown, carries a journal, and her gaze is fixed in the distance - she has no intention of staying here. She and Maisie are friends, but she fought with Odd before she left (and called him "small-minded"). She may not know it, but the Black Dog contrived her return.
  • Hart, the Wise One: Hart has no name but "Hart," at least not that he'd answer to. He is the keeper of the old ways, and some of those ways are brutal. In particular, it was common for years for the youth of the Island to be drowned nearly to death so as to induce visions, but Hart has worked to stop that practice - the last youth who underwent this was Odd, and it made the boy...strange. Hart carries a staff of his office, a huge shillelagh with a knobby top, but that's not nearly so intimidating as his piercing gaze and the unnatural stillness the he exudes. Hart weaves cloth and makes rope, and Odd has been learning the latter craft from him. Hart recently tried to explain to Maisie that, while she might not feel passion or love for her betrothed, being alone can be worse and relationships can change. This isn't speculation; Hart's former love, Siobhan, visits him when her husband is drunk, to make sure he is not wasting away. Hart works to placate the Skinless Mare. 
There ya have it! Next time we'll see whose hand bears the knife. 

Friday, October 30, 2026

Character Creation: Deadlands: The Weird West

Very much "horror adjacent," but there's undead and monsters and shit, it counts.

The Game: Deadlands: The Weird West
The Publisher: Pinnacle Entertainment Group
Degree of Familiarity: Never played this exact edition, but I've run Deadlands pretty extensively
Books Required: Deadlands and SWADE


You know, as much as I've run Deadlands, I've never really delved into the history or setting as-written all that much. Not sure why, it's a pretty compelling setting, and it's mostly 19th century American history which is history I'm actually interested in. But when I've run the game it's mostly focused on whatever area that particular game is set in. I think I might want to run this game "straight" at some point and get into some of the cool setting stuff or the plot point campaign.

Anyway, Deadlands: The Weird West's most important difference is that with the help of magic and time shenanigans, the Civil War actually ends with the Confederacy surrendering in 1871 (so it went on six more years than it did in real life). In the original Deadlands, the Civil War was still going in 1876, which put the GM in the uncomfortable position of having to deal with Confederate soldiers and how slavery played into all of this. There probably is a game that could tackle those topics well, but Deadlands ain't it, pardner, and was never meant to be. It was always meant to be a spaghetti western with undead and ghosts and giant spiders and so on, hence the time-fuckery. All in all, I think it was probably a good move and it doesn't matter much for my purposes anyway. Let's go! 

Step One: Race. Human, that's easy. 

Step Two: Hindrances. Well, I guess I should come up with a concept. Let's make a prospector. I'm kind of inspired by Tom Waits' character in The Ballad of Buster Scruggs. I want my character to be crotchety, older, but fucking indestructible ("it didn't hit nothing important!"). But as far as Hindrances go, let's say he's Elderly (which is a fucker of a Hindrance, but it does give me extra Skills), Mean (more like "grumpy", but the effect is much the same), and has an Old Ways Oath (I get a free reroll on Spirit rolls, but if I use an item with ghost rock I lose that benefit for a while as the spirits get annoyed).

Step Three: Attributes. Ugh, I'm gonna regret this, but I'm going to leave Agility at d4 so I can put Vigor to d8. The other ones we can leave at d6 for now. Oh, no, wait, I'm gonna spend 2 Hindrance points to bump Smarts to d8. 

Step Four: Skills. Usual SWADE drill, I get a d4 in Athletics, Persuasion, Notice, Common Knowledge, and Stealth, and then 12 more to put anywhere, and then 5 more to put in Smarts-based Skills 'cause I'm experienced. OK THEN. 

Well, obviously I want Shooting. It'll be expensive to put it above d4, but life's like that. Let's put it at d6. I'll put a d4 into Intimidation, Healing, and Riding. I think I want Taunt at d4 (for now), and I want Survival, obviously. I'll go ahead and put that up to d8. So that's...9 spent, three more. Let's put Intimidation, Healing, and Riding up to d6.

OK, now five points to put into Smarts-based Skills. Let's bump Common Knowledge to d6, Notice to d8, buy Occult at d4, and let's buy Knowledge (Trade) at d4 for miner.

Step Five: Derived Statistics. These should be last, why are they here? THEY COULD CHANGE. WHY AM I THE CRAZY ONE. I DON'T EAT SQUIRRELS, DO I? WELL PERHAPS I DO, ONE OR TWO, BUT ahem. My Pace is 5, because I'm old, Parry is 2, Toughness is 6. 

