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Transcript: Season 3 Episode 10: Social Battlefield

A Knight of Shreds and Patches Transcript

Season 3 Episode 10: Social Battlefield

Transcript by Cameron Robertson


Intro:[hurdy gurdy music begins]


Nick: Welcome, listeners, to A Knight of Shreds and Patches. An immersive actual play podcast. This episode features the talents of –


Penn: Penn Van Batavia as Marathon Messenger and Gwendolyn Rozenthall.


Kit: Kit Adames as Birdie Foundling and Vaus Foundling.


Cameron: Cameron Robertson as Emma Blackwood and Janus Foundling.


Sydney: Sydney Whittington as Cassidy Shard and Winifred Foundling.


Nick: Nick Robertson as GM and Narrator.


Sydney: Hello listeners, this is your editor, Sydney, with today’s messages:


Do you wear your sunglasses at night? You’re so cool already, I’m not sure if the world could handle it if you did. But that’s what happens when you’re an AKoSaP listener. Only the coolest people enjoy our show, and that means you. (If you are considering wearing sunglasses at night, make sure to do so in accordance with road safety guidelines.) And if that’s not enough and you want to add a metaphorical leather jacket of cool, consider backing our Patreon, which gives you access to bonus episodes, campfire conversations, and other fun rewards.


And with that, we wrap up today’s announcements and head into Season 3, Episode 10: Social Battlefield. And so…


“Join us, for now our tale to yours attaches

To carry hope: a Knight of Shreds and Patches.”


[hurdy gurdy music ends]

[electronic beeping]

[robotic powerup noise begins]

Distorted Robotic Voice: Power restored. Systems online. Reconfiguring audio connection.[robotic powerup noise fades to radio frequency static]


[over radio]

Sydney (as Cassidy): Last time on a Knight of Shreds and Patches, Marathon and I managed to carve out some time for ourselves, actually away from the prying eyes of the rest of the Patina. We went to the aquarium and saw a bunch of cool aquatic animals, she brought me to a cute picnic spot where she had staged a whole setup, we talked about flowers and ate some fruit. It was really nice. Winifred did you have something too?


Sydney (as Winifred): Yeah, uh, on the other side of the city, Birdie, Janus, and I went to visit Juno. They have an office down in the Guts, and apparently do a bunch of work for the Domes now… Birdie and him got to be reunited, though he was more surprised to see me for some reason. And between Janus and Birdie, he got convinced to make us a bypass devicefor a particularly tricky piece of security on the upcoming mission. Once that's in hand, all that's left is the fun at the ball. You excited?


Sydney (as Cassidy): At least the outfits are going to be cool.


Sydney (as Winifred): Oh yeah, there will definitely be lots of eye candy…

[radio static]



Episode Start:

Nick: The Masquerade is tonight. The Patina and the Foundlings have done their preparations and are going over the plan one final time before it's time to get dressed, get into character, and get to the ball. We see Marathon, Cassidy, Emma, Birdie, Winifred, Janus, and baby Mackenzie gathered around the kitchen table above the bookshop where Janus lives. The lights are focused on a roll of butcher paper where notes and objectives have been scribbled along with complex diagrams and hypotheticals.


Sydney (as Winifred): Well, it's going to take us a while to get dressed, so I'm going to keep today's one short. You should be able to remember what we've talked about so far.


Sydney: Winifred puts a finger on the diagram indicating the entry to the masquerade ball.


Sydney (as Winifred): So you all Patina are coming in with Janus as part of the book club - the ladies book club.


Cameron (as Janus): Thank you.


Sydney (as Winifred): You'll come in be guests, make merry, enjoy yourselves. I'll be arriving separately - I'll probably already be there by the time you're there. At some point, you're going to go make friends with Councilor Opal. What you need to be able to get to is eventual access to her estate at a future time - does not need to be at this party - alignment to be called upon for favors in the future. I can't do this because I'm currently trying to build political capital elsewhere. And the arts - ultimately our goal is -


Sydney: And Winifred points to another spot on the diagram.


