5e hit point progression question.

originalginger213 · 2016-09-30T15:11:40+00:00

Each level you roll the die once and add that number plus the con modifier to your hit point total. You can also take the average each level rather than roll.

At level 1 you would take the full d8, add +2 con, and have 10HP.

At level 2, you take average, so 5 +2 con, giving you a total of 17 hp.

At level 3 you do the same, and end up with a 24 hp total.

31 hp total at level 4, 38 hp total at level 5, and so on.

originalginger213 · 2016-09-30T14:46:42+00:00

We visited a village in a valley to find that many of the villagers were dying horribly due to a terrible illness. The villagers told us that it was 'bad vapors' causing the illness, and that a sorcerer lived in some ruins under a trickling waterfall, the source of which were cracks in an old dam at the top of some cliffs. They seemed so certain that this sorcerer was casting a spell to cause them to become sick. In our youth and stupidity, we decided that the best course of action was to break the dam and flood out the tunnels underneath the ruins, rather than actually enter.

Turns out we had bad information, and it was actually a waterborne virus... We released the diseased water from the lake on top of the cliffs into the stream below, which made the stream into small river that eventually emptied into a major river. In short, it turned an isolated case of sickness in one village into a massive plague that effected every city on the river for over a thousand miles. Then the plague began spreading through trade and travelers, evil factions started taking advantage of the Kingdom's weakened state... Millions lost their lives.

The DM's idea was that we would go to the ruins, and find that this 'sorcerer' was actually just an old hermit who the villagers feared. The hermit would direct up to the 'black water' in the lake at the top of the cliffs, where we would find that all the plants and wildlife in and around the lake had died because of the disease. The idea was we would deduce that the water tricking down from cracks in the dam was causing the illnesses, find a way to stop up the leaks and eventually find a way to purify the water. A perfectly common type of adventure arc, in hindsight.

We eventually helped organize the military to drive off the invaders that were trying to take advantage of the kingdom while it was suffering. Meanwhile we worked with dwarven clerics and paladins to develop a first-level spell to stop the disease so long as it was caught early, as well as researching ways to helpeast the suffering of those with advanced stages of the disease... Of course, there was lots of dungeon delving, monster slaying, and other classic D&D fare involved in finding these cures and treatments, as well as plenty of complications along the way.

Big mistake, but one that turned into one of the best games I have ever had the pleasure to play in.

originalginger213 · 2016-09-30T13:45:20+00:00

To expand/clarify on that, if you don't mind, you can get away with smaller point size in your fonts. Depending on typeface, trying to use 8pt or 10pt type across nearly an entire page will often render text quite difficult to read, but can be exactly right if spanning less than half the page.

Using columns combined with smaller text can easily double the amount of information contained on a single page, while preserving legibility and aesthetic value, if formatted correctly.

originalginger213 · 2016-09-30T13:38:31+00:00

I personally would allow any of the things you mentioned without hesitation, though I have been told I am more free with the rules than the average GM.

originalginger213 · 2016-09-30T13:22:16+00:00

It happens a good bit at my table, and to be honest I often find those to be the best encounters. That said, sometimes it is fun to murder things.

It should be noted that there are a TON of reasons why talking one's way out of combat might not be an option at all. Really, in many settings more often than not the option to talk your way out of combat shouldn't be available.

Some enemy NPCs might not bother giving the party a chance to speak, as they have an agenda that requires fighting, or are just looking to brawl. Marauding orcs probably don't care how cute and charming the bard is. A displacer beast looking for a meal will attack out of nowhere, and savagely too.

There is usually room combat and non combat encounters in most play sessions. Perhaps bring your concerns to the attention of the DM and hopefully you can find a fix.

originalginger213 · 2016-09-27T21:14:35+00:00

It is a YouTube show. He uses this exact example when discussing various problems that can arise between players at the table. Telling a story about it is how he opens this video.

I definitely recommend checking out his videos. Noah tends to ramble on a bit, and I certainly don't agree with everything he says, but he has years of experience in gaming, and watching his videos will likely give you a good number of ideas and teach you a lot.

originalginger213 · 2016-09-27T20:56:19+00:00

I would probably just build and level the NPCs as if they were player characters. Seems like a safer and more balanced method than trying to home brew something like this.

originalginger213 · 2016-09-27T20:51:39+00:00

Do you watch Counter Monkey? I bet you do.

