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/qst/ - Quests

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Please be gentle it's my first time doing something like this.

As the last member of any great magic clan, you were expected to restore it into its former glory. Alas, the ancient texts explaining the use of your unique power have been lost, all mentors gone from the incident that made you the final man or hunted down by old enemies.

Born into a branch family of the clan you displayed great talent since young, however after the disaster two old servants who owed many a favor to your late grandfather started taking care of you at about age 8, eventually leaving the world of magic behind and leading the life of a common human, at least until you joined that shabby dojo deep inside an alley.

Run by a drunkard whose drinking was only surpassed by his ability with a sword, you quickly developed an interest in the path of the blade, which grew stronger as you studied with your other two fellow pupils.

Now you have left your home in order to hone your sword, your trip leading you to the depths of South Sudan's forests. The calls of a group of monkeys wakes you up from your short sleep and startled you look around.

"Why the hell was I here again?" is the first thing you ask yourself.

>Someone found leads on your missing teacher
>You're here to deal with a particular group of human traffickers

Your clan's ability was
>Control over darkness
>The radiant soul flame

No player limit if you want to join in submit the main character's name along with the other choices!

>Rolls are d20, write ins allowed after this entry.
Rolled 13 (1d20)

>>Someone found leads on your missing teacher
>The radiant soul flame
Our teacher, although gone, burns brightly.

>No player limit if you want to join in submit the main character's name along with the other choices!
Is this multiplayer or singleplayer? Each of these choices are for a new character?
Singleplayer, although if I'll keep names provided at hand as I tend to be bad at coming up with them.
>Someone found leads on your missing teacher

>>Control over darkness

Name: Theodore Roche
>Someone found leads on your missing teacher

>Control over darkness

Name: Escartes Ihagen
Right... You're looking for the old man that just up and left one day, he's always been impossible to deal with anyway so you had half expected this sort of thing to happen at some point. What sprung you into action instead was that he disappeared along with the smarter one of the three pupils. You and your rival immediately started looking for them to no avail because no matter what part of the city you went to nobody knew about this man.

He always refered
>>You're here to deal with a particular group of human traffickers
>>The radiant soul flame
>>Mortimer Dynamite
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To himself in the third person and never gave a name out, only after you asked the old couple acting as your guardians did you get an inkling of his identity. Whoever he is, he likely has enough enemies to hide his true name.

They were kind enough to get in contact with an old acquaintance who turned up with rather doubtful information, he had been seen in South Sudan a couple months after disappearing, leaving civilization again shortly after. At least something turned up, and since money is not an issue for the only heir it took longer for them to convey this information than it took you to book a plane to ethiopia, after which you entered the country through car.
This was something your old man taught you "When dealing with the magical never arrive at your destination directly", you've never really quite understood why but if it's to save yourself trouble then might as well do it.

Before leaving, that fishy old man of an acquaintance gave you a piece of paper containing coordinates, which lead deep into the mountains.
It's only now, at five 'o clock in the morning that you realize coming here with just those two bits of data on the damn drunk might have not been the best idea.

Even worse you can hear people walking near, you had been sleeping near a small path and anyone with well functioning enough eyes can see the makeshift camp you made.

>grab the sleeping bag and run for it, at best they'll think it was a monkey.
>get into the sleeping bag and prepare your sword
roll 1d20
>>grab the sleeping bag and run for it, at best they'll think it was a monkey.
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By the way, seeing how my fuckup of a post got sent before the post tying up the score, we'll go with control over darkness if no one else breaks it.
Rolled 17 (1d20)

>Someone found leads on your missing teacher
>Control over darkness
Alright, it's your fault for not paying attention where you were going to crash last night, you put the sleeping bag over your shoulder in a beat, reach for the hiking backpack resting on the tree next to you and shove yourself through the dense foliage, hoping the rustling of leaves and the creaking of branches drowns out the synthetic fiber's sound. The presences grow fainter and all you can hear is the forest once again... It seems that you're safe, at least for now.

How long has it been since you ran for your life like this? Probably was that one time where you hid the master's brand new vodka bottle behind a bookshelf and he found out a week later. God that was a horrifying night for sure.

>continue towards the specified coordinates, this time through the forest instead of the trail.
>sneak back towards the trail, you might be able to find out who it was.
>write in
>Sneak back

And support for Escartes Ihagen
It's pretty late (early?) over here so I'm going to lay down for a bit, thank you for participating so far.
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(That was a little longer than I originally planned.)

You decide to return to the trail and try to find out who just passed by, you take both bags and place them inside a more convenient "Bag of holding" you took from a rookie magician, "how's that kid doing? you wonder for a second since last timen you saw him he had run off with a bottle of booze in each hand and a leather bag full of peanuts instead of his own. This cashmere purse, although small, takes objects that make contact with its inner side and sends them to a pocket outside space where time doesn't have an effect on whatever is stored.

Taking things out is a little tricky however, as one has to visualize the object and pinpoint its location within said pocket, this bag is relatively small, its capacity about that of a 3 square meter room and a height of about two meters, if there's anything to complain about then it would be the fact it's a purse which coupled with one of the swords in your back might give people the wrong idea, but hey, at least you got it for free.

Immediately after making sure the purse is secured inside your shirt, you weave through the vegetation without raising a sound and in no time the burnt firewood from last night enters your sight, just a few more steps uphill until you're back on the path.

You hadn't looked at it last night but it's a thin walkway, simply molded from having people step on it for what might be years, and on the moist soil you spot two sets of footprints that continue upward towards the mountain, they both seem to be...heels? Who the hell would wear heels here out of all places?

Anyway, the real issue here is they might be heading towards your destination.

>Go uphill following the trail (roll 1d20)
>Go up through the forest (roll 2d20)
>>Go up through the forest (roll 2d20)
Rolled 6, 19 = 25 (2d20)

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You pass the road in one short hop and enter the rich green backs As expected, the ascent in this dense greenery is hard, but not the walk itself, rather if you wanted too the one kilometer distance between the base and the top can be covered in a minute or so, but you'd be making too much noise. Following the path is also an option as you have a spare set of shoes but the size will remain the same, can't have anyone finding out you're around.

Plus, you kind of want to get ahead of those who just passed by, the desire to know just who in their right mind would use heels in a tropical forest.

Your path is straight as an arrow and the trail snakes around in a rather pronounced way, you keep looking around but can't spot anyone. Placing an arm on a rotten tree for support causes it to snap, looks like it was already at its limit, the tree falls and you stand there, mouth gaping like an idiot for a couple seconds.

Suddenly the hair in the back of your neck stands on end and you throw yourself to the ground, immediately after you can hear the air breaking and a bolt of light passes right above your head.

Lightning eh? Of course, there's no way anyone normal would be here, you roll around to get behind another tree and kneel down, the rustling sound of the leaves is slow and very quiet. Whoever shot just now is looking for you.