Sydney (as Winifred): Somewhere back in here, exactly location unknown, there's a piece of wild tech that I don't know if Opal knows what it does, but it's what's going to let me ultimately be able to get in and clean out your Knight problem. So you need to make friends and get access to that that can't be something that I'm doing. Any other scenes you cause at the party are up to you. Just, you know, if you become known in high society it does raise your political capital, however you make it happen as long as it gets done.


Sydney: And Winifred makes eye contact with each of the Patina in turn.


Cameron: Emma does a little salute to Winifred.


Sydney: Cassidy gives a shrug of 'yeah, of course'.


Penn: Marathon gives a very earnest grin and two big thumbs up.


Kit: Birdie just will nod simply.


Sydney (as Winifred): At the same time, Janus is going to slip out of the party and go over here,


Sydney: And Winifred traces a path. The details that are on this piece of butcher paper are not as specific as you would need to be able to know what was going on if you were doing the insertion. It's possible that there is a separate side plan that has happened just between her and Janus with more details - out of compartmentalization or just an abundance of caution, it's hard to say.


Sydney (as Winifred): But Janus is going to insert a physical access terminal for me. Part of getting the piece of wild tech out and functional involves interfacing with the city in a way that can't be done remotely and that also needs our beloved Juno's magic box.


Sydney: And Winifred points to an unmarked magic box sitting on the table with a red switch on it.


Nick: Baby Mackenzie burbles to herself and grabs a big handful of Winifred's hair and is drooling out of the corner of her mouth. You know that Larry and Maria will be staying behind and helping babysit the kids with Nate, but one of the conditions was that you keep Mackenzie with you for a little while so they can get some things done around the house.


Sydney (as Winifred): Thank you, Mackenzie.


Kit (as Birdie): Aw~.


Cameron (as Janus): Winifred, would you like me to take the baby?


Sydney (as Winifred): Sure. That'd be great.


Cameron (as Janus): Okay.


Sydney: Winifred is holding her head slightly tilted to minimize the tension on her hair.


Cameron (as Janus): Come here sweetie. Let's let go of her hair.


Nick: Janus you feel that Mackenzie weighs heavier than 1000 suns and as you tried to pick her up, you have to genuinely put the strength of your legs under to lift, you can't live with chest your back. And Mackenzie does not let go and her face starts to turn a little red as you try to pull her away from Winifred.


Kit: Birdie will stand up and start trying to uncurl Mackenzie's chubby little baby fingers from Winifred's hair.


Nick: Mackenzie's other hand latches on to one of Birdie's braids and the tip of it is quickly shoved into her mouth.


Kit (as Birdie): [laugh] That's fine. It's easier to get the braid out of her mouth than loose hair at least. Okay.


Cameron (as Janus): Mackenzie what is it with hair, baby? Come on.


Kit (as Birdie): Yeah.


Sydney (as Winifred): It's just very interesting.


Cameron (as Janus): I mean your hair, both of you all's hair, is lovely. But come on.


Nick: You're able to pull the baby away and she starts to cry for a minute and then burps up down her front and then giggles and starts to fall asleep.


Sydney (as Winifred): There we go.


Kit (as Birdie): Babies are so weird.


Cameron (as Janus): [giggle during mom flashback] Mhm. Imagine - imagine um, having two of them at the same time.


Kit (as Birdie): I'd rather not.


Sydney (as Winifred): Yeah, that feels like a lot.


Cameron (as Janus): And then and then on top of that, imagine that they have my genetics. [laugh]


Nick: As if on cue, there is a loud crash in the sound of breaking glass somewhere down below in the bookshop where you know Nate is trying to keep track of the twins, Janus.


Kit (as Birdie): Monies on it being Zan.


Cameron (as Janus): Oh, most definitely. Lark causes -


Sydney (as Winifred): At least Mackenzie is not that old yet. Can't run around.


Cameron (as Janus): [said with quite a bit of glee] Yet.