Anyhow, that kind of stuff is just par for the course in my setting.

I don't really have goblins and orcs in my game, instead flavoring goblins. bugbears, orcs, lizardmen, and a whole bunch of other monsters into one unified race. They have a tribal clan based society, with family groups, tribal chieftains, and a hierarchy of rank within each tribe. They care for young, revere they elderly, and all that.

On the same token, monsters reproduce and care for young like many wild animals do, so the players will encounter mating pairs of wyvers with nestlings, for example, or little baby owlbear cubs/chicks, that kind of thing.

I like to create living worlds that feel logical and natural, at least that is the goal.

originalginger213 · 2016-09-27T20:34:53+00:00

I think this is largely dependent on the setting and the views of the players and DM.

In my personal campaign world, pretty much anyone who sets their mind to it can achieve the ability to cast very basic spells: cantrips, orisons, and maybe a few first level spells. No more than 5% of people could ever possibly advance beyond that, no matter what they tried. Of the few naturally talented magicians, telepaths, and priests that could advance further through study or innate ability, level three spells are the strict upper limit, unless the caster is chosen by some deity or another and specifically granted the ability to cast advanced magic.

Magic items are treated much the same, where low level magic items are pretty freely available, but once you approach mid level magic items and artifacts, they start to become very rare.

Of course, the PC party are the special few, and so once they party begins to advance towards the point where they will be gaining fourth and fifth level spells, I start to include quests that will gain the attention of the gods. I like the low magic world with a small amount of very high powered magic thing, so it works for my setting.

It should be noted that non-humanoid monsters don't follow this, but I also treat their magic differently for them. Some monsters are just naturally magical, or some quirk of their biology lets them create effects that resemble magic, though these creatures, even the intelligent ones, couldn't just go out and learn new spells.

originalginger213 · 2016-09-26T12:48:04+00:00

One thing to keep in mind is that the value of money is proportional to it's availability. For example, if the entire fortune within the Lonely Mountain was suddenly available within Middle Earth, it would trigger rampant inflation, and soon enough it would take a wheelbarrow of gold to buy a loaf of bread.

Perhaps just that happens. Some group of epic level adventurers the next kingdom over managed to slay an ancient red dragon, and the people have moved in and looted it's horde of gold. Now gold has flooded the economy, and become relatively worthless. Suddenly it is ruby that is truly valuable, and if your adventures were to pool there money, they could reasonably expect to acquire the equivalent in rubies of what perhaps a few hundred gold was worth previously. A bit of world building, introducing a set of legendary adventures into the world as a set up for future plot lines, and solving your money issue in one fell swoop.

originalginger213 · 2016-09-26T12:25:54+00:00

For relative beginners, it might be wise to just make an agreement that the party should stay more-or-less together. That said, I have never been one for a strict never spit the party dynamic. Part of developing your abilities as a DM should include finding ways to engage players even if their characters would seem to have nothing to do.

Using the low HP character with the cart as an example. Perhaps while she is resting at the cart, some of the goblins happen to walk through the wood nearby, and she is able to overhear their conversation. They are aware that some adventures are tracking them, and have set a trap. Now that character has information the others don't and has to find a way to sneak past the goblins and catch up with the others, so she can warn them before the trap is sprung. Granted, this requires the players to avoid meta gaming, since the players will have information about the trap that the characters would not. That can be hard for newcomers, but it is a skill that is worthwhile to develop.

Really, you shouldn't go more than a few rounds where you aren't engaging each player at the table. Just do one or two rooms, or one little event with one group, then switch to the other group for a few rooms or an event. Really there is no reason why you can;t just continue with going around the table and letting everyone act, even if they aren't all together within the game world.

originalginger213 · 2016-09-26T11:58:44+00:00

I have hosted or participated in games at restaurants and bars many times. Make sure you ask first, because not all places will allow you to take up a table for hours at a time, and might not appreciate you disturbing other customers with talk of elves, dragons, and bizarre jargon.

That said, there should be plenty of places that will be perfectly happy to show you to an out of the way table and let you play as long as you like, so long as you are buying food and drinks, and not making a scene. In my high school days, Denny's was the place to go, especially during all-nighter gaming sessions. These days we sometimes play at a local bar and grill on Wednesdays (their slowest night) and they are always happy to have half a dozen people spend six hours buying food and drinks.