In your kneeling position you can

>draw the katana and wait for them to come closer (roll 2d20)
>draw the jian and wait for them to come closer (roll 2d20)
>race off (pick a direction roll 3d20)
Rolled 13, 15 = 28 (2d20)

>>draw the katana and wait for them to come closer (roll 2d20)
Not bad, writing in a bit.
I forgot to add, if there's any questions feel free to ask!
Mana is being activated as the presence gets closer, three steps until they're in range of either sword. Today so happens to be a katana day, and feeling a little spicy you decide to remove the its saya off your back and hold it with your left hand. Two steps, the presence's face and right side of the hip area become slightly blurry as lightning crackles and the shadows of many leaves and vines are projected in all directions.
Just a bit more, it almost feels like you're practicing iaido all over again.

Back then your guardians had been looking at that practice day, right now someone on the other side of the tree wants to put a bullet in your head. Yeah, the former sure is harder on your mind than the later.

A step falls down.
A branch snaps

>Rolled 13
You circle around the tree as the blade makes its way out of its sheathe, slicing into the distortion on the waist. metal meets metal and your sword is now buried into some sort of firearm, you feel a slight shock run trough your body and swiftly pull out.

>Rolled 15
The other firearm's barrel is aimed towards your shoulder, but your left arm's already in movement. The saya pushes the thin arm away with force, buying time for you to get behind them. You notice the person is at least a head shorter than you, a pair of twintails coming from either side and has long hair covering at least down to the kneepits.

>Cut them down with an overhead swing
>Knock them out with the katana's pommel.
>>Knock them out with the katana's pommel.
You let go of the saya and adjust the grip on your sword for a two handed swing, with the blade almost touching your own back, it might have enough force to split them open to the torso if you don't use a little of sword intent. At the last moment before the swing you have a change of heart and switch the direction of your attack.

Now the sword goes to the side and over their shoulder with the intention to cut the empty air directly in front of them, the movement stops halfway as the person's neck is in the way of your swing and you feel a strong resistance from the otherwise skinny figure for a second and then they fall over unconscious.

Turning over the body you realize it's a woman, younger than you as well. Her outfit for a lack of a better term would be a competition swimsuit of sorts, it has frills and parts that change into a fishnet design with a different, material for no real reason, around the waist area there's nothing, you can even see a bit of milky white skin. She's wearing boots that reach up to her thighs and expose fish-net areas in the same fashion as the rest of her "clothes". It's the kind of outfit that makes you wonder where your eyes should be.

First things first you secure her guns and pull the hiking backpack out of the holding bag to look for a rope and some bandages, you then prop her against the tree and circle it around with the rope before tying her hands up, circling the bandages around her head four or five times for a makeshift blindfold. Now you can take it easy.

A satisfied smile floats on your face as you stand in front of a small lady tied up in a skimpy outfit... wait, what?

>Leave her and continue
>Wake her up and question her (write in's welcome)
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well someone forgot about the name field
>>Wake her up and question her (write in's welcome)
Strip her naked, maybe she has some hidden guns under her clothes
You check the frilly areas of her arms and hips, failing to find anything of interest, let alone a weapon. There's a couple of places where she could conceal them but you're not too sure about checking them. For curiosity's sake you check the nape of her neck with your hand and find what feels like a zipper, you don't think too much about anything as it makes its way down to the center of her back and stops, looks like that's as far as it will come down. The choker area tilts forward a little and you grab it, pulling down the leotard piece all the way down to her feet.

Her figure is exactly what you saw when you rolled her around, the only detail worth noting would be the contrast of the tanned and white skin on her torso. What were you even expecting? you don't know.

Next you grab your sword and start tapping on her collarbone with its blunt side, the force of your tapping is low but the rythm is fast, it takes little over a minute before she wakes up with an enticing, agonized gasp. She moves her head to look around, but as the bandages are robbing her of sight she tries to move her arms, failing to do so, her breathing gets faster and confusion is visible in her body language.

>What's your name?
>Who do you work for?
>Why would you wear something like this?

Her weapons are now in your possession, one of them is busted and from the other you might get two shots a day at best. Your mana capacity is very low as a result of not continuing your studies when you were young.
>>>What's your name?
>>Who do you work for?
>>Why would you wear something like this?
She tries to voice her doubts but you cut her off before she can say a single word. Your voice carries over hers and you let out the most important question.

"Why would you wear this kind of thing? It doesn't even have pockets."

"None of your business, why did you tak-"

"You're still in one piece because you seem smart, you can call me Escartes. Now answer me what's your name and affiliation?" you say, trying to sound as menacing as possible as you press the side of your katana against her exposed waist.

"Hmph, as if I'd speak to some lowlife...what now? are you going to have your way with me?" Says the girl, a breeze runs through the gap the large tree left after it fell, quite the luxury in the stuffy and humid heat of the forest, her skin gets goosebumps and so does yours. There's sweat running down her body too.

There's been something heavy settled in the back of your throat for a while, but swallowing it now will mark your demise, you can't allow yourself having her catch onto your nervousness. Part of the reason for the blinfold is this, the other... well, you're still not sure where you're supposed to look at, even less now that she's naked, so it's best no one notices you decided to look everywhere.

"Well... that's always an option but I have better ways to deal with you." you say, your right index finger circling around her navel.

>The fast way (roll 1d20)
>The slow way (roll 1d20)
>write in
Rolled 2 (1d20)

>The slow way (roll 1d20)
Rolled 7 (1d20)

>The fast way (roll 1d20)
Get naked as well
Yikes, waiting for a tiebreaker.
Rolled 9 (1d20)

>The slow way
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The information on your teacher dates to a couple months back, if he's still here he won't be going anywhere for a while, anyway, you stop playing around with her belly and walk back to the backpack, this time shuffling through cans and plastic zipper bags with food to look for a small box, some matches and a little bit of duct tape.

In this small box there is a neelde, a couple small spools of thread, twenty-odd pins, a seam ripper and measuring tape; From it you grab twelve pins and the needle, then walk back to the girl.

"Let's see how long you can keep the stubborn act up" you say to her, she spits hoping to hit your face but it misses by a large margin. You pay her no mind and make a small fire nearby.
Then you start placing each pin on a diferent part of her body.

Just outside the left armpit, at an angle in both of her thumb toes, right kneecap and kneepit, navel, wrists, tip of the nose and nape of the neck. At least you remembered their positions right.

This is a method passed down by a temple of monks in the tibet, it's original purpose is that of harmonizing the two supernatural energies a person's body holds: Mana and Chi, that was until someone figured out you could swap the positions of two needles and make said energies conflict with eachother, causing a constant stinging pain until removed. For good measure however, you slide her into the sleeping bag and put your scarf around her face, if the nagging pain won't do it then the heat sure will.

Placing the tiny fabric spring roll in a corner of your mind you take out some of the zipper bags, a pot, a bottle of water and sit next to the fireplace, it's time for a meal.

>Roll 1d20

Chi is the energy of life in all living beings, an equivalent for martial artists and swordsmen to the mana mages use to alter the laws of the world and bring about the mysteries of magic, as a swordsman your chi takes on different atributes from normal, becoming Sword Intent; Allowing your sword to be sharper and cut things at a distance if used properly. 1As the swordsman grows stronger so will their sword intent.