Kit (as Birdie): Enjoy it while you can apparently.


Cameron (as Janus): Okay. Um,


Kit (as Birdie): Okay we need to keep planning.


Cameron (as Janus): Keep talking through- keep talking through the plan. I will - I'm standing right to the side and I will just clean her a wee bit.


Sydney (as Winifred): So Janus is going to go sneak off.


Cameron (as Janus): I'm literally right behind you, Winifred.


Sydney (as Winifred): [overlap] No we're talking about the mission.


Kit (as Birdie): [overlap] No, like no party.


Cameron (as Janus): [laugh] Oh okay! I was like 'there's just towels right over here!'


Kit (as Birdie): [laugh]


Cameron (as Janus): Okay, yes, at the party I'm sneaking.


Sydney (as Winifred): Go plant and access terminal. Yes.


Cameron (as Janus): Mhm. Mhm. And not get stuck in a vent.


Sydney (as Winifred): No, and not get caught.


Cameron (as Janus): Mhm.


Sydney (as Winifred): And I'll have to slip out at least off to the side and do what I can for the non mechanical security, but I do have people to talk to and people to be seen talking to so I can't do that part of the mission myself.


Cameron (as Janus): Makes sense.


Kit (as Birdie): So we just make friends?


Sydney (as Winifred): Yeah. You have the easy part.


Kit (as Birdie): Hell yeah.


Cameron (as Emma): Is there any - I don't know, guidance on - do we just walk up to -


Penn (as Marathon): [overlapping] What are the cover?


Cameron (as Emma): [overlapping] Councilor Opal and be like 'hello'?


Kit (as Birdie): Yeah.


Sydney (as Winifred): Your cover is that your mercenaries from out of town looking to trade favors.


Cameron (as Emma): Okay. Okay. Cool.


Kit (as Birdie): Oh yeah.


Penn (as Marathon): And is there like etiquette that we need to respect at this this convention?


Kit (as Birdie): I mean,


Sydney (as Cassidy): I mean, can we just like walk up and be mercenaries? Is that sufficient? Do we get points for not knowing the etiquette?


Kit (as Birdie): I mean, it's just -


Sydney: Winifred shrugs.


Kit (as Birdie): - the etiquette of like, citizens rules and stuff like that. So


Sydney (as Winifred): Yeah don't piss anyone off.


Kit (as Birdie): Yeah.


Sydney (as Winifred): And make them call a duel on you in the middle of the party. That would probably be against the plan.


Kit (as Birdie): Mhm.


Penn (as Marathon): Okay so duels can be called on someone?


Sydney (as Winifred): Yeah, they can -


Cameron (as Emma): They can do that in the middle of a party?


Sydney (as Winifred): Well, they probably wouldn't do it to the death in the middle of a party.


Kit (as Birdie): Well, hopefully not.


Sydney (as Winifred): If you're -


Kit (as Birdie): Don't jinx it.


Penn (as Marathon): You say probably...


Cameron (as Emma): [tired laugh] Great.


Kit (as Birdie): I feel like it's happened before.


Sydney (as Winifred): Yeah. I mean, Counselor Opal, killed one of the council people like a week ago.


Cameron (as Emma): Oh, shit.


Kit (as Birdie): Yeah.


Penn (as Marathon): Okay.


Kit (as Birdie): Yeah. During a meeting.


Sydney (as Winifred): Over a disagreement for property rights?


Cameron (as Emma): They, they they just, they just do that?


Kit (as Birdie): Mhm.


Cameron (as Janus): More frequently than you would think actually.


Penn (as Marathon): Okay, don't get in fights. Check. Duels - Sorry.


Sydney (as Cassidy): Yeah well, don't get neither of them, I think.


Cameron (as Janus): Fights do tend to often lead towards duels um, maybe avoid both.


Sydney (as Cassidy): We're not trying to - yeah.


Penn (as Marathon): Okay well, I know some high society etiquette I guess but is there there's but there's nothing specific to Sasnak I need to know? Like no cultural -


Sydney (as Winifred): No. [overlap] I mean be polite.


