Showing posts with label Call of Cthulhu. Show all posts
Showing posts with label Call of Cthulhu. Show all posts

Sunday, 14 June 2026

UK Booty Haul

OK, last week it was all about the books and blu-ray. This week it's the RPG stuff.


Cranfield was ... odd ... in the vendor hall department. I mean, the establishment's huge. But the vendor section was a room behind the bar. Nice room. It got a little hot in there, not much air flowing through. I wouldn't want to be in there all day. Drifted in and out a couple times, was tempted by this and that, thought of my suitcase with tears in its nonexistent eyes, that sort of thing. 

In the end I walked away with:

Rivers of London, main book, Underground/Overground. 

Yes, I know. I know! But some temptations can't be resisted. I really admire Aaronovich's work. That's why I agreed to write for the setting, but I never did get the physical of the main book and Underground/Overground collects all the short scenarios including the one I wrote. I already have the physical of Liberty's Shadow. That's enough for now. 

Plus, Underground/Overground has variant spell rules and a system for playing foxes. How hard can any gamer's heart be? Could you resist those soulful brown eyes? I remember seeing Reynard all over London, when I lived there. A natural fit for the game.

I wasn't that tempted by the pleather version. Granted, pretty. But our climate is death to that sort of thing. That said, your milage (and climate) may vary.

Campfire Tales: Scouts Against Cthulhu.

OK, this one had to sell itself. I enjoy a bit of nonsense. But this was setting off alarm bells. Honestly, if several of the organizers hadn't turned up in full Scouting rig (mentioning no names, in part because I can't remember them) I might have turned my head. I shan't say they inspired me. I shall say they caught my attention, and the book did the rest. 

This is meant to be a more survivable kind of BRP, which I think probably suits it best to an in-between kind of game. A relaxing change of pace between more grueling adventures. But I could be selling it short. A campaign of this might be what the doctor ordered. 

I'm not sure how much use I shall have for Westhaven, the setting in the book. I mean, this is Cthulhu. Arkham's right there. Kingsport too. It makes more sense to my addled mind to use those locations. But your milage may vary. 

Malleus Monstrorum. Because you need something with tentacles in your life. Plus, it was on sale. It did force the Arkham book out of my hands, though. There wasn't a chance I'd squeeze both this and the Arkham book in the case. Hard decisions had to be made. Over 150 entities gruesome and otherwise? OK, sold. I didn't pick up the cards, though. Again, suitcase. There are limits to any creature's endurance and I knew I'd be going to Birmingham later.

Speaking of.

 



That is the queue for badges and entry passes, Thursday afternoon. Good night. The picture does not convey the heat. There was very little air down there and no air conditioning. It was no joke. I flat out do not understand how anyone thought building an Expo center like that without functioning HVAC was a good idea. You might as well fling gunpowder into a furnace.

But!



The queue moved quickly. I picked up the bits for myself and a mate, and we braved the nonsense on Friday from the moment the halls opened. 

Did I buy books? I did not.

Was I severely tempted? Yes. But not by books, so much. I did get a small pile of other stuff, special dice, mats, that sort of thing. You can't find these down here. Cons are the only chance I have to get them. 

No, I was tempted by this:



Now, this might in part be because I was with an old tabletop buddy (Keiran, you villain!) but I felt the tabletop urge again. I used to be an enthusiast. No good at painting, mind, which is about 90% of the hobby as far as I can make out. Much like about 90% of tabletop RPG is talking about playing, rather than actually getting around a table and playing. But it was a big part of my life. Skirmish gaming is always easier to find a group for than Napoleonics because, although the Napolean crowd is dedicated, it takes a lot of time to set up and play. I still shudder at the memory of one dark day when we spent the better part of an hour setting up and placing units, only for the other player to concede two turns in. No, the other player did not help put the terrain back. 

Whereas a brief skirmish between two or more factions on the streets of Rome (or in my case back in the day, a gunfight in a nameless Western town) is much quicker to arrange and play. 

Pictures like these are the crack in the cocaine. You look at something like this and inspiration hits. Never mind that my painting skills are not up to the task. I can see this, in my minds eye, spread across a table at gaming night.

I did not buy it. Nor did I buy any of the solid, paintable Bloodbowl (or possibly Bloodbowl knock-off) stadium sets I saw on sale. I still have a team hiding in a box somewhere. Two, actually. Nor did I buy any of the Chicago Way stuff, tempted though I am by its setting.  I think I still have the ruleset somewhere, though that may have changed.

That's the rub, honestly. You get to a point in your collecting career where you look the temptation square in the eye and say, I haven't the space or the time. Other things bring me joy. I shall pay attention to the other things.  