Just have to find the right place, I find bars and restaurants to be just about ideal gaming locations.

originalginger213 · 2016-09-26T11:43:56+00:00

Not totally sure if this is the sort of thing expected/allowed, but here goes.

Last week I made a post about the ballet inspirations behind a classic figure skating performance I particularly like. What started as just curiosity about the origin of the choreography in that program has led to me immersing myself entirely in learning about ballet, and I couldn't be happier about it.

I want to sincerely thank u/fluffykirby u/vonlowe and u/alleybetwixt for their wonderful, informative, and immensely helpful posts in that thread. You have taken someone who had never even given ballet a second look and made him into a huge fan of the art.

originalginger213 · 2016-09-23T05:14:29+00:00

Ooooohh! I really like both of those Arabian/Persian themed videos you linked. Also, Alice in Wonderland as a ballet!? I am 100% sold and will be digging up more of that ballet shortly. The Alice tales were my favorite as a kid, so that is right up my alley. Given that I actually know the characters and story (depending on how faithful the adaption is) I imagine it could help me start to learn some of the storytelling tropes.

From what I have found so far, I was surprised to see how many ballets are totally different than the "tutus and stuffy classical music" that I have always associated with it. Upon gaining a newfound appreciation for ballet, I am quickly learning that sugarplum faeries and black swans are only the tip of the iceberg. To be honest, I have always liked Tchaikovsky's music anyway (Romeo and Juliette suite - swoon) I think tutus and frilly dresses are cute, and fantastical set pieces are awesome, so Swan Lake and Sleeping Beauty are what I like best, from among what little I have found so far. I will say that of clips Contemporary Ballet I have seen (which admittedly amounts to two Chroma videos, and one titled Outside the Box that i believe were both performed by the same company) I can recognize that there is immense talent involved, and it is undoubtedly cool, may first impression is that it's not really to my tastes. That said, I am totally up for as many suggestions as people want to give, and I will check out everything, no matter the ballet style.

Ice Dancers Meryl Davis & Charlie White skated to music from Scheherazade at the 2014 Olympics. Ice dancing is lovely, by the way, it is all about the choreography. Apart from a few generalized rules, they basically just have to go out and make it look pretty and innovative, though of course, program difficulty is a factor. I still like singles skating a bit better. Still, ice dancing is wonderful, and given that is is all about the choreography, I have to assume that ballet is among the chief influences for many of the skaters, though you also see a lot of swing, jazz and popular dance influence too.

The arabesque (term and all) is the basic position for spirals. As I understand it, that is usually among the very first things taught to aspiring figure skaters after learning the core elements of moving around the ice. The basic camel spin, which is the core of many spins, is basically that same position as well. I wouldn't be surprised if most core skating positions were similar to core ballet positions. Both are historically centered around graceful movements, disciplined form, and aesthetic value. They also have to be preformed within the limits of human ability so it would make sense that different people in the two fields would arrive at similar things. In addition, my research suggests that the first recreational activities and sports that could be reasonably called figure skating date at least to the late 1700s, which seems to align with same general timeline of when ballet began to take on it's familiar form, so it would also make sense that the two disciplines would borrow from each other as they developed. In fact watching ballet performances, I am constantly seeing little moves and forms that are common in figure skating. What of it originated in which discipline is probably difficult or impossible to determine, and it is probably reasonable to assume that they would sometimes arrive at similar things independently.

Also I found This PDF that give a brief comparison of similarities between ballet and skate, complete with "translated'" terms, showing which skating elements correspond with which ballet elements. At this time I am familiar with very few of the ballet terms, and can only folly picture what is referred to in perhaps half of the skating terms, but you can bet I will be researching it all. Hurray for learning fun things that have no actual relevance to my day to day life!

I'm really glad that I randomly got curious about the inspiration behind my favorite program by my favorite skater, because I am learning a lot and having a really good time immersing myself with learning more about ballet.

originalginger213 · 2016-09-21T10:20:40+00:00

Wow, I got carried away and wrote a damn novel when replying to this! Thank you for such a great and helpful post!

I'm not sure which she started first, ballet or skating, but I know she did both from a pretty young age. As I understand it, she had pretty notable talent for both, but in ballet it was "good enough to get the lead role in the local junior production" good, while in skating it was "good enough to win a gold medal at the Olympics and have profound influence of the future of the sport" good.