Penn (as Marathon): - faux pas I might step in? People are lying, you said?


Sydney (as Winifred): No. I said be polite.


Kit (as Birdie): Yeah.


Penn (as Marathon): [quietly] Be polite.


Cameron (as Janus): Be polite. Dance.


Sydney (as Winifred): Yeah.


Kit (as Birdie): Yeah.


Cameron (as Janus): That's a good way to fit in.


Penn (as Marathon): I can dance.


Kit (as Birdie): Don't get messy drunk.


Penn (as Marathon): Not planning on it.


Cameron (as Janus): Mhm. Compliment people on their outfits.


Kit (as Birdie): Mhm.


Penn (as Marathon): Okay okay.


Sydney (as Winifred): Yeah but I mean, I don't have an in for you. You just have to kind of -


Cameron (as Janus): Yeah, if you don't know what animal they're dressed as just like complement the craftsmanship and don't try to guess.


Kit (as Birdie): [laugh]


Penn: Marathon is scribbling down notes in a ratty spiral bound mini notebook.


Cameron (as Janus): I think you'll you'll probably be fine. It's don't -


Kit (as Birdie): It's a little concerning that you're writing it down Marathon?


Penn (as Marathon): What? No. Just -


Cameron (as Emma): Are you gonna like pull it out and like check on it?


Kit (as Birdie): [laugh] Mid interaction.


Cameron (as Emma): Oh, hold on. Let me check my rules. [laugh]


Penn (as Marathon): No - I don-


Penn: Marathon very shyly slips the notepad back into her back pocket.


Penn (as Marathon): Oh, you know, I just, I just want to know the rules of the road, okay?


Kit (as Birdie): It's okay. I mean, have you ever been to something like this before?


Penn (as Marathon): Not in Sasnak.


Kit (as Birdie): I mean neither have I.


Penn (as Marathon): [overlapping] In Tree All-


Cameron (as Emma): [overlapping] Surely you had like awards galas or something in Tree All.


Kit (as Birdie): Yeah! You've been to -


Sydney (as Cassidy): All your ice derby fancy things.


Kit (as Birdie): Mhm.


Penn (as Marathon): Usually I've had a lot of grace because I've been more of a name.


Kit (as Birdie): Oh~


Cameron (as Emma): So you were causing problems at parties?


Kit (as Birdie): Mhm.


Sydney (as Winifred): Wow Marathon.


Penn: Marathon's face goes bright red.


Penn (as Marathon): I, you know, it's just - I've tried - I'm changing my image, so, and I want to be respectful and not cause any any problems. I can dance. I could do that. So


Cameron (as Janus): That's a good start. Don't step on your partner's toes.


Sydney (as Cassidy): Yeah.


Kit (as Birdie): Yeah. Dancing is a great way to make friends.


Penn (as Marathon): I'm pretty good at dancing.


Kit (as Birdie): Okay, well use that to your advantage then and use it to not get into fights.


Penn (as Marathon): Do we need to know anything else?


Cameron (as Janus): I mean, there'll be there'll be other people there. Talk to people who look interesting. Don't be offensive. If you get into trouble and can't find Winifred and I, talk to Birdie. She knows things.


Kit (as Birdie): Sure. I've been to things like this.


Sydney (as Winifred): Yeah, I mean, ultimately, your goal is to fit in. Try and talk to people, don't sit in a corner all by yourselves and then only talk to Opal, don't become the life of the party unless you're willing to back that up.


Cameron (as Janus): Yeah, be popular but not too popular.


Penn (as Marathon): Gah it's just like school again.


Nick: What follows is several hours of preparation as everybody makes sure that their ensembles for the masquerade are ready and worn correctly, hair and makeup is done, last bits of advice are exchanged, and before you all know it, the Patina and Janus are in a horse drawn carriage that picks you up on the street outside of Reed's Books. The carriage is spacious. It has gold filigree all along the walls and roof with velvet curtains that close off the windows for privacy as needed. There is a coachman controlling two matched white horses and the ride, even across cobbles and up ramps on your journey across Sasnak, is smooth and comfortable. Everyone with their finery fits inside and you all are on your way.