Right now your sword intent is high enough for you to cut through steel but not high enough for ranged attacks and more magical things
Rolled 10 (1d20)

>Roll 1d20
How good the soup is?
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When the water boils you put some noodles from a bag into it and then mix around the soup powder when they're soft enough for some instant soup with crackers and an orange. The soup is pretty damn good for being instant, but it doesn't compare to what granny used to make.

>Rolled 10 (1d20)
Just as you had expected, after ten minutes her breathing is really rough and her teeth are clenched.

"Wanna talk yet, flattie?" you ask her as if it isn't your problem.

"Go die! I won't lose to something like this!" she answers, although you can tell it's a blatant lie.

Fine then, she can cook up a bit longer. You sit down again and read a small book you had brought with you; a sword manual from an ancient chinese school describing the different movements and how to circulate chi through one's body in order to perform them.

Before long you can hear her screaming desperately and now completely willing to speak up.

She goes by mizuki, although a first name isn't something you could get out of her.

Apparently her and her senior are part of an organization made up of ninjas, the costume makes a bit more sense now, but still, why that kind of design?

She's currently working for a research facility in this mountain.

>Inquire about the facility
>Release her
>Feed her
>Write in
>Inquire about the facility
>Feed her
Make airplane sounds while feeding her
If planes are not a thing, use trains
Yeah there's planes, the existence magic is known to be a thing since 2012 but still separated from the mundane by things like arrays and magical artifacts that duplicate space in the gap between planes of reality.

"Alright, open up" you say, getting a spoonful of soup ready "I'm gonna put it in your mouth"

"W-what are you going to do? you beast!" she stammers, blushing and struggling inside the sleeping bag. Right, her eyes are still covered, but your hands are busy so you'll take it after this one.

"Here comes the plaaane open wide!" Now you're making plane sounds while you draw nearer to her as what she thinks you'll do is obvious, if anything that would be the normal course of things given you stripped her naked in the first place. but anyway, doing the best you can to supress your laughter from leaking out you gently inser the spoon into her mouth.

She chokes a bit on the soup and you hit your limit, taking off the bandages over her eyes while laughing.

"What were you expecting?" you ask, digging into the pot and scooping one spoonful of soup after the other, relentlessly feeding her.


Fair enough, if you weren't dead in the middle of an african country you'd be putting another kind of soup in her mouth. "Look, it's not my fault your mind is in the gutter, miss skintight bodysuit...anyway what's this about a research facility?"

"You're this close and don't know about it?" she replies while chewing on noodles, she looks kinda cute with her cheeks stuffed, and it seems like someone enjoys the COCK flavored mix more than you do.
"We weren't given much information aside what areas we shouldn't walk into, but from the people who have been coming and going it's most likely
related to human experimentation"

"I see, I was simply told to come here by someone else, have you come across or seen a man in his 50s, mostly white hair, some streaks of black here and there?" you inquire "He carries two swords on his waist too, anything like that?"

The girl, Mizuki ponders for a moment and answers "Yeah, on our first week a guy like that popped up and no one really questioned him, the boss seemed specially nervous around him... how are you related to that person?

"Did you forget who's asking the questions here?" you smack the top of her head with your spoon "How long did he stay?"

"Not even a day, he was taken into one our off-limits area and he came out an hour or so later, he simply jumped on top of a sword and flew away." Why is this girl getting teary eyed from a spoon when she lasted a relatively long time under the spiritual disruption torture? No, more importantly if what she said is right and the old man just flew away that means he's strong,
REALLY strong.

>Try to strike a deal to sneak in (roll 1d20)
>Force her to sneak you in (roll 1d20)
>write in
Rolled 13 (1d20)

>>Try to strike a deal to sneak in (roll 1d20)
I'll be your boyfriend if you sneak me in
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"How secret is this place by the way? Enough to warrant executions or do you people take prisioners?" You ask as you rinse the pot with the remaining water and tidy the girl's face.

"We've taken a couple people already, there's a rat inside and we're trying to get their identity from those guys, don't tell me you want to get in?" She doesn't seem surprised in the least, well, not like she would be after hearing your mentor's description.

"Yeah, how about this, you get me in and I'll be your boyfriend, sounds great doesn't it?" Your flash her your freshest smile, wink included.

"How serious is that offer?" She's glaring at you, is she trying to read into you? Poor girl.

"About as serious as you want it to be, I'll make you another offer then." You follow up "Get me in, you get your clothes and guns back, and I'll fix the mess I made with the pins."

It takes her a while to think things through, time you use to put everything back in its place and send the backpack into the holding bag. "Fine... but I won't be responsible for what happens to you once you're in the cell." Looks like the conditions are clear, sounds good enough you think.

You undo the rope binding her hands and then turn around, throwing her the leotard. "Get dressed, we're entering the moment the sun sets". Pretending to sheathe your katana back in you instead peep through the reflection on the blade as she suits up.

Whatever these swords are made of, you're thankful to your master for giving them to you.

>>Mizuki has joined your party until you reach the prisioner's cell inside the research facility, but she is unable to engage in combat.
Once she's all set you ask her about the equipment the security guards have, her answer is a bit concering so you have her follow you, but not before putting the sleeping bag and the rope back into the holding bag. It now occurs to you that she was sweating inside that thing for about an hour, but you'll worry about that later.

You look up at the sky, the sun's position tells you it's about 7 AM, the reason you told her sunset is because now there are two things you have to do, one is head back into the nearest town to get in contact with one of the few people you can trust, DEALER. This guy's ability to hook you up with things you need is as good as the amount you're willing to pay him, even more surprising is that what you pay for makes its way to you in a couple hours at most, you're not sure how he does it but it's most likely something you're better off not knowing about. The other reason is, in that town there's a building that piqued your interest, it reeks of magic and there's 12 cars going in and out every three days. You have enough time to do both and some to spare.

>get in contact with DEALER
>check out the suspicious building
>write in
>>get in contact with DEALER
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About an hour later you're back in town, you enter through the forest near a transmission tower rather than the road, you pull out an old cellphone with only one contact in it, which you dial to. After a couple rings the call goes through and you're asked for a password, which you provide while making sure Mizuki doesn't hear, the person at the other side of the call passes you to a different line, a process that's repeated a couple times, the password changing every line. When you're finally past the line switching you hear the voice of a mature man.

"Hey hey if it ain't the lil' Ihagen prince, how's it going? I thought you'd have kicked the bucket already." His voice is really deep and it has a strong slavic accent attached to it, nobody really knows how he looks or if his accent is even real to begin with, but that's beside the point.

"Dynamite, I'm not paying $50 a minute to chitchat" You raise the tone of your voice just enough so the lady can hear you. "I need two liters of corrupted holy water, five hundred grams of mandragora powder, a native american totem no bigger than two meters, a kiseru, a piece of 3x3 meters of red papyrus, one ox hair brush, fifteen modified M67 grenades, replace the Comp B with the Morales' wyvern freezing compound, give me a second" You pause to take a breather and ask Mizuki a question "Give me a flavor"

She absentmindedly replies with a question "Strawberry?" you place the phone back in your ear and tell Dynamite "And two ice cream cones, one strawberry the other vanilla, delivery point one kilometer south from here in three hours."