There will be a period, about a month, where I wonder whether I ought to have done thus or so.

Then the image will fade and I shall go on to other things. 

Till next week!




Sunday, 30 November 2025

Ethyl and Methyl (Trail of Cthulhu)

This week's post is inspired by this article over at the Guardian. (Fair warning: it's nasty stuff.)

For Bethany Clarke, poison tasted like nothing. There was no bitter aftertaste, no astringent sting at the back of the tongue. If anything, she thought in passing, the free shots she and her friends were drinking at a hostel bar in Laos had probably been watered down ...

This has all been done before. Written down, part of the historical record.

Ethyl - 
and Methyl!
Like Ike and Mike
Strangely you look alike
Like sisters I have met
You're very hard to tell apart - and yet
The one consoles more gently that a wife
The other turns and cripples you for life. 

         ---

Sits the plumber, man of metal
Joining Gas pipes to a kettle
Neath the bed his wife is lying
Rather silent - she is dying
From some gin her husband gave her
Too busy now to save her,
'Things,' he sings, 'Are looking upward; 
I am making stills
Soon we'll cook the stuff by wholesale
Running twenty mills;
What we make and how we make it
Doesn't cut no ice.
Anything we sell in bottles
Brings the standard price.'

Wallace Irwin, Owed to Volstead, from the 1922 Nosenseorship collection  

During Prohibition there was no legal means of supplying alcohol. The people doing the supplying didn't care so much what happened to the buyer, so long as whatever was in their bottles had some kind of kick. 

If you, as the buyer, wanted some kind of reassurance you could buy right off the boat, newly smuggled in. But there was no guarantee that what you bought was, in fact, the real deal. From the seller's perspective, it was just as easy to sell fake liquor in a real-seeming bottle. Easier, in fact. Which might explain the Guardian's report on gin sold in Brazil:

... a number of recent outbreaks have also been linked to contaminated official alcohol supply chains, where methanol is being added to sealed bottles of spirits and finding its way on to the mass market ...

Ideally, you should test before you drink. God knows how you manage that when you're at a beach bar in Indonesia. To my mind, you can't beat the test proposed by H.I. Phillips in the March 1926 Collier's article, The Book Of Bootlegging Etiquette:

Take a rabbit (which should always be part of the complete kitchen equipment in the modern home) and drop ten drops of the liquor down its throat. If the rabbit dies, it is bad liquor. If the rabbit lives, it is a bad rabbit. 

Taken from Wikipedia

Methanol toxicity (also methanol poisoning) is poisoning from methanol, characteristically via ingestion. Symptoms may include an altered/decreased level of consciousness, poor or no coordination, vomiting, abdominal pain, and a specific smell on the breath. Decreased vision may start as early as twelve hours after exposure. Long-term outcomes may include blindness and kidney failure. Ingestion of as little as 3.16 grams of methanol can cause irreversible optic nerve damage, and the oral LD50 for humans is estimated to be 56.2 grams ... Early treatment increases the chance of a good outcome. Treatment consists of stabilizing the person and using an antidote. The preferred antidote is fomepizole, with ethanol used if this is not available.

During Prohibition, since alcohol is used in a number of industrial processes there was still a need for significant quantities of the stuff, which the Federal Government produced by denaturing (that is, adding poisonous methyl) to the ethanol supplies destined for manufacturing uses. Except, people being what they are, some of that denatured alcohol was diverted for illicit booze manufacturing. Since the Feds hadn't told anyone about their denaturing program, nobody had reason to believe this was a bad idea until the first poisoning cases surfaced. 

This caused a scandal, made worse by Prohibition mouthpieces blithering that people shouldn't be drinking alcohol anyway, and those who did deserved everything they got. 

Let's talk RPG usage.

Prohibition is a fact of life both in Trail and Call of Cthulhu, since between them the two RPG settings cover the US during the 1920s and 30s. However, I'm just going to focus on Trail today. 

In Trail terms, Prohibition runs up till repeal on December 5, 1933. However, Prohibition's been an unpopular policy since inception, made worse by the Depression which started October 1929. People could stomach an unpopular domestic policy so long as everything else, particularly the economy, was more or less okay. The minute the country faced unfavorable economic headwinds, unpopular domestic policies became untenable. 

Prohibition became an easy target, made even easier because rich people hoped that making liquor legal, with all the sales tax benefits that implied, would reduce the need for an income tax, letting them off the hook. They bankrolled the popular movement favoring repeal. As luck would have it sales taxes didn't wipe out the income tax burden, but the country was wet again.