Anyone who glances out the window of the carriage sees lines of lights strung along the route to the masquerade ball. The entire city is lit as everyone who is a mover and shaker in Sasnak will be there and you head for one of the smaller but most prestigious domes - an isolated area for the rich and powerful, that this one night is opened for those with the proper invitations. A security checkpoint lets you through with little preamble after invitations are shown by the carriage men and soon you find yourself in front of a fortress, but not one for military application - a social fortress only letting in the people who can change the flow of society. From the doorway of the carriage as it is swung open by the footman and by several attendants, you can see what looked like members of the Press taking notes and flash photos and there is a long, wide red carpet cordoned off by security leading to large open gates and beyond you can see the crowd of the ball itself. You all will have to cross the barrage of press questions and photos as everyone who is anyone makes their way inside.


Penn: Marathon is the first to step out of the carriage in order to be able to hold the door for everyone else and help them down in their various regalia. Her mask doesn't connect in the middle like a normal mask does, it wraps around the sides of her face and goes down the length of her nose and she's wearing a iridescent green dark green pinstripe suit with little iridescent purple stripes to match it. She's got a thick wide tie to go along with it with little peacock print to match the iridescence and she's got the sleeves of her jacket rolled up to reveal the reverse pattern of this suit coat underneath that has white and purple pinstripes and the back of her mask frames her face a little bit with a large peacock tail as she reaches her hand into the carriage to help out the next member of the Patina.


Penn (as Marathon): Come on down Miss Cassidy. Coast is clear.


Penn: As Marathon squints into the flashes of photography happening around them.


Sydney (as Cassidy): See the mask is just like camouflage.


Sydney: Cassidy steps up and out of the carriage taking Marathon's hand to get down to the ground.


Penn (as Marathon): [long slow appreciative whistle] Dang Cassidy


Sydney: Cassidy is wearing a floor length dress. There's not really a fabric to it. It's looks almost like a combination of if you made scale male with feathers, so it's a lot of closely overlapping. It gently clanks as she moves, so it must actually be metal, but it's so light that it can't provide any protection. The metal is all dyed in bright greens, yellows and reds. There's a high slit up one leg that she bears the leg showing tall red leather boots with big talons coming off of the toe and the heel. Her mask has a long nose coming off of her face decorated again in the greens, the yellows and the reds of a - not an animal that anyone has seen but an animal that has an exhibit dedicated to it in the Sasnak Natural History Museum dome, the velociraptor. As she steps down out of the carriage, the dress continues on behind her with a short train evoking the tale of the dinosaur.


Penn: Marathon presents her other arm out as an offering.


Sydney: And Cassidy gives a gracious nod to Marathon. Her hair is done up in a much more complicated braid than she normally has and the dinosaur feathers are interwoven through it and she centers herself, nods to the crowds and to the cameras, and then strides off towards the party.


Nick: There is a flurry of flashes and shouts to try to get your attention for photos as Cassidy begins the long walk to the ballroom and Marathon holds the door for the next member of the Patina.


Penn (as Marathon): Watch your step.


Cameron: Coming out of the darkness of the carriage comes a gloved hand that is a purple so dark that it is almost black. Then the glove is quickly followed by Emma who is wearing a floor length dark purple and black and dark blue gown that has a sweetheart neckline, comes in at the waist and then goes out into a rather expansive and multi layered a line skirt. Starting at one hip and flowing across down to her other knee is kind of what reads as coral, if coral was also a thorn bush, and mixed in amongst it is what looks to be the wreckage of a pirate ship. And continuing down the skirt reaches the bottom were coming up at all different angles and curves all along the bottom of the skirt are these dark purple and black tentacles as Emma has come as one of the Sasnak octopuses.