Step Six: Edges. OK, I want something here that'll make me hard to kill. Um...how about Hard to Kill? Oh, wait, it requires Spirit d8. Well, you know what, I still have 2 Hindrance points, so fine, I'll bump Spirit to d8 and take Hard to Kill as my free Edge.

Step Seven: Stuff. UGH FINE. I've got some shabby clothes, a pickaxe, bedroll, camping gear, a rifle, and a pistol. 

Step Eight: Background Details. Yeah, probably need a little more. My guy came out west from somewhere in the south (it's not important and he's not gonna tell you anyway) looking for gold. Ghost rock was unnatural and remains unnatural, it's gonna kill us all and it gives you the tumors if you keep it around you. Anyway. He's managed to find enough here and there to keep himself alive, but he is sure there's a vein of real wealth somewhere just waiting for him. 

His real name is Nabal Grouse, but he wouldn't answer to that name for nothin' now. Folks out here started calling him Goat, on account of a) he climbs on rocks pretty good for an old fella and b) he's ornery. 

(A larger concern would be getting Goat involved in an adventure, but honestly, give him a rumor of gold and he's with ya. He's also available for hire, if you need a wilderness guide, you could do a lot worse.)

Step Nine: Your Worst Nightmare. Goat sometimes dreams that some sumbitch shoots him in the back just as his pickaxe reveals gold. Then he had to watch the guy dig up his gold, kick him into a hole, and ride off as the vultures start to circle as he lays there, immobile. (No slot on the sheet for this, there used to be.)

And that'll do it!

Thursday, October 29, 2026

Movie #990: Catwoman

Catwoman is a rather terrible superhero movie starring Halle Berry, Benjamin Bratt, Sharon Stone, Michael Massee, Byron Mann, Frances Conroy, Lambert Wilson, and Alex Borstein. 

Patience Phillips (Berry) is a perpetually frazzled marketing...artist person working for an evil cosmetics company run by the evil George Hedare (Wilson) and his equally evil wife Lauren (Stone). One night she runs afoul of them doing evil things and gets dumped into the river by their evil henchmen (Massee and Mann), but is brought back to life by a CGI kitty! 

From there she becomes Catwoman, kinda, and the movie can't quite decide if it wants to be a rom-com, a superhero movie, or a...I guess that's it, but they also try to shoehorn in Catwoman's propensity for stealing jewelry. Oh, the actual plot deals with some cosmetics that, used long term, make people sick and make their faces disintegrate...unless you keep using them, in which case it makes your skin like "living marble," to quote Lauren. 

Oh, right, and Patience falls for a cop improbably named Tom Lone (Bratt), who works alone, because that is officially as subtle as this movie gets. 

Look, this movie is famously bad. But as with Pluto Nash, shall we examine it a little and figure out if anything worked? 

The effects are terrible. The CGI is unconvincing, and there a bunch of big swoopy shots over a CGI city that look really terrible. The fight choreography is awful, too jump-cutty, and, again, we get a bunch of CGI of Halle Berry scampering around walls and looking absurd. The script reads like baby's first superhero movie and borrows heavily from better movies, notably The Crow and Batman Returns. 

But like...Halle Berry is a really good actress. She's not good here, but she swings for the goddamn fences and her physical performance is, if not exactly "good", then at least deliberate. She has some chemistry both with Bratt and with Alex Borstein as her wacky best friend, and actually with Sharon Stone, too. The cast in general is talented and that talent comes through, even if the script that they're working with is shiiiiiiit. (And I have a lot of respect for Berry showing up to claim her Razzie award, particularly since the dumpster fire that is this movie was not her fault.)

So the movie is actually kind of weirdly fun to watch, particularly with some kind of fermented libation to hand, which is more than I can say for a lot of the movies Toasty's given me. 

My Grade: D
Rewatch Value: Medium to medium-high, I think?

Next up: Stir of Echoes

Wednesday, October 28, 2026

Character Creation: Elder Mythos

Ia, ia, etc.

The Game: Elder Mythos
The Publisher: Mana Project Studio
Degree of Familiarity: None
Books Required: Just the one


So, cards on the table: I was really disappointed in this game. It was billed as an RPG when you all play beings from Mythos vying to destroy/control the world, kind of like an RPG version of Cthulhu Wars, and that's more or less what it is, but there's no character creation system per se. 

So what's it doing here, then? Well, there is a chargen system, kinda-sorta, it's just that you're not creating a character, you're choosing one and then doing a little point allocation. I decided to do the chargen post because a) I read the book, I might as well and b) I've done games with less chargen to them. 