Bad Rabbits In Arkham

The Arkham Prohibition Bureau is a standing joke. It wasn't very successful before 1929, but since the Depression its activities became deeply unpopular, made even worse when it raided a high-end restaurant the Mayor favored. Now it's reduced to a couple of agents working out of cheap offices on the corner of College and Peabody streets. These two, Leroy Washburn (a local boy happy to hang off the federal tit) and Martin Keys (an out-of-towner with blunted and disappointed ambition) are all that's left of a much larger unit, dispersed after the Anton's Restaurant incident. 

Keys approaches the University with a problem. The investigators may become involved as members of Miskatonic's staff or student body, or they may be hired by the University to assist.

Keys' problem is an outbreak of what looks like Methyl poisoning in some of the cheaper places in Arkham. Several people have been permanently injured and two have died. However, a small number of those poisoned report unusual side effects that don't match the usual toxicity profile, and Keys wants to know if this is something to do with the methyl or if there's something else at work.

Streetwise, Cop Talk or similar Interpersonal, 0 point, indicates the poisoning outbreaks largely affect Lower Southside. 1 point finds a local contact, Dr. Malkowski, who occasionally skirts the law but who can point out four or five gin mills or cheap speaks where the stuff, colloquially called Smoke, is sold. 

Pharmacy, 0 point, indicates quantities of Methyl in the stuff sold as Smoke. 1 point spend isolates something else in the mix, a substance commonly seen in embalming fluid. 2 points identify it as Rectifol Corrective, an embalming fluid not manufactured or sold for over 20 years.

Biology or similar Investigative indicates that, in a small percentage of the imbibers, the subject loses their sight for at least 24 hours and, when sight returns, they begin seeing things which aren't there. This causes panic, erratic behavior, and in at least one case, suicidal behavior.

Option One: Funeral Blues. The Depression didn't decrease demand for alcohol but did ensure few in Lower Southside could pay for it. Enter funeral director Jaspar Elizar, who got hold of some bottles, a cheap label maker, and churned out Smoke in convincing gin form. What Elizar didn't realize is his preferred booze substitute contains chemicals best not imbibed, because the visions they induce cause the subject to gain 1 Cthulhu Mythos. This Mythos gain affects people in different ways and causes insanity in particularly sensitive subjects.

Option Two: Occult Blues. The Smoke epidemic is the brainchild of occultist Jason Gaspard, who stole the substances he's been using to make Smoke from funeral director Elizar. Gaspard's goal is to create a visionary. He knows, through his studies, that he can scry into the future so long as he can induce someone of sufficiently sensitive nature to hallucinate under the right conditions. Gaspard, having released Smoke into the 'wild', is now waiting to see which of his unwitting test subjects is best suited to become a mystic future-seer. Once he knows which is the best subject, he'll draw that person into the fold with promises of a cure.

Option Three: They Are There. The Smoke epidemic is just another crime spree, put together by a bunch of low-effort goons desperate for a buck or two. They stole what they needed to make Smoke and are running a cheap gin mill in Lower Southside. What they don't realize is the visions that a small portion of those who drink it (eg. those with In The Blood) see aren't visions at all; those are real creatures which exist and aren't happy about being perceived. These inter-dimensional creatures dimly perceive those Smoke drinkers who can (temporarily) see them and will attack, leaving behind drained and hideous husks of their victims. This will come to an end once the last Smoke drinker dies but perhaps the investigators can come up with a way to save the unfortunate victim(s) before that happens. 

That's it for this week. Enjoy!  

Sunday, 21 July 2024

Not Quite Book Review Corner: Regency Cthulhu

Regency Cthulhu: Dark Designs in Jane Austen's England, Chaosium 2022, Andrew Peregrine, Lynne Hardy & Friends


This is a fun one!

I'm always happy to see Cthulhu taken to new and interesting historical periods. Setting an entire campaign in the English Regency (late 1700s early 1800s) has a lot of charm. If you're a fan of the old Gothics (Sheridan LeFanu, Matthew Lewis, Mary Shelley and the like) this is meat and drink to you. Ghosties, ghoulies and long-leggedy beasties! What could be better?

Peregrine does the Keeper an incredible favor by including the setting of Tarryford, a quaint little town in Wiltshire, partway between Bath and Salisbury. Lots of valleys, high downland, and remnants of ancient forest to get lost in, plus the occasional barrow mound, dolmen and stone circle to marvel at. Even if, as Keeper, you never use either of the scenarios in the book you still have plenty of material to draw on for your campaign. Peregrine also updates it for 1913, which means if you want to have a century-spanning game with dark secrets from the past looming over the 'present day', you can have that and welcome!

All told, you're looking at a little shy of 80 pages worth of history and setting, with two substantial scenarios and a further 35 pages of Appendices - equipment tables, pregens, maps, handouts and the like.

