A View of Uragami

Our thoughts and discussions point to two areas that could lead to more information:

1. The Christian mausoleum¹.

   The mausoleum's exterior is only about six or seven feet above the water level of the lake yet the interior (which will be below that water level) is not water-logged. In our original time the Warehouse that was over the underground complex was built on reclaimed land. We also note that the distant hills (which in our original time had industry built on them) seem to be a lot less eroded than in our own time.

2. Kitsune's shrine

As both of these are of interest we decide to split our investigation. Shadow and Ricky will investigate Kitsune's shrine while the rest of us re-explore the Mausoleum.

Shadow examines the shrine in a respectful manner. The small shrine has very little ornamentation. There are small doors, about 1½ feet in height, on the shrine which are closed. Ricky circles the outside of the shrine noting that it is built on stilts. Shadow notices movement in the alleyway behind the shrine and our lodging and goes to check on it. While he doesn't see anything beyond the brief glimpse of what might be a small figure. However he does catch a faint sweet smell.

The rest of the party makes it back to the Mausoleum with no trouble and is able to re-enter without any problems (there are doors to the Mausoleum, but these were merely closed and not locked). We return to the Bas Relief and examine it in more detail. There are no words (of either Japanese or Latin scripts) and the Bas Relief (and the red painted surface in the centre of the design) is only thing that makes this room anything special (there are no fancy lights or sconces). Nameraka touches the red surface and determines that it is just a painted surface.

The rooms near the Bas Relief are empty (in our original time these had equipment in them) and the remainder of the Mausoleum is made from crypts - mostly only partially constructed but with some being finished and even smaller number, five, having closed tombs with plaques on them in both a European language and in Kanji.

Meanwhile back with Shadow and Ricky the lingering scent reminds Ricky of his nightmare in that he now recalls that the scent in his nightmare was of an iron taste. Ricky then returns to the street of the village and inquires where he can buy a small statue to leave as an offering at Kitsune's shrine. His correspondent is confused by his request and as Ricky departs he is obviously keeping his eye on Ricky. Shadow returns to the Shrine and examines it more closely while pretending to pray at the shrine.

Back at the Mausoleum we notice that another difference between then and now is the addition of metal barred doors. In this time period all of the crypt rooms have no doors at all while in the future they all have metal barred doors. Having failed to get any response from the red portal Nameraka now traces his fingers all over the Bas Relief that surrounds it. He determines that the Bas Relief was created by adding a layer of plaster to the stone walls and then carving into the plaster to create the Bas Relief.

On our return to the hostel we discover that Ricky shopping trip has not been a complete waste of time - he has acquired a flute which, to our surprise, he is actually quite good at playing. Before we settle in for the night Tremen prays at Kitsune's shrine, asking for protection.

A tanuki statue on the Philosopher's Path in Kyoto.

Overnight² Nameraka, Ricky and Shadow have a restless sleep while, around Midnight, Tremen is woken by the sound of a chink and then the sound of a liquid being poured into a cup. He sees a small³ figure in the dormitory wearing a straw hat and in monk robes and is drinking from a cup. He says words to the effect of About time you woke up. I've been told you need help and I've got the job. Come along then!. Tremen recognises this as a Tanuki and, after waking all his colleagues we follow him out into the garden and over the fence into the alleyway (The Tanuki seemed to shimmer and transform into a human sized figure to get over the fence). The Tanuki leads us off into the woods with a sweet smelling scent lingering in the air. We hear, in the distance, the sounds of a commotion back in the village.

Wakiya attempts to strike a conversation with the Tanuki but seems to just annoy it (he does suggest that she is the Cat Lady. The journey through woods doesn't finish even when the sun comes up and eventually Tremen's stamina gives out and he has to stop. The exasperated Tanuki tells the party to stop and rest and he goes off into the woods. It returns after 30 minutes or so and force feeds Tremen with a couple of berries. This rejuvenates Tremen dramatically.

The Tanuki then resumes our trek through the woods and onto a road. There are occasional other travellers on the road which, somewhat surprisingly pay us little attention. He then leads us onto a side path that goes up a hill. By the time evening arrive we finally arrive at our destination - a temple.

A modern view of the temple

As we enter the temple compound, Wakiya notices that (a) there was a slight tingle as we entered and (b) there is a tortoiseshell cat there as well. Wakiya makes a beeline for the cat and immediately makes friends with it.

The Tanuki heads off to one of the buildings of the complex after telling us to rest and wait at the entrance (Nameraka needs persuading by the Tanuki to remain with us). The Tanuki shimmers as it enters the building.

After a short while a couple of monks at the temple bring us food and water and we all start to recover from the long day on the road.

There is a some kind of commotion from the building that the Tanuki entered and as the commotion subsides the Tanuki returns to us looking even more pissed off than before!