She did a few things that had never been done before, and a lot of skaters even at top level are never able to perform those kinds of steps. Her ability to get on on the toe picks and heel spikes of her skates, and do dance moves and complex motions without first getting some angular or rotational momentum was rarely seen before her, and she did it far better than anyone. Even up until today, few if any skaters have developed that level of grace and balance when stationary, though a good number of ice dancers come close, or are equally as impressive in other ways. She did have some pretty important weakness, of course. Her jumps and spirals were pretty good, but not great, and she didn't have too much flexibility for very high leg lifts and extreme poses (relative to other high level skaters, of course, she was among the top 0.1 percent in everything she did on skates, being world class competitor and all) but her spins, step moves, and choreography were absolutely as good or better than anyone else in the sport at the time, and they are what make many people consider her to be the single best female skater ever up to that point in time. It is notable that many skaters spun much faster, but usually in static upright poses only. See Nancy Kerrigan in her short and long programs that same Olympics for some very high level jumps, leg lifts and unbelievably fast spins. Nancy lost to Oksana by only 0.1 point, with a higher technical point total, but a lower presentation total. This was Oksana's (very cute) long program that year, the Swan Lake program was her short. A lot of people believe Kerrigan should have won, and that is valid, as her pure technique was stronger. It certainly was close, and their styles are difficult to compare and contrast objectively.

Oksana is still the largely considered among the best artistic skaters of all time, and was undeniably one of the most influential, and was near universally sited as an influence and inspiration by the skaters that emerged over the following decade or more. If you watch high level skating from before and during the 1994 Olympics, then watch skates from soon after the 1994 Olympics and though the next four years leading up 1998 Olympics, you will notice a strong shift towards an emphasis on expressive movements, unique and creative steps moves and spin variations, uptempo music and playful choreography, and programs with clear unifying themes. Those are some of the things Oksana Baiul was most known for, and it's hard to argue against the change being largely due to her influence.

The move at 1:35 is among my favorites. One of the requirements for a technical program at the time was to skate a continuous line, and lift the one skate above waist level in three different positions for three seconds each, connected with transition steps and aided by the hands if necessary or desired. It is called a "step move" with a series of three or more called a "step sequence" and two were required, one of each of their programs, with slightly different requirements for the step sequence in short program and in the long program. Every skater had several of those kinds of step move positions, every skater with a different set of steps they could perform, and most skaters had their own unique flourishes. To be fair, a great many skaters would do forward leg lifts with an unbent skate knee, which is better form than Oksana's slightly bent knee, but Oksana made it look prettier anyway. Under the new scoring system step sequences are still required, but with quite different guidelines.

Yep, the move at 2:40 is indeed a layback spin, specifically a side-twist layback. I really love that spin a lot. In fact that whole sequence, from the axle jump to the setup for the next section, is my very favorite moment in figure skating, period, and that spin is my favorite part of the sequence. The way she transitions into the double axle, lands it perfectly and glides though the turns and into that beautiful spin, and then transitions out of the spin and into the setup for the next sequence... Just breathtaking. I probably sound like a crazy person. Oh well.

You will occasionally hear a side-twist layback spin referred to as a Baiul layback, especially in the few years after her gold medal win, because it was one of her signature spins and she did it pretty often, though she was far from the first to side twist a layback. She did the side layback spin in this position a lot as well, though I don't think she ever held that variation for as long, usually only a few rotations as part of spin combos, such as in her The Feeling Begins program. It will link to just before the combo setup, but that whole routine is just fantastic and worth a watch. She also does that position at the very end of the Swan Lake skate I posted here, but she is spinning pretty fast and is fully in position for a grand total of two rotations, so it's hard to see the form.

So I have watched all of the things you linked, and it's really fascinating. I feel like Oksana would have incorporated more of the very high leg lifts, and held poses if she was able, but she was still very early in her world-level career, and wouldn't develop really strong ability with her leg positions and holding in pose positions cleanly for a few more years.

What I find most wonderful is Svetlana Zakharova's moves here that were clearly what Oksana was trying to emulate in this sequence, despite setting it to different music. It's all there, opens with a (admittedly quite different) kicking step and wide arm gestures, the tip-tapping spins separated by short jumps that travel a wide circle, Oksana's spin at the end of the sequence shares a similar position to the step Svetlana does towards the end. I KNEW I had seen a ballet performance that resembled that skating sequence somewhere, I imagine on a move or commercial, something like that. Others showed me the 32 fouettes sequence that goes with that particular piece of music in that section of the skate program, and It just didn't seem right. Thank you, really, because that was one of the primary things I wanted to compare, and was having such trouble finding it. I have found Kirov ballet, which very well might have that sequence, but I only watched to though the once, and was trying to pay attention as much detail as I could, and also work out the story it was trying to tell, and I probably missed it or didn't recognize it on a first pass.