But the game bums me out a little. It's got amazing production values, but literally half the book is write-ups of the different gods and there's no example of play, and I would really like one, partially because the game is...not confusingly written, I think, but just not terribly clear? Like, the system is your basic Blades-ish "roll some dice and take the highest" affair, and that's fine, but:


"At least a 6", to me, suggests that you are adding something up and need to total six or more. A "die showing six" or "a result of six" or "if at least one die rolls a 6" would all make more sense. Am I nitpicking? I am, a little, but as I've said before, games are technical manuals and therefore clarity is really important. And there are definitely some things that an example of play would have clarified.

(Also, they said on the Kickstarter that the game would include rules for creating one's own Eldritch Horror and if they're in there I totally missed 'em, and that makes me grouchy.)

Well, anyway, let's create choose a character. Basically I just pick one and then allocate four points amongst the four stats. I love time shenanigans, so I'm gonna pick Yog-Sothoth (I actually used ol' Yoggy in a game of Trail of Cthulhu I ran many years ago, but I don't remember if I did a write-up and I ain't going poking around to look). 

Anyway, my three Traits are Lurker/Fickle/Contingent. I get +2 Madness and then four points to divide up amongst Fear, Madness, Dream, and Violence. I can leave these at 0 if I want; is there a maximum? Yep, maximum of 4. OK, I'll put two of my points into Madness and max it out, and then I'll put one each into Fear and Dream. 

My Power is Master of Time and Space, which lets me screw with Initiative order. And...other than writing in my Manifestations, Design, and Greater Design, that's it! Yog-Sothoth is the gate. Yog-Sothoth knows the gate. 

Tuesday, October 27, 2026

Movie #989: Stonehearst Asylum

Stonehearst Asylum is a Gothic thriller loosely based on a story by Edgar Allan Poe and starring Jessica Biel, Jim Sturgess, Ben Kingsley, Michael Caine, David Thewlis, Sophie Kennedy Clark, Brendan Gleeson, and Sophie Kennedy Clark. 

Edward Newgate (Sturgess) is a young doctor fresh out of Oxford who travels to the titular Stonehearst Asylum to start his practice. He finds that the doctor in charge, Silas Lamb (Kingsley), doesn't go in for the barbaric practices common to "asylum medicine" - his patients are allowed to indulge their delusions, and everything seems to be running more or less well. There are a couple of oddities, of course; they are served squirrel for dinner (with some offhand mention of problems with supply lines), and the groundskeeper Mickey Finn (Thewlis) is openly hostile and creepy. He tries to drug Newgate, but Eliza Graves (Biel), a patient with whom Newgate is already becoming smitten (ethical no-no, doc) prevents him and tries to get him to leave.

Newgate very quickly discovers what's happening here - Lamb isn't the doctor in charge. He was a doctor in the army, but went nuts and was committed. The staff of the asylum, including the actual administrator, Doctor Salt (Caine) are locked in the basement, slowly starving. Newgate ponders letting them out, but they're sure Lamb and his lunatics would kill them, and they're too weak to make a run for it. So Newgate keeps up the ruse as long as he can, but shit starts going off the rails really quickly because Lamb is in no way qualified to run this place and also they out of food. 

This all culminates in a party on New Year's Eve where Mickey murders a young patient (Clark), Newgate attempts to drug everyone and fails, Lamb tries to electroshock Newgate into submission as he's done to Salt but Newgate breaks through to him by reminding him of what he did to get here (namely, he suffered a break and shot a bunch of wounded soldiers). Mickey gets set on fire and Newgate and Eliza flee, and twist, Newgate isn't Newgate. He was a patient that saw Eliza being tortured (sorry, "treated") by the actual Newgate (Gleeson) and came to Stonehearst to rescue her.

So, first off, holy shit this cast. Jim Sturgess holds his own, which is impressive. Ben Kingsley is really good at playing someone who's more dangerous than they seem at first (see also Sexy Beast), and I'm always impressed at David Thewlis' range, because he's portrayed some very kind, sympathetic people and then there's this fucker. The script...well, it's not bad. I think it kind of overuses the "lunatics are running the asylum" and it's by no means a new trope (hell, Don't Look in the Basement! did it and uses a bunch of the exact same beats), and the second act drags a bit. The asylum doesn't quite establish that sense of place I love so much, and honestly the movie seems sort of unfocused in general.

That said, it's worth the watch just for the cast, and for the line "What, and make a miserable man out of a perfectly happy horse?"

My Grade: B-
Rewatch Value: Medium-low

Next up: Catwoman

D&D: North or West?