"I get most of it but why the totem? And strawberry ice cream? Really? Who do you take me for, a delivery boy?" He sounds really irritated, but you know the only problem in that list is the ice cream cones.

"Look Morty, if I pay you to be my delivery boy then you're my delivery boy, I'm not paying to give you answers so don't ask me questions, and if the cones arrive here with as much as a single drip I'm not paying you for the totem." You hang up before getting a reply.
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"Whoops I forgot something..." You go through the same process and after you get through to Dynamite he tries to rebuke, but your tongue is faster "Add something that covers more than a skintight bodysuit but less than a nun's habit, 155 76 56 82, everything else remains the same."

Now then, onto the building.

It's on the same side of town as the tower so all you have to do is get back into the forest and border north for a couple minutes before it appears in front of you.

The five story edification has seen better days, most windows are painted black or brown to keep prying eyes outside, and the places where the glass has been broken are covered with plastic bags, the treeline is close enough to the building that you can jump from a thick branch into the second floor. You switch the positions of the katana and the jian, the former now on your back and the later on your waist. You order Mizuki to stand by deeper into the forest.

As you draw near to it you can feel presences numbering on the thirties, mages and martial artists are mixed, scattered and grouped across different rooms in every floor. You do a last minute routine check on your gear before going in.

>Enter through the first floor's back entrance (roll 3d20)
>Jump in from the second floor (roll 1d20)
Rolled 9, 20, 10 = 39 (3d20)

>>Enter through the first floor's back entrance (roll 3d20)
Fukken nice, I'll write in hopefully not 12 hours when I wake up.
You walk up to the door and gently twist the old, rusty doorknob. It clacks and the door slowly opens, not much creaking as it moves to your surprise. There's a half asleep man to your right, whose you throat you slice in a single motion with your jian, you make sure he's dead and then walk past by the corpse, heading deeper into the building, it seems like that was the kitchen, there's a small passage from where two men walking out of a room take notice of you, rather late however, as one's throat has been run through.

The second man tries to fall back, judging from his dressing code it's a magician you'd be dealing with, if your other sword wasn't in course to his face, pinning his head into the wall. Looks like you'll have to pay Morty for a shorter sword and some large throwing knives next time you infiltrate a building, these halls are too narrow for your usual weapons to perform their best,

Once you retrieve your jian and follow the hall, the main lobby comes into view, it's really wide and spacious, too empty even, it looks like a part of it was dug out to make way into the basement, from which a pugnent mix of aromas escapes.

>Find out what's going on in the basement
>Explore the other floor (roll 4d20)
>>Find out what's going on in the basement
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You've taken care of the people in the first floor, nobody in the other floors has taken notice of what happened. If these three are anything to go by then you won't have a hard time dealing with the rest.

You think for a moment that going up and slicing up the rest shouldn't take too long, but the concrete path cutting across the old wooden floor that leads into a concrete staircase is too much to let go by unchecked. It's decided then, you have to fnd out what's going on in the basement, or else it might prove to be a problem later.

Circling around the fence and tiptoeing down the stayrs you make your way into a spacious room, the floor, walls and ceiling are paved with white and large ceramic tiles, there's about ten steel tables fixed to the floor, some of them with shackles and at the very end of the room you can see a brown liquid bubbling.

The smell of acid hits you in the face and your eyes water a little, the smell of blood makes your stomach turn about and then there's an undescribable stench that you're sure you'll find about soon. There's three people working in this floor, two men and a woman, all dressed with a standard butcher uniform, hair cover included, their hands chopping up flesh into smaller pieces which they put into buckets dripping with blood.

You shouldn't have looked at the buckets, inside there's a mix of blood limbs and organs, which they lift and then dump into the dark pool in the back, where they float for a moment before disappearing and never emerge again. The worker's eyes have no focus, yet they continue to cut apart without pause, their hands are full of blisters and cuts, some parts festering already; They might be under the influence of a domination spell, as they haven't even noticed you standing next to them. This morning's soup is practically at the back of your tongue by now, but you force it back down, wiping away the tears in your eyes.

Your sword runs through each one, and they simply fall like marionettes who had their strings cut. It's now that you can feel a faint presence in one of the tables to the east, where there's an emaciated boy, you get closer and place your hand on his chest that's barely moving, using a little mana to check on the state of his body. Alas, he won't make it, his body is all torn up from the inside and not much of either energy remains in him, even if you were able to recover his physical wounds, his mind is gone off somewhere better, at least you hope so.

Your sword finishes what the butchers couldn't, and you carry off the kid into the chemical vat.

>Head up, there's nothing else to see here
>Head up, there's nothing else to see here

Roll 1d20
Sorry about the delay, things just kept happening and I couldn't write.
Rolled 13 (1d20)

>>Head up, there's nothing else to see here
It can't get any worse than this, and if it does then you're already shocked enough to not be surprised.

You dash up the staircase into the first floor, then into the second, the people in this floor are all in separate rooms to the left.

They're not worthy of clashing blades with, just stick your sword where it hurts, holding a contest is not necessary.

Your steps are heavy as you enter room by room, some of them are sleeping and never wake up, some are awake and try to opose resistance, you don't let them.

Noise is ineffective even your own, not even a whisper leaves this place.

The third floor's group is all in a room with a large flat screen TV, you unsheathe the katana and rush inside arms crossed, the woman at the end of your path falls after one stroke from both swords which then fly freely about the room aided by your wrists' nonstop twirling and your body's balanced spinning as they pierce and sever at the mooks' necks, the rest of the building is on the know by this time.

Extraordinariness will only get in the way, every movement you make is minimal to the extreme, why would you show them anything other than what they deserve?

The fourth and fifth floor's were waiting for you, but they didn't expect you to climb up the outer wall and enter from a window into the fifth floor, you knocked out the two people there; One you had to hit in the back of the head with an extinguisher. And the fourth floor ended up trapped inside their own small defensive barrier.

Thirty minutes pass and including you there's three people left, the other two are unconscious and are dragged out of the building into the forest where Mizuki is waiting. You can't talk, your jaw feels like it's been glued and it simply won't move.

"What the hell happened!?" She looks at you, eyes wide open. "You're fine right?" She's draws near to check you up but stops just a step away, looks like somebody doesn't want to get dirty.

"You're a ninja right? Ask these two why their basement looks like THAT" You manage to mutter.

"Are you sure you're okay?" Concern is clearly visible on her face.

"Mhm, I'll get back in and see if there's anything about it" You walk into the back door again, the wind blows and you realize how sticky you are right now, their blood and your sweat mixed together into a stinky, disgusting feeling layer of grime on your hands, face, hair and neck.

Your clothes are ruined, the brown coat you bought last year is practically black now, the blood on your shirt dried up and it feels like you're wearing cardboard. You'll be needing a change of clothes tomorrow. It also dawns on you what you just did, making you want to curl up and cry yourself to sleep.