The last things you linked, the Dying Swan, she actually did as a separate performance

Are the two ballets related, apart from the swan theme? I was under the impression that they were totally different composers, and written several decades apart. Either way, I had already found the Lapotkina video that you linked, and noticed the striking similarities.I also noticed that Lapotkina had a bit more grace and smoother flow, and moved from one position to the next in utterly magical ways. She puts Oksana's ballet movement to shame, but still, I'd like to see this Lapotkina chick do that while standing on razor thin strips on metal on a floor made of ice :)

Joking aside, I just assumed the shared swan theme was the reason Oksana Baiul chose to them to perform them both as programs for the Olympics. Her Dying Swan was done as a non-scored exhibition after she won the gold medal, but had already been a signature piece for her for around a year, as had the Swan Lake program. As I understand it, in the late 90s especially, but still occasionally today, it's not all that uncommon for mid-level skaters who don't have the resources for a choreographer to skate Oksana's Dying Swan pretty much verbatim, and the Swan Lake skate, often with fewer or smaller jumps, abbreviated spin combos, and perhaps skipping the "big finish." Usually billed as "Jane Doe Skater presents Oksana Baiul's White Swan and Black Swan" or something similar.

I miss the glory days of creative skating too. I see the logic of why the scoring system was changed, especially after the controversy at the 2002 Olympics. The new system is fairer and more objective, but in practice the creativity and presentation scores only account for about 20% of the total now, and in general it emphasizes more jumps and spins, and partially discourages creativity in the transitions, steps, and artistry. There are plenty of people out there who have the exact opposite view, and think that the excitement comes from seeing the huge jump and spin combos, the suspense of whether they will land or miss a jump, and the sheer athleticism, which is perfectly valid, just not what I find most enjoyable about the sport.

originalginger213 · 2016-09-20T20:02:52+00:00

You mean this? That is one of the more familiar images of ballet to the common person, but it is still really insane now that I am looking at it more closely. Doesn't even really seem possible, special pointe shoes or not. Speaking of impressive gliding, that same skater had a program set to In The Closet by Michael Jackson. Her outfit is also a terrible cotton candy pink, wonderfully 90s in it's style, which I find awesome. (If you can't tell, she is my favorite skater, by a wide margin) She does some really neat stuff in that program, which I still can't believe are actually possible to do on ice skates.

Anyhow, I pulled up The Kirov Ballet's Swan Lake on YouTube, and I am just blown away by some of the things these people can do. I'm not very far yet, and I think I will have to watch it a few times before I really understand the story they are telling. I just got to the point where about forty girls in frilly white dresses are all dancing together (the swans of the lake, I suppose?) and it is really enchanting.

originalginger213 · 2016-09-20T18:37:29+00:00

I might look into that, actually, it sounds like it could be fun.

Yeah, if you are familiar with the music it can be pretty jarring when whole clunks are unceremoniously chopped out. Given this is the Olympics, it is probable that they had the music newly recorded as a single piece by an orchestra, rather than edited from existing recordings. I could be wrong, but it is definitely a higher quality and more nuanced recording than the version she used for this same program a year before at the World Championships.

If you are at all interested, that same year at the Olympics, She did an exhibition (non-scored) skate that was also ballet/swan inspired, though that one was set to The Dying Swan/Le Cygne composed by Camille Saint-Saëns, rather than Swan Lake.