She steps down out of the carriage and does a regal head nod towards Marathon for her assistance and she has her hair gelled just straight back to the point where it almost looks wet with the amount of gel that's in it and all the strands are very separated and her hair poofs up slightly and then is just down falling to her shoulders. And she has a mask that the same dark purple as her gloves but with some blue gemstones inter woven through it. Starting at her right temple is the body of an octopus and then the mask itself is formed of the tentacles coming across her face with another few tentacles going around the back of her head to secure the mask to her face and all of the little blue gemstones look like suckers on an octopus arm. As she takes a step away for a Marathon to pull the rest of her dress out of the carriage behind her, shakes it a little bit to get all of her tentacles laying correctly.


Penn: Marathon grabs one that's still on the carriage about to get hooked.


Cameron (as Emma): Oh, thank you.


Penn (as Marathon): [whisper] You look stunning, Miss Emma.


Cameron (as Emma): Thank you!


Cameron: I think Emma pulls up her gloves as if she's adjusting her sleeves and proceeds to follow Cassidy down this carpet but is engaging more with the photographer's and is pausing and turning whenever someone calls out to her for a photo.


Kit: Birdie exits the carriage after Emma has made it a few feet down the carpet in order to let Emma have her moment of attention, and she steps down somewhat slowly due to the fact that her dress is tight fitting around the legs, and can't take as wide of steps as might be comfortable to get down to the carpet. Her outfit is an ensemble of bright teals and greens with rustic brown geometric lines running up and down the fabric to make patterns almost like wings of some sort with large swaths of mesh cutting through the main body of the dress to make slightly more modest cutouts then would be had the mesh not been there. On top of this, she wears a very puffy, golden ish yellow stole that wraps around her back and to her hands with a gauzy fabric that makes the illusion of wings hanging from the stole and trailing behind her. Her hair is pulled back into an intricate helix braid down her back with a light yellow metallic headpiece pushing her bangs back from her face and connecting into a not very concealing mask as it's basically made of the same yellow wire that makes the shape of a moth across her face with cutouts for her eyes and wings. And attached to the head piece are a few feathery antennae that add about a foot to her height. She's chosen to go specifically as a Spanish Moon Moth. And will squeeze Marathon's hand as soon as she's gotten her balance and smile.


Penn (as Marathon): Looking beautiful and deceivingly dainty, Miss Birdie.


Kit (as Birdie): Well thank you. You clean up well yourself.


Penn: Marathon thumbs her chin.


Kit: Birdie will grin and continue after Emma down the red carpet. She's very confident and doesn't seem to be faltering really at all, despite there being a lot of people watching her.


Cameron: At this point, one of the footman who had accompanied the carriage steps past Marathon up into the carriage to assist Janus in making sure she doesn't snag too much on the interior of the carriage as she tries to exit. So the first thing that we see start coming out of the carriage or the tops of two very large black feathered wings that are kind of to get through the door cocoon around Janus and Janus' hand has snuck out of this cocoon so that she can grasp Marathon's hand to safely make the descent. There's a few grunts from the footman behind her as he's trying to arrange her. With only a slight amount of wiggling, Janus is able to fully exit the carriage and once on the ground turns towards Marathon so that she can release her wings without smacking Marathon in the face. And as the wings pop open to stand behind her it exposes her all black dress. It's one shoulder long sleeve that ends in several orange gold bracelets and a black glove that continues it with a matching opera length black glove on her bare arm. The fabric of the dress, while it is all a sheer chiffon on the top layer, it has a feather pattern in it in a slightly metallic black so that the dress reads as feathers without carrying the weight of feathers. Janus has her hair swept back in a elegant bun with several black feathers stuck amongst her hair and rather than wear a mask has created a mask around her eyes by gluing black feathers around to make a very very intense, feathery smoky eye. And while the wings are very tall, it's important to note that Janus is still very short, which suggests that she is not wearing heels underneath this outfit, and is probably wearing sensible shoes for the activities to come.


Penn (as Marathon): That was a goddamn event.