Roll 2d20
Rolled 19, 8 = 27 (2d20)

You enter the building again and go straight for the last floor, you noticed all the occupied rooms have drawers and desks in addition to the beds.
From the only two rooms in the fifth floor, one is an actual bedroom, the other is full of file drawers and it has a single desk, you enter the former and check the closet, finding clothing just right for your size. There's also a shower in the room, which you make use of and then get changed, you should tell the girl about this later.

About the clothes, you're now in a black shirt with a white tie, a waistcoat, a black overcoat and a white scarf as an accessory; What if one of the guys you knocked out is a Don? Because right now you look out of a 20s Italian mob.

Now that you're clean and dressed, you check the other room, there's a calendar placed on the other side of the door.

The first three days of the month have the word "RESTOCK" and the next three "RETURN", the seventh is a break day and then there's four days scattered across the month with the word "DISPOSAL". Looks like you stormed in on the right day.

The first drawer you open has documents on the people you just murdered, and also on the people who are in charge of "transporting". There's noting about the ones in the basement.

You keep looking through the documents on the second drawer, most of them are transaction registers. There's nothing you useful inside any of them, so you turn to the desk, every drawer is locked with a different kind of lock, none of which are a match to you.

From the drawer you find an essay on "Catalization of the Fourth Key", a report dating a week back about the progress of the "Spiritual Shattering Phase" of something and documentation of someone called the "Main Subject".

>Read the essay
>Read the report
>Read the documents regarding the main subject
>Return to mizuki and head for the delivery point
Let's take everything and go return to Mizuki and head for the delivery point. We can read the reports after we get to a safe place
You look around one last time and see a suitcase in one of the drawers, you open it and to your surprise it's completely empty. You put the papers inside it and walk out the building, where Mizuki is waiting, you can't feel the two dudes you dragged out, seems like she finished them off.

"How'd it go?" You ask and she sighs.

"All I got is their boss comes back later today and that they're working for the same people who hired me and my senior" she pauses for a moment and adds "she should be in a different city by now I think."

Well, at least you won't have to worry about another skintight bodysuit coming to mess with things."Let's head to the delivery point then, I think we'll have to change things a little..." You ponder as you start walking "Wait on this boss
person and then head into the facility at night, sound good?"

"Fine by me, nice get-up by the way." She lets out a hearty laugh, you're not sure if she's being serious or just poking at you for fun so you ignore it, if your rival was here he wouldn't let you live this down. Your little junior, the previous owner of the katana loves this kind of thing so she'd be nagging at you to find her a matching outfit, saying things like "I wanna be a mobster too!" or "If you beat me you'll be the godfather!". You kinda miss those two, even if everyday you spent with them consisted of trying to barely keep up.

Before long you're in a small one floor house you rented south of town, there's trees all around and a clearing in the back. There's a large cylinder-like object made of gold lined marble with a mechanism that looks like a large tiger head in the middle, the beast's jaws are closed and it the eyes were made to give the impression it will come to life at any moment, your dealer made an early delivery today and that concerns you.

You mess around with the mechanism until it snaps open, there's a bit of light leaking out of the gold lines in the marble and shortly after the rock pieces begin to float away from the crest, this is your package.

Everything you ordered is in perfect condition, and there's a small polyestyrene box that's leaking out cold mist which you quickly move to the shadows, you pass a box to Mizuki and tell her to get changed, you'll eat in town later. There's something not right though, there's things you didn't order for, which include a pitch black kodachi and a weird gun, similar to the ninja's. Both are made of a metal you can't get your hands of in the mundane world and you can feel their conductivity is high.

>Call your dealer.
>Read something (specify what document), he'll call you soon.
>>Read the documents regarding the main subject
You carry the goods inside except for the totem, stop by the fridge to get a drink and then sit down in the living room's sofa, place the suitcase a small table and pull out one of the folders.

This one was filed under M and has a stamp labeled "MAIN SUBJECT" on it, you open the folder.

It's the medical history of a girl, the name's been redacted, same for the address fields, from her birth date you can tell she's 14, no hereditary conditions, no previous irregular health issues, nothing out of the norm, she even got chickenpox. Then you begin flipping through the pages, the next page is a surgical consent form, signed by "Marcus Jhonson", so is the next page, and the next one after that and so on.

The girl's been through fifteen open surgical procedures seven of these listed as transplants, weaved in between them there's minimally invasive ones, emergency surgeries and reconstructive ones in the last three years. The fact she's alive proves there's something about the nature of these procedures but you're not an expert on medicine or the application of the mysteries through it.

>Read the essay
>Read the report
>>Read the report
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You push the medical history away, drink some juice and open the next folder, it's the "Spiritual Shattering Phase" report signed by Doctor Harley Lunsford.

"As of now the main's subject's spiritual form has been successfully broken down and is ready for rearrangement.

I am deeply concerned about its psyche not disapppearing , the personality remains practically the same as it was a year and a half ago and its brain's electrical activity shows no change, whether this obliviousness to its condition is a self defense mechanism or not it will be impossible to complete the catalization until it completely disappears."

The spirit is one of the metaphysical parts of a living being, and serves a function similar to that of the physical skin and flesh as a sort of membrane separating the soul from the outside; With it's strength related to the "self", a person with a strong psyche will have a strong spirit and viceversa.

It's one of the stronger things in the non physical planes, but really simple to deal with physically, as it has its roots on the subconscious all one has to do is affect the body in order to alter it; the destruction of the body is the fastest method, as the brain no longer functions all sense of "self" is lost and the spirit begins to dissipate, exposing the soul to the outside and causing it to disappear.

Shattering it is trickier, as it requires enough physical changes to affect the self in an unconscious level without damaging the body enough to make it dissipate, in addition to that if the spirit is shattered it will restore itself over time to its original state.

After thinking about this you have a more concrete idea on the situation, which draws your attention to the white folder you have yet to read. If it is the "fourth key" you're thinking of then things are going to get really scary, you down the rest of your glass, and when you're done hesitating moment you begin to read the essay.

Dating back to the late 11th century and early 12th, In the newly established Kingdom of Jerusalem a group of scholars and mages chosen by Pope Paschal II deviced a means to forcefully call on an angel by using various relics as a sort of keys to open a metaphysical portal and a physical vessel to temporally hold it, their intention was possibly that of solving the schism between the eastern orthodox church and the catholic church; The group was able to create the three keys but the idea was then abandoned and forgotten, as it was impossible to make a vessel.

The thing's about 8 pages, written by a renowned professor from the turkish college of mystical arts in the adiyaman provice, Benedict Wong. This man's research for the last twenty years has been Angelology , specifically in the field of Abrahamism. The paper, however utilizes mainly a jewish interpretation of angels as tasks and how it would be possible, in theory to invite such a task into the physical plane,
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by means of creating phenomena where only the interference of an angel will solve the situation.

"Well then..." you say to yourself.

The shattering of the spirit is part of the adaptation of the physical vessel are tied to the surgeries, it's possible that the spirit is kept as a means to trap the "task" into the vessel after it has fixed things up.

