You're on the open, top deck. Unfortunately he just needs to look around.
Oh

Either way, this lie detection doesn't work.
I'm not entirely opposed, but "we've been blocking your psychic transmissions" is entirely too trivial a lie for him to disprove. <to his plane's pilot> Waggle your wings twice. And then he laughs and Joli dies.

--[] You've been blocking his psychic transmissions, your friends haven't heard him. Didn't want to get mind whammied, and if he doubt that you could do that, he can just feel for your mind. Does that feel like what Hilda would be like, or like a fortress?

It's minds of Hilda's friends that are (claimed to be) shielded, not the minds of Mattis's allies.
 
Doing that requires going outside, looking for and identifying his plane (aka, taking his gun and attention of everyone), giving us more than enough time to intervene.
It requires taking his attention off of everyone, sure. His gun, not so much. Absolutely no reason he can't just drag Joli along, gun to head.

And even if he's sufficiently distracted to give us Advantage on Seize the Initiative that still only gets us from 10% to ~23% chance to act before he pulls the trigger!

It's minds of Hilda's friends that are (claimed to be) shielded, not the minds of Mattis's allies.
Ah, okay, thaaaaat makes sense, my bad.
 
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It requires taking his attention off of everyone, sure. His gun, not so much. Absolutely no reason he can't just drag Joli along, gun to head.

And even if he's sufficiently distracted to give us Advantage on Seize the Initiative that still only gets us from 10% to ~28% chance to act before he pulls the trigger!
So, are we arguing mechanically or narratively?

Because you flop between the two midway through your argument.

For the lie, you prefer a narrative argument, probably because the mechanical argument would show that our odds of failure are tiny with a +4 bonus to the action.
For the engagement, you switch to a mechanical argument, probably because the "Sieze the Initiative" is a mechanically very punishing move. One I would argue doesn't really apply in this circumstances,because it's more intended for situations in which the PC is suddenly attacked.
When Goth troops land on your plane, the militia opens fire, or a dryad attacks out of the woods, Seize the Initiative is rolled.

I would argue that the expanded rules from Chariots should go instead :
If the PCs ambush unaware and unprepared foes, they get to make attacks before anything else, and their enemies don't get the benefit of cover as they do.
So, if we manage to distract Mattis, we just straight up get a free attack.

Similarly, pulling the trigger. Here you go back to a narrative argument. If we kept it mechanically, then merely pulling the trigger doesn't guarantee a kill. In fact, a self loading pistol does only 2 hits at 1 damage, it can't kill.
 
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Counter-bluff trickiness sounds more like a Hilda thing to me.
Hilda can't lie worth her life?

She has -2 Keen.

Hilda's all direct action with her +4 Daring.
Karl is the one with +4 Keen, he's far better at this kind of deception.

Edit : Also, and this might just be a me thing, but just killing dear nephew here is deeply boring. It's just killing of a plot thread, refusing rather than engaging with it.
 
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Wrong Connection
Wrong Connection

Communication was an elemental trait of water. Your least favorite element to cast with. And the one you've almost always fucked up. She always had a knack for it. You tried to concentrate on creating a message in your mind to send, starting basically as a stream of thought before you started to feel a fuck up coming on.
You pushed forward, redoubling your efforts, taking the stream of errant thoughts and pushing it away. It coiled up on itself, feeding upon fear, doubt and frustration, a snarling coil of magic and emotion with nowhere to go. You plucked around in your mind, looking for the connection she had used, grasping but finding nothing, until at last, you found it. Weak, unfocused, a vague and forgotten bond not renewed since your childhood. Not the channel she had used, but the corrupted message you were holding in your hand was starting to bite. You threw it in just as the bullets stitched through your plane.

You ducked, instinctively. Wood shattered, splinters cutting your arms, hands and face. The smell of resin mixed with that of blood. Steam hissed as lucky shot found your radiator. On and on the shots came, the barrage stretching on seemingly forever, until, finally, you were through. White mist whipped all around you, while absolute silence filled your ears. The engine had stopped. Not great, but you could fly without an engine and much as the thought of losing your new plane pained you, you always had your broom. You grasped for the control, grabbing only air instead. You stumbled forward, but what came up towards you was not a terrifying plunge, but the soft loam of a forest grove. A hand reached out, helping you up.

You looked up, following the dark brown hand up the leaf green sleeve. Looking back at you was a familair face.
"Hello, dead niece", Frau Madeline said, drawing out those terrifying syllables. "You called for my aid?"
"I will oblige, of course, but your message was not particularly clearly". She gestures, a tree now visible on the other edge of the slowly clearing grove, where an angry ball of magic was scratching the same words over and over again.
I am your niece. Stop shooting. Hey. Help. Your niece. Stop. Help. Fuck. Niece.

Panic started boiling within you. The witches of Himmilgard agreed on no principles of magic, but of all the principles on which they did not agree, there was one on which they disagreed least. "Never bargain in your own blood". Blood is power, and to give the fae that power, that control, to reveal your barest soul and connection to them only ever brought misery. You had just done worse.
You had just claimed to your blood was that of the Fae. You had claimed that, claimed yourself equal, not just subject, made yourself family, and the Fae had agreed rather than punish you for your impudence.