This is a collection of notes and other details from and about Neil's cyberpunk game:

• Cyberpunk Session 1
• Cyberpunk Session 2
• Cyberpunk Session 3a and 3b
• Cyberpunk Session 4a and 4b
• Cyberpunk Session 5
• Cyberpunk Session 6
• Cyberpunk Session 7a
• Cyberpunk Session 7b
• Cyberpunk Session 8
• Cyberpunk Session 9
• Cyberpunk Session 10
• Cyberpunk Session 11
• Cyberpunk Session 12
• Cyberpunk Session 13
• Cyberpunk Session 14
• Cyberpunk Session 15
• Cyberpunk Session 16
• Cyberpunk Session 17
• Cyberpunk Session 18
• Cyberpunk Session 19
• Cyberpunk Session 20
• Cyberpunk Session 21
• Cyberpunk Session 22
• Cyberpunk Session 23
• Cyberpunk Session 24
• Cyberpunk Session 25
• Cyberpunk Session 26
• Cyberpunk Session 27

A View of Uragami

The following morning we check on Tharbin. His condition is improving although he is still out of it to a large degree.

Wakiya decides to explore the village while Shadow decides to head out down the track towards the sea. Nameraka, Spooky and Ricky, seeing a small fortification in the distance and on the hillside above the village decide to explore in that direction.

Tremen decides to remain at the hostel and gossip with the hostelkeeper. He reveals that the Gaijin are Portuguese and Tremen gets the impression that he (while being entirely proper and polite) doesn't like them. The hostelkeeper did mention the name of the prefecture which does exist in our original time and is not far from the location of what will be Kobe. The exit of the temple does seem to be in the exact same spot as the Warehouse (where we entered the temple).

Wakiya and Spooky wander down to the market. This is mainly occupied by the stalls of fisherman selling their catch of the day. However across a bridge there are rice farms and after buying a succulent looking fish they also buy some rice and seaweed. The only other stall is a small clothier's stall selling similar clothing to that we're already wearing. The overall mood of the villagers is that life is hard - but not uncomfortable - they are not starving for example. Again they are entirely proper and polite; but again the impression is gained that the Gaijin are annoying

Shadow heads down the track and, after ½ to ¾ of an hour he arrives at a bay. The only thing in the bay is the ship of the Gaijin. This is a two-masted vessel with sails furled and with a brown wooden hull¹. Shadow returns via a slightly circuitous route (to disguise the fact that he wanted to get eyes on that vessel). On that return he doesn't see anything unusual².

Ricky, Spooky and Nameraka head down the road and explore towards the fortification they can see on the hillside. They do get close enough after a mile or so to see some details before the trees surrounding the road encroach close enough to block the view. It's a small fortification with its site allowing it to overlook both the village of Uragami and the road leading away from the village. They can see that the fortification is occupied by at least a couple of people since they can spy those two in one of the corner watchtowers.

As it's getting late after all this exploration we regroup back at the hostel. Luckily there is a food preparation area out the back and we actually manage to have a half decent meal of sushi (Wakiya's preparation of the fish is excellent, the rice is boiled nicely by Spooky and the veg is, at least, somewhat cooked.

We all go to bed about an hour after sunset (the only light once the twilight is spent comes from a candle or two. However half way through the night the rest of us (apart from Ricky) are awoken by a loud male scream. In the male dormitory someone is thrashing around - Shadow is the first to react and finds that Ricky is the one causing the disturbance. Shadow tries to stop Ricky's convulsions and get a punch to the face as a reward. This does however wake up Ricky who denies having a nightmare or even a dream. Nameraka lights a candle so we can dimly see what is going on. Ricky is visibly shaking and sweating profusely despite his denials. His blanket is soaked with sweat and has a couple of big rips in it as if rent by some creature. Tremen calms Ricky down and Ricky now recalls that he felt as if he was being persued and there was something with hot breath around his neck - he doesn't have a good night's sleep!

The next morning Wakiya wakes up as fresh as a daisy having heard nothing during the night (Spooky did, but being in the ladies' dormitory was only disturbed by the noise). We check on Tharbin who also didn't hear anything overnight and is now well on the way to recovery.

The overseer we met when we left the temple visits us at the hostel to put our services on hold for at least today given that he needs those who dug out the tunnels to double check the stability of their work. He apologises but it could be a couple of days before those checks and fixes are completed. After we inquire he will allow us to visit the site if necessary - but would be much happier if we don't.

Reviewing our situation after he leaves we recall that Newport City is³ is in the Kansai region on the north side of Osaka Bay while the temple/warehouse is on the other side of the bay. Wakiya recounts that the carved mural was exactly where the portal was. The central area of the mural where the portal isn't carved and is painted red while the surrounding area is both carved and painted in different colours. Looking at the countryside we discern that the time of year matches up both here and in the future when we entered the portal (about august/september time).

We do notice a man armed with katana visit the temple - he looks like he may have come from the fortification. His visit also makes us pay more attention to the temple itself. It is more of a small shrine and doesn't have any monks in attendance. The carved Torii in front of the temple has the wooden effigy of a fox on its crossbeam indicating that the fox is the local spirit. We also recall that the word Kitsune (狐) means fox and can also refer to the fox spirit. We also note that (despite the construction of the underground complex) there is no visible sign of Christian activity within the village.