Then the creation of something that needs divine intervention must be related to what you saw in the basement, the story's still missing a piece but could it be they mean to make the girl into the key, the bait and the prision?

These people are messing with things they shouldn't, and so will you if you keep going.

Something must be done about this, but it's not really your problem, you're here looking for information on your teacher and more leads on him might eventually appear. The people behind the research facility might look for you, but that too will calm down with time, if you claim it was an issue with specific people rather than the cabal itself and lay low for a while you'll be off the hook...probably.

>Tell Mizuki about this, fix her up and escape South Sudan. (roll 1d20)
>Call your dealer, he might know people who can deal with this.
>Call your dealer, there might not be enough time and it's up to you to solve before it's too late. (roll 1d20)
Rolled 1 (1d20)

>>Call your dealer, there might not be enough time and it's up to you to solve before it's too late. (roll 1d20)
Okay, you can't really leave this alone.

If you're going to infiltrate the facility you'll need more firepower than you have rigt now. So you'll call mortimer for the third time today, maybe you get a discount after 5 orders.

You go through the line switching but the call dies halfway and you can't pick up signal regardless of where you are in the house. You walk outside towards the town but nothing happens.

The ground shakes violently and it's only then that you turn around towards the mountain, noticing the sky above it has a purple hue.

>Check on Mizuki
Roll 1d20
Rolled 11 (1d20)

>Check on Mizuki Roll 1d20
Let's hope my luck changes
You rush back inside to see if mizuki is fine, thankfully she is and you didn't walk in on her getting dressed either, you tell her to bring the ice cream from the kitchen while you bring the goods you got earlier and start working with them.

The original idea was to use part of the mandragora powder and corrupted water to make a base, which you would then mix with a couple domestic prodcuts to make a low purity hallucinogen for interrogation purposes.

Now you're just using it all to make a special ink.

Your phone rings and it's Mortimer, who you explain what might be taking place, the guy's completely quiet through the whole thing, then he sighs and asks. "And what are you going to do about this?"

"I want to stop it" is your answer, you can hear him sigh even harder.


"Dynamite, I know you can find people able to deal with this, what's going on in here is already beyond my capabilities."

"I'm on it already, but the fastest they can get there is tomorrow morning." His tone is pretty grave. "What you should do instead is try to buy some time, head into the facility and see what you can do."

>Head to the facility as soon as you're done
>Wait until dusk
>Head to the facility as soon as you're done
Rolled 10, 13 = 23 (2d20)

Roll me a d20
Rolled 1, 13 = 14 (2d20)

It takes a bit longer than you expected to get everything ready, the ink's finished and you've written a spell that accelerates the decay of objects within it.

Mizuki overheard your discussion with Mortimer so there's not much left to talk about, you use the pins again and actually do it properly, her energies will be harmonized, but not before tomorrow.

She will take you to the facility and then you will part ways.

By the time you're ready it's noon, so you go with mizuki to town and get something to eat, People have been talking about the earthquake but they are unaware of the sky turning purple. You return to the house and pick everything up, the totem is left behind as you can't really do anything with it at the time.

With mizuki leading the way the trip up only takes about twenty minutes, then again this time both of you are running full speed through the small path, and in the distance vehicles are seen going up and down.
Rolled 16 (1d20)

Nice trips

Her route separates from the trail at some point and you soon find yourself near a wall without windows, just what you needed. Looking at it the thing seems to be three flooors up, but you don't know if there's more underground.

You put the large papyrus scroll with the ink side facing the wall and activate it, the decomposition doesn't take long and you're looking at a hole in no time, which you enter after confirming no one is inside the room... correction, there was someone lying against the place you activated the spell, there's now a skeleton lying directly in front of you.

What an unlucky guy.

Mizuki turns around and asks you one last time "Hey, are you really sure you want to do this?"

>Hell yeah
>Not really
hell yeah

"Hell yeah, now get going" You throw her both guns and immediately dash for the door, if you look back now you'll probably end up trying to talk her into coming with you.

"Wait! I never heard your full name... I'm-"
"If we meet again I'll tell you!" You open the door and run out, nope, it hasn't even been a day and she's a ninja, it's more trouble than it's worth having her know your identity.

Now then, you need a map or someone who knows the layout of this place, you're feeling the later more so you hide inside another room, the door slightly open and it doesn't take long for a single set of footsteps to run close.

You jump out and grab the poor soul, pull it into the room, slam them against a wall and press your brand new kodachi against their throat, god damn this thing is light and smooth to the touch, wielding it feels great. "Alright buddy, where are they keeping the main subject? If you answer me nicely there's a hole in the room next to this one you can run through."

Your guy's surprisingly talkative, he tells you where to access the basement and how the building goes four stories under, the girl's being kept in the third and there's a bunch of people in the seconnd fourth; Apparently the equipment in the lowest level went haywire and there's a fire breaking out in it, the damage has affected the second floor's machines and the people in theere are trying to minimize the damage.

You knock the guy's lights out and tie him up, then head for the basement.

Roll a d20
Rolled 2 (1d20)

You bump into a group of 3 people right as you enter the emergency staircase, all of them armed.

One has a large build and an equally large axe.
The second's wearing a set of red gauntlets and greaves.
The third one has a rapier tied to his waist.

All three of them get into different battle stances, select your target.

>Large axe wielding man
>Gauntlets and greaves wielding woman
>Rapier wielding woman

Roll a d20
Rolled 12 (1d20)

>>Large axe wielding man
After we kill the man we should ask if any of the woman want to be our girlfriends giving him a chance to surrender first
You unsheathe the kodachi and lunge at the man, he won't be able to use his axe in the narrow space. Of the other two, the gauntlet user is restricted to her fists, and only the rapier user can fight properly here.

Your weapon buries itself into the man's chest, it met a little more resistance than expected but the blade can be seen, the guy gets a hold of
Cats are magical beings I'll never understand
The guy gets a hold of it and tries to pull it out, but you shove him down the stairs, you fall along with him and use his body to handstand on the kodachi, then kick off the wall into the two women.

The rapier who user was already running down takes a stab at you but it misses and you land between both of them, you slash horizontally from your crouching position to target their legs.

Both jump but only the swordswoman can respond in the air so you try for the fighter, she swats your weapon away so you unsheathe the double edged jian with your free hand, then slash at her.

The tip of your sword runs smoothly across her neck and blood flows immediately after, you reverse your grip and spin trying to stab at the swordswoman with the jian.
It misses.
You keep the momentum of your left foot and extend the arm with the kodachi for a slash.

It also misses so you stomp down with your other leg and shoulder tackle her, you accidentally headbutt her chin which makes her let go of her sword, so do you.

But you still have another two.

You let go of the kodachi and reach for the katana with your right hand, unsheathing it with all of your might in order to cut her down. There's a long slash starting at the shoulder that extends to the other side's ribs across her as she takes her last breath.

You stand up and retrieve your swords, almost slip on the blood covering the floor and then run down the staircase.