"Your side of the family rarely returns home, it's true", Frau Matilda offers. "It's such a shame, such a dereliction of your birthright, just to avoid a few meager obligations."
"But enough of that now. I believe you should return to your friends. A retinue does not build itself, and I will not have you disrupt my ball by showing up alone."
The mist is thickening again, shrouding Frau Matilda from view. Before she disappear entirely, she adds one final thing.
"Oh, and tell him he owes me a loyal daughter."

You return to the roar of engines and the smell of fire. Your plane is on the ground, parked haphazardly on the town's improvised runway. . The sky above is filled with birds, huge swarms chasing the pirate planes around, with yet more murmuring protectively around the slowly landing cargo balloon. A plane burns a short distance away, a giant eagle picking haphazardly at the fire, jabbing at the horned figure crawling weakly away from it. "You're back!" Karl all but screams in your mind, suddenly rendering you aware of his previous absence. "What happened? You were a monster just 10 minutes ago. You were gonna kill them all. Just look at the console." You see now, the damage to the console not done by bullets, but long scratches from tearing claws.

"Long story", you answer. You notice the eagle hungrily approach the horned figure, your niece. "We have more pressing matters now." You jump out the cockpit, running towards the pair. By the time you get there, the eagle has almost gotten bored of playing with it's prey. It's claw rests heavily on the figures back, talons softly piercing into the flesh. Pained, your nephew, for that is what he is, looks up at you. The revelation casts Frau Matilda's remark in a new light, and you can't help but smile a little. Way to outsmart the Fae.

"Gloating, are you?" your nephew "Come to finish me off, then?". No, a part of you wants to answer, before the nausea hits you at the thought of a favor given so freely. Yes, a part of you thinks, wanting to see fear on his face for the danger he put your friends in, before the burning pain of a lie nearly spoken chastises you. A pained scream disrupts you before you can answer. Your nephew's pilot, still in the plane, the flames now rapidly closing in. A terrifying fate, a high price to pay for saving, and yet you have no other option but to collect.
"A service" you say , gritting your teeth. " Your life and his, for all that you know about the questions I will ask, and a guide to get where I need to go. And your name."

Your nephew squirms under the eagle's talon, clearly willing to tell you to go fuck yourself. But the pained screams, and the terrifying fate of death by fire, prove more convincing.
"Agreed. And Matthew". The eagle leaps off. "Didn't think she'd stoop so low to get me back" Matthew grumbles.
The bird dives in the flames, carrying away a pilot in it's claws".
"It's not personal, you know" you answer "she just wants a reputable servant, and what better reputation than returning the wayward child."

The eagle lands, depositing the pilot at your feet. No, your eagle. You can tell, and you can feel it. You can see it in it's feathers, colored black and white, with streaks of red throughout. Above you, two more giant birds circle, one a brilliant brown with a collar of blue feathers, the other shimmering white and gray, with talons made of blood. Below them, Edgar and Rya make for landing, the intended riders of the birds all the more clear. Your new retinue, already expected at court.
 
I'm maybe a little biased because I happen to think Last Mistake is the iconic Soldier move, as much as Farmer's One in a Million. It's the move that perfectly encapsulates what your playbook is all about: you kill people. And then you have to deal with that. That's what Soldier does, the big question it asks- when is killing justified, and when is it smart, and when if ever do those overlap? And can you forgive yourself, will anyone else forgive you, for getting it wrong?

And I've yet to see anybody actually use Last Mistake. Ever.

Anyway, yeah, some kind of deception is probably the play here, I'll concede. I'm still voting for Last Mistake because frankly that's the aftermath I'm more interested in seeing play out, but I'm not gonna argue for it any further.

and then using magic on him?
Counting on magic is not a great idea, I think, because with Hilda locked in hte plane we're rolling at disadvantage.
And, to take my turn offering a narrative argument, the guy is demonstrably just better at magic than we are- definitely more training and more experience, and probably more power. We would be wise to stick to mundane means of conflict as far as we can, because if it comes down to magic we are probably going to just lose.
 
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I'm maybe a little biased because I happen to think Last Mistake is the iconic Soldier move, as much as Farmer's One in a Million. It's the move that perfectly encapsulates what your playbook is all about: you kill people. And then you have to deal with that. That's what Soldier does, the big question it asks- when is killing justified, and when is it smart, and when if ever do those overlap? And can you forgive yourself, will anyone else forgive you, for getting it wrong?
It kind of is, but it's use here is misplaced, I feel.

Last Mistake is more "i don't like the look of that guy, if he fucks up next time, I'll shoot him". It's about having your preconceptions of some person confirmed, and then immediately killing them for it.

Doing the move, then immediately spending the hold feels wrong. You're supposed to let grudges sit for a bit.

And, to take my turn offering a narrative argument, the guy is demonstrably just better at magic than we are- definitely more training and more experience, and probably more power. We would be wise to stick to mundane means of conflict as far as we can, because if it comes down to magic we are probably going to just lose.
OTOH, the narrative outright calls Water his favored element, so he might be worse at non telecommunication practices.