Cameron (as Janus): [giggle] Yes. Thank thank you for the assistance, Marathon.


Penn (as Marathon): May I escort you in, Miss Janus?


Cameron (as Janus): Please, as long as I won't be hitting you with my wings.


Penn (as Marathon): I'll find a way.


Cameron (as Janus): [laugh]


Penn: And Marathon awkwardly positions herself so that she's being bumped ahead almost by the wings while trying to escort Janus down this red carpet.


Cameron: Janus and Marathon pause several times for photos and Janus raises her arm that is in the sleeve to make a swan neck for several of the photos.


Nick: The group, spread out along the carpet interspersed with other arrivals, make their long way up several short stairs until you all find yourselves at the entrance to the ballroom. There is a lull of quiet as you stand on the precipice of this social engagement with the Press kept behind you by security, and you are given just a moment before the press of the crowd forces you down into the hubbub below to appreciate this ballroom in its entirety. The Masquerade is being thrown in the largest reception place of this prestigious dome. The floors are shined mirror bright to reflect the multiple massive golden chandeliers that hang from the dome itself that is the ceiling of this hall. On one side of the entrance you can see a double staircase leading up to a stage with a large ornate throne set upon it as well as a microphone. And on the far side you can see that the ballroom itself opens up to a large balcony where many of the guests are gathered looking out across both the rest of the luxury dome and the city beyond. The sun has set enough that you can see the stars through the ceiling dome above you interspersed around the chandeliers. There's a large dance floor. There are tables for sitting, as well as food. There is a small dias with musicians that are warming up for music and everywhere you can see groups of people meeting, talking, maneuvering, attempting to get some sort of advantage on this social battlefield. As you all stand at the top of the stairs taking in the view, you see close to the dance floor, but no one is yet dancing, Winifred ensconced in a social group having a conversation.


Sydney: Winifred is leaning close to one of the other fine ladies of the evening whispering something in her ear, holding a clear champagne flute in her other hand, and as the person she's talking to laughs, though the sound is of course lost in the noise of the party, she looks towards the Patina and gives a small gesture with her glass of greeting before going back to her conversation. Winifred is wearing a very closely form fitting mermaid gown in black. It hangs closely but thickly almost as if the fabric was leather, but somehow slightly more liquid. The dress starts at the outside edges of her collarbones with black sleeves going all the way down to her wrists with black gloves covering the wrists. There is a very deep opening in the front, exposing all the way down to her belly button before gathering and then continuing to the floor as the mermaid pattern. There are two cutouts on the sides of her ribcage underneath her arms to remove even more fabric. But patrons of the Sasnak aquarium dome would recognize that this black juxtaposed against the pale white of her skin is a very close match to the color patterns of the orcas, the large aquatic mammals that swim through the domes and often eat the other creatures. On the back of the dress, the fabric continues up over her shoulders up onto her head in a black hood covering the top of her head and over her eyes, though it is slightly shear - enough to not impede any vision. And the only departure from the colorings of the creature that she's emulating is black lipstick on her lips.


Cassidy gives that nudge into Marathon's ribs and gestures with the nose of her long mask towards Winifred as they are moving into the thing.


Penn (as Marathon): Oh, oh, I saw, Miss Cassidy.


Kit (as Birdie): Marathon.


Sydney (as Cassidy): I mean, I -


Kit (as Birdie): Mn mn mn mn.


Penn: Marathon looks to Cassidy and then looks to Birdie.


Penn (as Marathon): But you know, I I I'm not a sister fucker. So


Penn: And Marathon's got the biggest grin as she rejoins the rest of the Patina.


Kit: Birdie folds her arms and can do really nothing but pout for the moment.