Recall that last time, our heroes defeated a dao, though there were some casualties amongst the citizenry. They retire to the Sapphire and bed down, and in the morning, they split up to do some investigation.

Aisling, Clara, and Fearg go to the Bard's College and ask about the chalices they found in the ruined city. The bard master they speak with doesn't know anything about the chalices (other than that they're dwarf-made, so maybe they need to talk to an artificer) and doesn't recognize the names inscribed on the bottom. When Aisling tells him where the city was that they found them, however, he remembers a song - "The Ballad of Dabhag the Dagger." The ballad tells the story of the titular adventurer, a fighter and sorcerer, who had "came from the town of shadow" and had various adventures before "he walked into the fire and was never seen again." Aisling finds the tune familiar, but had never heard the song, and the bard says that it's kind of an obscure one, granted. It's also widely believed to be an a mishmash of other stories. That is, "Dabhag the Dagger" might not have been a real adventurer, just an amalgam of others. He thought of the song, though, because it came out of the area that they indicated.

The three of them hit the College's historical records and don't find much of anything on Dabhag, or on Mealla, for that matter. But Aisling does find a couple of scattered references to a city called Scáth...which means "shadow." The references are often devoid of context and there's no description of the city, no records of its founding or destruction, they're just tucked away in some other documents. Very weird. 

Meanwhile, Zook, Keenan, and Dara grudgingly go back to the Wizard's College and ask to speak to an artificer to learn about the box that the dao was being held in. They are shown to a separate building (if someone has a habit of working with explosives, it's better to give them a little space) and mean Mac, a grubby human with a prosthetic hand and some truly weird-looking goggles. He's friendly enough, though, and examines the box, prodding it, scraping it...licking it. (Dara: "Did he just..." Zook: "Lick the science, yeah.") 

He's able to determine that the materials this box is made from are indeed from this plane of existence (which was a worry the characters had). They're more commonly found in the western badlands. But he's never seen this method of working them and never this alloy before. He does confirm there's no lingering magic on the box - apart from its unique metallurgy, it's just a box. Zook offers to give him a part of the box and he pops the hinges and takes the lid. 

The heroes meet back up and share their findings, and troop back to the Wizard's College to show Mac the chalices. They find him outside his workshop as foul-smelling smoke pours out the windows ("Still experimenting with this metal!"), but he's fine, this happens. He looks at the chalices and is able to confirm that they aren't magical, they're dwarven made, and there should be a fourth one - for whatever reason, dwarves make stuff like this in even numbers. He also tells them that while the chalices are dwarf-made, the etchings on the bottoms were made later and with human tools (also if dwarves had written the inscription, it would be in dwarven script, and this isn't). He dates them at about a century, but the writing is more recent, though he can't be sure exactly when. 

They tell him about the ruined city (potentially the city of Scáth, though he's never heard of it) and how it was destroyed. He says that a powerful enough wizard could call down a meteor swarm, but that's serious magic. There usually aren't many wizards at any one time that can do it. 

Aisling suggests heading to the College's library to look for more information on the mysterious city of Scáth and on any known wizards who might have destroyed it, and with the help of Zook and Fearg, they find a few more references. But it's the same as before - scattered, isolated, and often in boring stuff like census reports. They find a few names of wizards that might have been able to destroy the city with a meteor spell, but the problem is that when you allow for the extended lifespans of non-humans, the range of dates becomes unmanageable. Zook jots down a list of names, though, just so they can look out for them.

The heroes retire to the Sapphire to discuss their next moves. They could go north and try to find more information about Mealla and the chalices, but "the north" is a pretty big area to search and they don't have much of a lead. Aisling notes that if they go to her home city of Cnoc, they might learn more, given the bardic tradition there, but that's way north (likewise, going to the dwarven strongholds would involve going all the way to the northern border of Abhaile). 

But Aindriú is going to be heading out of town and going west soon, trying to find his sister's grave. He's offered the heroes a place in his caravan if they want to travel with him, and Clara is happy to have the snacks. Keenan, likewise, loves traveling in comfort, and Dara says that she'd like to help Aindriú bring this quest to a close. Fearg, while he's not a fan of traveling with the caravan (too soft for his tastes), does agree that it seems the right thing to do to see this through. Zook also wants to know what exactly the story was with Aindriú's sister, Ailís, because the descriptions of her magic aren't anything he recognizes. 