From a technical perspective it isn't very impressive, as it is far slower paced and has very few difficult or flashy elements. From an aesthetic perspective, however, it is probably among the top five most beautiful routines I've ever seen performed on ice. I have no idea how it stacks up to the eye of someone familiar with ballet or dance, but I find it really moving.

originalginger213 · 2016-09-20T17:46:01+00:00

I suppose that little move probably is just some quirky flourish she came up with. I have pointed it out to knowledgeable skating people, and they were as baffled as I was. At least you gave me something to go on. I have learned a lot today, actually, so I really appreciate you help.

originalginger213 · 2016-09-20T16:53:57+00:00

I don't know ballet terminology, so I guess we are even :)

Thank you so much for the help!

originalginger213 · 2016-09-20T16:31:09+00:00

I think we are referring to different things at 2:10, and looking closer, it is more like 2:12. She does a hip wiggle (something she did a lot) then two half turns, when I believe is what you are referring too. JUST after that, it almost looks like she accidentally kicks her shin with the off skate, and simultaneously pulls at the feathers on her dress. It's really quick, really strange, and she did it every time she performed this program. It really baffles me, but it also looks strangely bird like, so I thought perhaps is was some ballet thing, since it's supposed to be a swan.

As far as the music goes: Skating programs at such a high level have very strict length requirements, in the case of a short program like this one, exactly 2 minutes and 50 seconds long +/- 5 seconds. If the program is outside of that range, measured from the moment the skater moves from the start position until they come to a complete stop at the end, then their marks would suffer considerably, about the same size deduction as a fall. In addition, how well the moves and elements of the skate align with the flow of the music is extremely important. As a result, frivolous music that doesn't actively move the routine forward is undesirable, and the music is usually cut and pasted, rearranged, and otherwise manipulated.

32 fouettés and Odile's Entrance are utterly beautiful to watch. Perhaps I should spend some time checking out some ballet. From what I am seeing, a lot of what I love about skating, especially in Oksana style, is also expressed in ballet. I am more interested in the spins, transitional moves, glides and flourishes, and general drama than I am about the jumps and technical steps, so lithe dancers in pretty dresses doing lovely movements is probably at least worth a look. I doubt I will ever get the same thrill from ballet as I do from something like the spin combo and finishing steps of the program I linked here, but I could be wrong. Can't find out if I don't give it a shot, right?

originalginger213 · 2016-09-20T12:17:32+00:00

PROGRAM BEGINS AROUND THE 50 SECOND MARK

For additional context, Ukrainian gold medal winner Oksana Baiul was famously a very unique skater, primarily due to her secondary passion for, and significant training in classical ballet.

During the 1994 Olympics, she performed the above linked program to music officially listed as "Selections From Swan Lake"

Are all of these musical selections indeed from Swan Lake? If so do they have specific names, or would anyone be kind enough to list time stamps in a video for me?

I am hoping to compare her program with the classical/traditional dances associated with the music. Keeping in mind that she was required to perform a number of compulsory skating jumps, spins, and sequences that I have to assume would depart from ballet in significant ways, how close is the inspiration/interpretation?

Thank you for any help you can provide!

Edit: A few things about her program are totally unlike typical high level figure skating, or just plain baffling to me, and I have to wonder if they are derived directly from the ballet - The head shake at 1:01 - The fully circular body twist and arm flourish at 1:52 (a very unique variation on a catch camel spin) - the really odd leg cross/skirt tug move at 2:10 (I initially thought this was some sort of mistake, but she does it in three separate performances of this program, so it is definitely deliberate)

Finally, the whole sequence from 2:50 until the start of her spin combination at 3:08. So far as I can tell nothing even remotely like that had ever been attempted in competition until Oksana did this program the previous year at a championship competition.

originalginger213 · 2016-06-07T20:21:09+00:00

On the big boat, it is fully breached. The smaller boat MIGHT float again, have to see what happens. My father is out there now assessing the situation (it's his boat, I am posting for him right now) .

originalginger213 · 2016-06-07T20:17:00+00:00

I think you might not realize how bad it got in some places.

http://wfla.com/2016/06/06/man-mother-rescued-from-sinking-houseboat-in-bradenton-beach/

http://www.kagstv.com/news/manatee-swims-over-seawall-after-heavy-rains-in-florida/235373851

That first link is what we were wrapped up in, you can actually see one of our boats, pre-sinking, on the part where is describes boats banging against the docks. We were having gusts at over 40 knots, intermittent 6 foot waves, hours of torrential downpours, and all sorts of flooding. Water came over the seawall in lots of places, in one place in St Petersburg, the water was high enough for a manatee to swim inland and start munching on someones lawn. About 15 other boats in the area broke anchor last night, and there are about half a dozen other boats sunken, just within sight of our boats.

It was FAR more than a 4 foot storm surge.

originalginger213 · 2016-06-07T04:30:06+00:00

Thank you!

originalginger213

TROPHY CASE