Roll a d20
Rolled 14 (1d20)

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Rolled 19 (1d20)

The people in the second level are likely too busy not losing their research and you see no one else in the stairs.

You reach the third level and you can tell there's two people you'll actually get to fight before you can even open the door, both are mages. They know you're here, so you might as well make it worth their time and shift around the swords.

Katana on your waist, Kodachi on your back at waist level, Jian in your hands. The gun Mortimer sent you is modified to use chi for ammunition, it's inside the coat and you bring out four grenades for now.

You generate sword intent and cut into the concrete surrounding the red steel door.

>Throw a grenade into the lobby
>Rush them down with both swords
>Open fire as you enter
>Write in

Roll a d20
Rolled 16 (1d20)

>throw a grenade in
>Then proceed to fire after
Rolled 10 (1d20)

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Rolled 13, 8 = 21 (2d20)

You push the door and it falls, piece of wall included, as it falls you throw a grenade as far into the hall as you can and take cover until it detonates.

The wyvern freezing compound trades direct explosive power for the ability to freeze an immediate area. The grenade blows up and you get a glimpse of the mages from the corner, one of them has his feet trapped in a thick layer of frost and the other is walking towards you, the hands imbued with mana as he makes the necessary motions to invoke a spell.

You fire aiming for the second mage's forehead, neck and chest. but all of them are repelled by a clear blue wall created by the first. The spell is completed and a bolt of lightning pierces the wall, running through your shoulder. It's not as painful as you expected it to, but it might just be due to the lightning numbing the wound.

>Use another grenade, aim for the first mage
>Try to isolate the first mage
>Get in sword range with the second mage
>write in

Roll 1d20
Forgot to add, I will sleep for a while
Rolled 17, 4 = 21 (2d20)

>Use another grenade, aim for the first mage
>Get in sword range with the second mage
Throw the grenade than move in
Rolled 17 (1d20)

You throw the grenade towards the first mage, pull the gun again and run at full speed for the second with sword held horizontally below your line of sight, the lightning mage can't intercept the explosive as you're closing in faster than he can fire at it and then defend.

The grenade bounces at an angle on the left wall and explodes but it's not possible to tell if the target was hit, so your focus goes back to the one in front of you.

He's doing the same motions you saw a moment ago and then his hand rises, you can see the spell's circle disappearing into countless particles of white, his index and middle pointing for your face. So you rise the sword, let go of it and throw yourself back , sliding across the smooth red floor.

The bolt hits the sword instead of you, but you're in a bad position to draw the katana and there's not enough reach with the kodachi.

Roll a d20
>Use a grenade
>Shoot him a lot
>Try to use a ranged attack with the kodachi and sword intent (roll an extra d20)
Rolled 9, 7 = 16 (2d20)

>Try to use a ranged attack with the kodachi and sword intent
Rolled 2, 8 = 10 (2d20)

>>Try to use a ranged attack with the kodachi and sword intent (roll an extra d20)
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The mist in the back of the hallway dissipates and you can see the first mage encased in ice, he still lives as you can feel his presence but at least he won't be rejoining the fight for a while. The mana inside the other mage agitating, this time there's no hand movements meaning he's just going to blast you away using it.
Your kodachi has no reach, if you don't use sword intent that is but you've never really done this before, you can understand some of the principles behind the technique but can't get your head around the final step that integrates it all. Whatever, you'll do it by feel; You pull out the kodachi from its sheathe with your left arm and circulate the chi in your body, lead it towards your sword, transform it into sword intent and then release it with a slash.

Close, but still wrong.
There was no slash, instead a mass of sword intent the thickness of a finger flies towards the mage's thigh and buries itself inside it. The man lets out an agonized cry and pours out way more mana from his body than you were expecting, blasting you away like a doll.
You land on your injuried shoulder and lose your breath for a moment, even worse is that you can feel the mana and chi inside your body clashing against eachother, it feels like there's molten lead running through your veins and your muscles are made of barbed wire. The perception of time has also slowed down and you can see the man making gestures with both hands, his eyes looking at a dead man.

You'll have to completely expell one type of energy from your body right now, it might or might not return but if you don't do something your body will break before he kills you.

>Expell the chi and try to use your magic.
>Expell the mana and concentrate all the chi inside your body into your legs.
>Ignite both, you rule your body, not the energies.

Roll a d20
Rolled 19 (1d20)

>Expell the chi and try to use your magic.
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You stand up with difficulty and unsheathe your junior's katana.

You're expelling the chi going crazy inside your body and give this distant cutting thing another try while you're at it, there are three seas of qi in the body, one below navel, one at heart level and a last one between the eyebrows; These last two are out of control at the moment.

Picture your body as a landscape, with two lakes and an ocean surrounding a large and rocky mountain, many rivers connecting these large bodies of water and just as many snow filled vast plains between them. The lakes and rivers are boiling, the snow is freezing the plains into giant glaciers.

So you move the lakes, and the rivers move with them, countless amounts of this boiling water run across the plains and stop them from freezing, all the water converges into a small river that becomes as wide as the horizon, then explodes into a giant cloud of vapor.

This cloud of vapor flows from the horizon of your index finger into the sword.
The sword then glows with the intensity of a star in the firmament and the air around it is cut, creating a low hum.

Back then you tried to shoot a slash, now you will simply make your sword as large as the hallway.

You're in position and the man is close finishing his spell. Your body arched forward and slightly turned to the left, the sword's guard gently pressed against your waist and your left hand is resting above the right, you'll be putting every ounce of strenght you can into this.

You slash as the man's pointing both hands towards you, a diagonal line of sword intent leaves the sword and violently cuts apart the air in its path, the slash grows larger and larger as it flies deeper into the hallway, carving into the floor and ceiling, grinding away at the concrete and the rock beyond the opposite wall, showing no signs of stopping any time soon.
The lightning in the way of the cut was scattered away and the man's left arm was deattached a little under shoulder level. The floor and walls are full of deep cuts, the ice prision mostly cut down and the magician trapped inside it does not take his eyes off you.

It's time to put the snowy planes to use, you can picture the darkness of a night sky with no moon and no stars reaching for the earth, transforming into a myriad hands that hold up the snow and drive it above the rivers into a single location. Then the snow melts down and becomes a floating pitch black lake that rises into the sky and to your left hand.

The form of the Ihagen family's darkness has always been heavily influenced by the user themselves, and it seems like for you it might just be like water. You shape this water into a sloppy, wobbly open palm and shoot it into the hall. The lightning magician picks up his stump and jumps out of the way, the water-like darkness collides with the wall and the second magician, the prision is shattered and he's unconscious but he will live.
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My name is Edan Barend Damjan, I am a councelor at Waterloo's Nordic Mystic Arts Institution" says the lightning user. "I didn't think I'd get to see a member of the Ihagen anymore, let alone a swordsman of all things."

Seems like he's not interested in fighting anymore, his guard is completely down and he sits down in the only intact chair left, he's fiddling with the stump like he's done it before, he might have been able to kill you from the start if he can afford being this carefree near someone who just tried to split him in two... and partially succeded.