In the end, they decide to go with the caravan for now, and then maybe break north after they've helped Aindriú find the grave. They spend a few days in Cian stocking up and taking advantage of Aindriú's generosity - Aisling buys some magic bolts for her crossbow, and spends some time every day identify the potions they stole from the Night Hag (back here). Most of them have some beneficial effect and a baleful one as well - the one labeled "Torment," for instance, turns the drinker invisible but makes everyone around them forget they were ever there. She holds onto them; most of them have a benefit that balances the detriment, and the ones that don't, well, maybe they're good for pranks. Zook spends some time inscribe spells into his book, and Dara toys with the notion of buying some magical armor, but in the end, sticks with her wooden weave. 

Aindriú lays out some money and buys a new carriage for the adventurers' use, complete with a bed for Maeve. The caravan gets on the road, and heads west!

Their travels for a week or two aren't noteworthy. They pass through various towns and villages, they share stories, and they ask about potential gravesites. But then, at a market, someone points them to the town of Amber Lake. They arrive at this place near sunset the next day, traveling through wheat fields, and a teenaged boy runs up to them, excited. He introduces himself as Colla, and asks if they'd like to talk to the Cranespeaker. Aisling says they would and he runs off to the village. (None of the adventurers have ever heard of a "Cranespeaker" but it sounds important; Zook opines that it's probably a druid.)

They approach the town and see where it got its name - there's a lake, and as the sun sets in the west the water turns golden. Colla returns, out of breath, and leads them down into the village (Aindriú lets the adventurers go on ahead and instead gets the caravan situated), and to a well-appointed house on the edge of the lake. They knock and area admitted by a very old lady who introduces herself as Míde. 

Míde greets them all, but greets Dara in Druidic. She explains that the village fishes the lake, but they need to be careful not to overdo it. The cranes know when to stop fishing, and so the position of Cranespeaker is always held by a druid who acts as a leader and decision-maker for certain aspects of the village.

"But the time is coming for my waters to turn gold," she says "so it's time to pass the title. There are two candidates - Colm is an older fellow and very meticulous and clever, Sibéal is young and precocious and an amazing swimmer." The heroes ask how the decision is made, and Míde says ultimately it's up to her, but she takes the interests and opinions of the village into account. And the cranes, but cranes aren't terribly bright. They're good at counting fish, but she wouldn't discuss philosophy with them. She does says, however, that she'd be interested in knowing Dara's thoughts if she has time to meet the candidates.

The adventurers explain why they're here, and Míde says she does know where Ailís' grave is, so Zook rides off to fetch Aindriú. When he returns, Míde gets comfortable, taps her stick on the floor, and casts a spell. The walls and roof of her hut vanish and are replaced with a thriving but small village, clearly not Amber Lake. 

"This is Daldy," she says, "where I was born. One day she arrived," Ailís appears, red hair, metal armor, a sword at her side, and a presence that, even in an illusion, is undeniably. What her brother wished for, Ailís was born with. For his part, Aindriú gasps and covers his mouth. 

Míde continues. "She came to the village searching for her former comrade, Onóra." Another woman appears in the illusion, slim, slight, wearing a black cloak and carrying the familiar box under her arm. "She said that Onóra had stolen the box and fled with it, and Ailís felt it was too dangerous to possess. She was right."

In the illusion, Onóra opens the box and the dao appears. "I wish for my enemies to be destroyed!" The dao gives its booming laugh and reaches a hand to the sky, and horrible winged creatures appear, swooping down and attacking the village.

Míde doesn't depict the slaughter in illusion, but she does show Ailís laying about with her sword, driving the creatures back with magic that the heroes have never seen, and eventually winning the day...but mortally wounded in the process. The illusion fades, and Aindriú quietly weeps. Zook squeezes his hand reassuringly. 

"Onóra fled during the battle," Míde says. "The box was left behind, and Ailís was buried and given a headstone. The villagers gathered her possessions, including the box, and sent them with a messenger to you-" Ainrdriú nods - "but our village was destroyed beyond repair. So we traveled here, and our village and Amber Lake merged, and we taught them to farm wheat and make bread and beer, and they taught us to herd sheep and goats and to make cheese. And we have thrived since."

Zook quietly opines that Ailís would probably be very happy to know that the villagers have carried on and found a new life, and Aindriú agrees. He asks the adventurers to go with him to the gravesite tomorrow - he doesn't want to bring the caravan, but he does want them to come along. Obviously, they agree. 

The village provides food and music, and the adventurers have bread and beer and cheese and fish and whatever food Aindriú has. Dara talks with Colm and Sibéal, and challenges the latter to a race across the lake. We fade out on them swimming for the shore, the gold fading to dark, and cranes flying overhead, watching them swim.