Nick: You all see that multiple important people with groups, people you assumed to be the counselors, are making their way towards a long table on a raised dias that is framed by the two master staircases that lead up to the throne and microphone. And the crowd, through some unheard cue, clears the way as you see the hosts of this ball begin to take their seats with their retinues. Janus points out to you which of them is counselor Opal, a rotund woman who is tightly encased in a pink feathery gown. The skirts are pinned up in the front to show that her legs are covered in white opaque stockings with pink ballet slippers and she is wearing a coat with tails and a small birdcage hat with a curved brim that covers her face in a partial mask. And as you make note of where she is sitting at the end of the table of counselors, you also notice that one of the chairs towards the center of the high table is conspicuously empty. As a hush falls over the crowd, the chandeliers dim and the voice of a master of ceremonies announces


Nick (as Announcer): [over speakers] And for the guest that this entire party is for, the First Sword of Sasnak: the protector of our very way of life, Gwendolyn Rozenthall.


Nick: And there is a hush, a fine mist rises from the top of the stairs and a elevator and trapdoor opens to allow Gwendolyn to rise from beyond sight and step onto the platform in front of the microphone.


Penn: As lights shine through this fog onto Gwendolyn, we see the glint of finely shined golden armor. It's very thick, it's got to weigh at least over 100 pounds. It's got intricate designs and if you have the privilege of being close to her as she's risen up, you can see that these designs include hunters hunting things like bears, reindeer, animals from the north, And the centerpiece of this armor is a set of large antlers that come out from her spine up and over and around her head almost like a vertical halo. Her mask is also very intricately designed and looks a similar shade of metal and a golden half cape drapes from one of her shoulders. As Gwendolyn has risen up and a silence has fallen over the attendees of this ball, she stands in the silence, admiring the little bit of peace that she can enjoy before the social intricacies and intrigue start to consume the rest of the night. She raises her arms and the soft clinking of metal rises with them and she takes one deep breath in.


Penn (as Gwendolyn): Let the Abundance Gala began!


[hurdy gurdy music swells]


Outro:

Penn (as Marathon): Welcome back folks, you’re tuned to Going the Distance: Traveler’s Guide on road dial 1558. That’s a wrap on today’s log and we’re set to loop after these considerations. Further detail for the following is cataloged in the show notes.


This has been A Knight of Shreds and Patches, an actual play podcast using the Genesys game system from Fantasy Flight Games. The show is edited by Sydney Whittington, and features the talents of:


Kit Adames as Birdie. Kit can be found on Twitter and Instagram @ venusvultures. Kit is also a voice actor for Elevator Pitch Podcast, a queer genre-hopping anthology podcast that can be accessed on Spotify and YouTube.


Penn Van Batavia as Marathon. She can be found on Twitter @ acquiredchaste and in drag as horror king JOHN on Instagram @ john.is.risen. Penn is an indie TTRPG designer whose most recent work includes SLICE IT OUT, a grisly carving RPG about cutting pieces of yourself out to fit in. Check out faer other work at pennharper.itch.io.


Sydney Whittington as Cassidy. Sydney can be found on our Discord server, which is linked in the show notes, and on Twitter @ sydney_whitt. She’s also a contributing editor and occasional guest player for the Orpheus Protocol, a cosmic horror espionage actual play podcast.


Cameron Robertson as Emma. Cameron can be found on Twitter @ midnightmusic13 and on Instagram @ reading_and_dreaming. Cameron is also a player on Tabletop Squadron, a Star Wars Edge of the Empire actual play podcast.


And Nick Robertson as narrator. Nick can be found on Twitter @ alias58. Nick is also the GM for Tabletop Squadron. Nick can also be found as a player on the Orpheus Protocol.


This podcast features the musical talents of Dora Violet and Arne Parrott. You can find Dora at facebook.com/doraviolett. You can find Arne at atptunes.com.


The official artwork for this podcast was created by Rashed AlAkroka, who can be found on Instagram and Artstation @ rashedjrs.


You can follow the Patina on Twitter @ akosap_podcast or visit the website: www.akosap.com. To further support the show, consider joining the Patreon at www.patreon.com/AKoSaP, where we’ll be bringing you weekly content including bonus episodes, campfire conversations, and other fun rewards.


Until you tune back…

…stay bold and stay kind

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