"Did sir solve the Mjölnir overlay theory?" You ask, that'd explain how he can just conjure lightning almost at will, seems like the hand waving was just him pretending.

"I'm surprised a you know about it, you're from that house so how come your magic is so sloppy and your sword this sharp?" He snorts and puts the stumps together, lightning digs into the skin joining both like thread would and then cauterizes the wound.

"What about the sir over there?" You're looking at the collapsed man, he's all wet too and might catch a cold if he remains in the ice any longer.

"Eliezer Kai Heron, our chairman and his wind magic is pretty mean, keeping him out of this was a good call, kid." He grins while he waves the restored arm around, this guy's pretty hardcore, what about the lost blood? "So, why're you here? The ones who opose this project should have their hands tied up right now, and you don't have an uniform or anything."

"I'm here to make trouble and buy time for those people to come here." You answer.

"Oh? and how're you gonna do it huh?" Sir Edan asks.

>I'm here to kill the main subject
>I'm here to save the main subject
Sorry about that, something came up and I could only write until now.
>>I'm here to save the main subject
"I'm here to take the main subject away, after all, you won't be able to continue without her" You look at him in the eyes, calling over the remaining thirteen grenades, tied into a really long belt from the bag of holding. His bearded smile widens and you can see his pure white teeth.

"What if I want to stop you? But please, don't group us with the others here, we're just repaying an old debt."

"I beg of sir to not stop me, I don't have enough to win but today I feel like I can take a limb or two before going down." You're ready to throw the belt and shoot it, and an air of murder lingers in the hall.

Sir Barend stands up and turns around and walks toward the chairman."Why do you want to take her away? Are you willing to shoulder her burden?"

>Write in
Okay I'm back with food, writing.
>forgot to add the "actually don't" spoiler
>"Why do you want to take her away? Are you willing to shoulder her burden?"
Yeah, she our girlfriend
patience my lovely anon, patience
You keep the belt gripped tight and walk towards the only door in the hall, your sight's completely set on him. "I barely shoulder mine , but I just can't leave someone like her go through this kind of thing... I'm sure we can help eachother in carrying them."

"And where would you take her to? No matter where you go, there's no place for a failure like her".

"Is there a need for such a thing? My way is that of a wanderer and the world is a place for anyone."

"Kid... People will look for her and people will stand in her path." He turns his head around and looks at you.

"That's fine" You answer.
That's fine, after all you need to hone your sword into one your master and your martial brother and sister can be proud of. There's no need for more words, so you open the door to the room.

Inside is a girl with dark brown hair, almost black, sitting in the hospital bed. She's dressed in casual clothing rather than a patient robe. Your eyes meet hers, clear and blue like a summer sky and she smiles "I had been waiting for you! Well... Waiting for someone, I just knew someone would come today so I got all ready ahaha.".

How bubbly, well, this is good too. "We're leaving, Is there anything you want to take with you?" You can't keep a serious expression to that smile and smirk a little.

"Nope! Nothing, but where are we going to?" she tilts her head a little while asking this. "Ah but outside's feels really chilly maybe I need something thicker?"

>Offer your overcoat.
>Just carry her out of the building.

Roll me a d20
Rolled 3 (1d20)

>Offer your overcoat.
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With that kinda rolls?

You offer her your overcoat, which she accepts after you take it off, then you hang the grenade trip over your left side. "My, what a gentleman, are you trying to be like the two outside?"

"Haha, maybe." It feels like all the tension you've been in today simply didn't exist at all.

The two of you, walk out and you look at Sir Barend one last time, saying something feels like it might leave a bad aftertaste so you offer the little lady your right arm, she grabs it after waving goodbye. "Bye bye Eddie! Take care of Elie too alright?"

"You too little Ingrid, best of luck!" Eddie smiles while waving his recently restored arm, not the bloodthirsty smile you got but one more fitting for a grandfather.
And then the siren goes off.

"Ahaha" You laugh
"Hahaha" Ingrid laughs
"RUN FOR IT!" You yell, you pick up your jian from the floor and sheathe it back, then begin running across the hallway, pulling her by the hand instead.

The two of you run up the staircase and you hold her in a princess carry after passing over the guards you fought earlier. There's people running everywhere and a group spots you, but their main subject's vitals are too close to yours, and you're too close to the entry point for it to matter anymore anyway.

>Return to town for the totem and some of your luggage
>Skip town, get out of South Sudan as possible

Roll a d20
Rolled 14 (1d20)

>>Return to town for the totem and some of your luggage
Never leave the luggage
"We're gonna pick some things up in town and then leave, that okay with you?" You ask her and she nods.

Wait, how did you get this far without introductions?
"So.. Your name is Ingrid right? I'm Escartes Ihagen." You say in an awkward manner, and you see she's grinning.

"I'm Ingrid, just Ingrid..." there's a little hint of loneliness in her tone, but it's soon back to it's happy state again "Oh! oh oh how old are you? Where do you come from? What was that cool thing you did with your sword? What are those things in your shoulder for? Why are your swords like that?"

God she won't stop asking questions, but at least you're back at the place you rented and there is nothing off, might as well tell her more about yourself while you pack up.

>Select three questions to answer
>how old are you?
>Where do you come from?
>What are those things in your shoulder for?
Guess you'll go with the easier, is what you think while walking into the kitchen to grab a can beer for from the fridge and pass her a can of soda, wonder what the landlord thought about the big ass totem sitting in the back of the house.

"I'm 22, my family was of german blood but lived in siberia, there's not much accent because I grew up traveling around with my grandparents" You casually tell her, opening the can and getting to work. The large suitcase of clothes you brought fits inside the space bubble inside the bag of hol... Clothes.

You look at the girl, she's just wearing her white shirt, blue trousers and sneakers, she has no fancy magical artifact to keep things or a bag with her.

"The things I was carrying are ice grenades, pull the pin on one and we're popsicles." Is what you absentmindedly tell her, should you ask the landlord to buy you clothes for her? Calling Mortimer is also an option, albeit expensive for just clothes.

"Don't worry about that I'm pretty durable you know?" She says.

What, oh right modified body and all. You take one of the grenades off her hands after telling her you're not as durable.
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The totem fits into the space well enough and you're ready to leave within an hour. You call the man who drove you here from the border and he's waiting for you within an hour of the call, after passing him a wad of sudanese pounds he shuts his yapper and drives both of you towards the border, you're out of the country in a few
hours and a couple wads, you part ways with the man after you're a few zones deep into the country.

A couple calls to one of your contacts and you've got a resting place in a rural house of the Wolayita Zone, you even got someone to prepare clothes for little Ingrid by using the main subject document. It's far enough into Ethiopia that people won't look for you, a good place to lay low and wait for things to cool down.

In a couple days you'll look into what happened with the facility, but for now Ingrid and you for the most part need a well deserved break.
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I will be out for a few days so I'll leave it at this, maybe I'll pick it back up if it was interesting enough for you guys, thanks for sticking around!
Oshit I thought this died after QM fucked up his post

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