----------------------------------
Anyway, voting for my vote, I adjusted to take out hte magic element.

-[X] Press the issue (+Keen)
--[X] Your friends are smarter than trusting random voices in their heads, and none of them even kept track of where he is in this dogfight, they're not just going to surrender without proof he's even on the balloon.
--[X] So, if he wants to see his friends without picking their pieces up from the forest, he'll put the mechanic down, and then you'll tell him what flare color he needs to call a cease fire.
 
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[X] A Good Compromise Means Everyone's Equally Unhappy
-[X] Use Last Mistake, but hold it while you talk this out; don't bait him into going for it. If he does try to pull the trigger, though, kill him first.
-[X] Press the issue (+Keen)
--[X] Your friends are smarter than trusting random voices in their heads, and none of them even kept track of where he is in this dogfight, they're not just going to surrender without proof he's even on the balloon.
--[X] So, if he wants to see his friends without picking their pieces up from the forest, he'll put the mechanic down, and then you'll tell him what flare color he needs to call a cease fire.
 
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Anyway, yeah, some kind of deception is probably the play here, I'll concede. I'm still voting for Last Mistake because frankly that's the aftermath I'm more interested in seeing play out, but I'm not gonna argue for it any further.
You've convinced me.

[X] Balt him to try, use Last Mistake, and when he tries to pull the trigger kill him instantly.

[X] A Good Compromise Means Everyone's Equally Unhappy

Edit: ignore the dice, accidentally clicked it
digital2 threw 2 10-faced dice. Total: 11
3 3 8 8
 
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Last Mistake is more "i don't like the look of that guy, if he fucks up next time, I'll shoot him". It's about having your preconceptions of some person confirmed, and then immediately killing them for it.

Doing the move, then immediately spending the hold feels wrong. You're supposed to let grudges sit for a bit.
Yeah, that's fair too.

You know what, I think we can both be happy. ish.

[X] A Good Compromise Means Everyone's Equally Unhappy
-[X] Use Last Mistake, but hold it while you talk this out; don't bait him into going for it. If he does try to pull the trigger, though, kill him first.
-[X] Press the issue (+Keen)
--[X] Your friends are smarter than trusting random voices in their heads, and none of them even kept track of where he is in this dogfight, they're not just going to surrender without proof he's even on the balloon.
--[X] So, if he wants to see his friends without picking their pieces up from the forest, he'll put the mechanic down, and then you'll tell him what flare color he needs to call a cease fire.
 
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Hilda can't lie worth her life?

She has -2 Keen.
I don't mean the lying.

I mean... I'm having trouble figuring out how to phrase it. Karl seems more direct to me? (For what little characterization we've seen)

The magic-mindshield talk-around-to-gain-position approach, gambling a friend's life on our ability to achieve completely victory. That's what feels Hilda to me. Not the lying, but the double-down approach to risk

Karl, I might just be imagining characterization, but it feels like he [is/should be] a counterpoint to that. He's a soldier, not a witch. He comes from an era where people were in a battle marching towards the end of the world.

I can easily imagine Karl deciding to sacrifice a nebulous long-term gain (a lead on the immortal woman) to secure an immediate concrete one (the life of a crewmate). I have a harder time believing he knows enough about magic to come up with a credible lie, or that that's an idea that would quickly occur to him.

---

And yeah, shooting the cousin would cut off this particular lead. But I think it would open up a (to me equally interesting) line of interpersonal drama.

Hilda angrily asking Karl why the fuck did you do that. Her needing to get to know him better, to decide if he is even someone she is willing to try to bring back to life. Grappling with what it's like to have someone living in your head, who might have values fundamentally different or even incompatible with your own.

That sounds like enough fun to me that I'm willing to put the immortal-woman plotline on a shelf until such time as we stumble across another clue.

---

Ooh I like this one.
[X] A Good Compromise Means Everyone's Only A Little Unhappy
 
[X] A Good Compromise Means Everyone's Only A Little Unhappy

Unsure how anyone could see this as a compromise where everyone's unhappy. Baller plan.
 
Seems like we're all in agreement. I think Stonesaint would agree too, she's a pretty good friend of mine. Alright. Not joking about gambling this time because this is pretty big. On a miss, you kill him. On full success, you resolve the situation. On a partial, I'll figure it out when we get there. You have an omake bonus, use it if you'd like. Roll the damn dice.
 
Unsure how anyone could see this as a compromise where everyone's unhappy. Baller plan.
Well, my dumb ass corrected the plan name from "only a little" to "equally" (to match the old saying) before any of the replies were showing up but apparently after some people had already loaded the page and seen it, so they copied down different plan names and I split my own vote :jackiechan:so I'm unhappy at least

edit: wait, before I roll, what's the omake bonus? Advantage, or a +X?
...I'm just gonna roll three dice and cross my fingers; QM can use "first two" or "highest two" as appropriate.

edit2: OKAY THEN MAYBE @marshalcarolus WAS ONTO SOMETHING!
thepsyborg threw 3 10-faced dice. Total: 28
10 10 8 8 10 10
 
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