We continue our thoughts and discussions throughout that day⁴.

The crystal shattering started from the interior and then slowly spread to the surface. Once there it appeared to get sucked back into the centre and then appeared to warp and twist outwards again.

As we progress (on the train) down the tunnel strange cracks appeared in the tunnel walls in which creatures can be seen appearing and disappearing (staying inside the purple energy field effect). At their appearance Tharbin feels truely nauseous and sick. He is able to attempt to treat himself using his medical supplies but this has no effect (could he have forgotten to pack the anti-nausea pills?)

The fierce beast appearing from the strange cracks in the wall

The creatures are not affected by the purple energy field and begin to follow us as the energy field continues expanding and following us down the tunnel. As we reach the lift we all pile into it and press the up button. Both the purple energy field and the creatures follow up the lift shaft with the creatures climing the walls of the shaft with ease. The lift reaches the top of the shaft and we move into the corridor that led to the top of the lift shaft with some jostling to determine the party order.

We reach the living area and proceed towards the entrance area. Shadow closes the door between the living area and the corridor that we just left. However energy field flows through the door and the creatures follow it through the closed door. This leads Shadow to abandon his attempt to rescue those in the dorm rooms.

We get back to the portal well ahead of the energy field but by the time we help Tharbin to enter the portal the energy field is catching up with us. This time the trip through the portal is different to our earlier experiences - normally the trip is characterised by a sense of the colour of the portal (in this case red) as the short transistion is made. However this time the transistion feels to have taken longer than before and there is a brief sensation of purple in the middle of the transistion¹.

The room we arrive in looks the same - but different. We are all each confused by the six people around us - we're all now wearing simple linen clothes and with simple tools (stone mason tools for the men and artist brushes and paints for the ladies). The room is now lit by candles and the walls of the crypt are now just stone work (i.e., there are not lined as before). The portal has been replaced by a bas relief of a basilica on the wall which has been painted to show red doors.

We are, at least, all mutually comprehensible. We return back through the corridor to the large room. This room too is now lit by candles. Shadow is the most conscious of us in that he's very aware of losing his weapons. Taking the lead Tremen moves towards the corridor leading westwards. It seems that the layout of the underground complex is the same as before - even if the decor is both newer and older (newer in that there is less sign of wear and tear but older in style). Some of the cells that previously contained sarcophagi are now empty (but some of those nearly the entrance to the surface are not). Tremen hears voices ahead - european in sound but not english. It's a pair of male voices - one of whom seems to be expounding on some topic or other while his companion sounds more disinterested. After waiting quitely at the dogleg in the corridor two figures can be seen further down one of the corridors. They are wearing metal breastplates and have rapiers at their hips. They continue their journey through the complex - luckily taking a route which means we can continue to leave the complex without having to pass them.

The view arriving at the jetty

The exit is now up a flight of stairs (rather than the ladder and trapdoor we originally used to enter the complex). At top of the stairs the sun is shining and it's quite warm. We're clearly somewhere still under construction. The immediate area is surrounded by a wall and leads to a small jetty onto a lake. On the opposite side of the lake is a small asian-style village. There are three boats tied up to the jetty. Two of them look in place, matching the style of the village across the lake while the third looks out of place. As we board the two boats that look in place, the two figures arrive behind us. One of them asks, in halting Japanese, Are you finished for the day?. Tremen replies, bowing low, Yes sir but doesn't elborate. The two gentlemen board the third boat and start to row to the stream that exits the lake. Looking in that direction we can see a ship and smell the scent of seawater.

We row across the lake (Shadow doing an excellent job in one of the boats, while Namerake is less so in the other boat). Looking back at the construction site we see that there is a christian cross painted on the archway over the jetty. When the boats get to the village side of the lake we disembark. As we do so we get glances of a mixture of curiosity, attention and disapproval² for a few seconds before the onlookers look away. That said our style of dress does fit in with the locals.

A man in a slightly smarter looking set of linen clothes bustles up to us and asks (in Japanese) if we're stopping for the day and if so why. Shadow explains that Tharbin suffered an accident in the complex. The man³ hands Shadow a small pouch that chinks with the sound some coinage and says that he will speak with the gaijin⁴ about the need to prop up the dangerous piece of construction. He also says that he assumes we'll be in the hostel down the road. We agree!

At the hostel we are housed in two dormitory rooms (one for the men and another for the ladies). These are communal with other guests at the hostel. This does mean it is tricky to get a chance for the seven of us to have a discussion about the situation but, by discussing over the wall dividing the communal garden, we do make some tentative conclusions:

• We're probably in Japan's past - presumably several hundred years⁵
• Assuming Kitsune is immortal ⁶ perhaps our best hope is to figure out how to get in contact with her in this time - that's going to take thought!

Also on Tremen's mind:

• Is claiming that there's a dangerous part of the complex going to cause trouble with the european gentleman or the foreman we met?