I'm going to start with the things I didn't love and then pass on to the things I did.

Personally, I'd have liked to see a little more history outside England proper, for two reasons: first, this is when England fights a lot of the wars that will define it, and the Empire. Second, this is the period of the Grand Tour, when well-to-do Englishmen went abroad for their education. The English are going damn near everywhere, establishing colonies where they please, and it seems a pity not to explore that.  

It might also have been interesting to go into a little more depth about what it means to be a town in England. As opposed to a Cathedral town, or a village. It feels at times as if the book assumes you already know a lot of things that aren't really common knowledge outside England. The history of Catholicism in England, for instance, is something that people outside England might not understand, and it could have been interesting to explore that.

The scenarios are both solid, with lots for the characters to do, but I didn't really fall in love with the opposition. I dunno; I'm sure it's me, but it felt a little as if the core concept went ahead of its skis. The second scenario, The Emptiness, seems stronger than the first.

It’s difficult to get into this without spoilers, but to misquote Stephen King a little bit: these concepts do not come up to you, grab you by the lapels and say: ‘I have this story. I want to tell it to you.’ They stand at a respectful distance and whisper ‘if it’s not too much trouble, I would like to menace you now.’

The art is solid and serviceable. No real standouts. It does what it was supposed to. There are a few moments where the artist clearly draws on art ideas from the period, which is an excellent way to go. I would have liked a little more creepiness; the cover art for Green and Pleasant Land is more inspiring, for instance.

OK, having said all that … 

I think the historical information that is on the page is great. I wish there were more of it, but if wishes were horses, then writers would ride. I especially liked the section on Race and Ethnicity and appreciated the reference to Mary Prince, since her day is coming up (2nd August) – she’s an important part of our history.  

I think the extra Regency rules are interesting, and the section on Reputation could be very valuable if played out. It’s ideas like this that sell a setting. If you’re going to have a campaign set in a particular period, you need to be able to say what makes this time different from any other and having the option to make Reputation a kind of extra Sanity pool (slowly it drains away …) is clever. It implies penalties for character missteps, but unlike Health or Sanity if the Reputation pool drains the character is still alive and (theoretically) capable of taking action. It’s more of a roleplay tool than anything and encouraging roleplay can only be a good thing. 

The idea of a fictional town that isn’t Arkham, Kingsport or any of the usual suspects as a setting for an extended Cthulhu campaign is stellar! There’s a lot of information here for the Keeper to use as they see fit. This could have been twice the length and I’d have enjoyed every bit, but as with the historical info I shall take what I can get. 

Would I recommend this? Yes, to people looking for something a little different. If it has one besetting sin, it's that it doesn't feel all that different from Cthulhu by Gaslight, though there's a new edition of that coming soon so it's possible my opinion may change when I see Gaslight. The Reputation rules are its main standout, the thing that makes it different from other eras. What might have made it a little more interesting is using those rules in one of the scenarios; a touch of Wicked Little Letters, for instance.


It's not a must-have in anyone's collection, but it's a useful add-on. 







Sunday, 17 March 2024

Sinister Buns (Call of Cthulhu, Hong Kong Cinema)

I held off getting a blu-ray player for a long time. 

I didn’t see the need. Drives are dead. DVDs are yesterday’s tech. Physical is so last century.  

Then those wicked pork buns drew me back in. 

See, physical is still the best way to get hold of anything that isn’t Main Street USA. If I want Hollywood, if I want anything North American really, it is easily had. There are any number (God, oh God, so many) ways to get that content. Streaming options beyond the dreams of avarice. 

But. 

If I want, say, The Untold Story, how do I get that? If I want any kind of non-English language media, how the hell do I get it? There must be Spanish, German, Italian streaming services, and I shall want a VPN at the very least to access them, never mind a working knowledge of the language to understand the menu options. Netflix is a gateway but it offers only a glimpse; besides, damned if I’m paying $22/month for yet another streaming service. 

No, if I wanted my pork buns – hot from Terracotta in the UK – I’d have to get an external blu ray drive for my PC. Which is exactly what I did. 


The Untold Story is a retelling of the infamous Eight Immortals killings in Macau. Two high stakes gamblers, one a restaurant owner with a family of ten, argued over debts. The restaurant owner Zheng Lin refused to pay Huang Zhiheng so Huang, in a fit of rage, tried to force Zheng to pay up. That went badly wrong and Huang killed Zheng’s whole family, thus becoming the owner of the Eight Immortals restaurant. Briefly.  

How do you get rid of all those bodies? 

Well, there’s a perfectly good restaurant in need of meat for its famous pork buns … or so the story goes. That part may be apocryphal, but it became part of the narrative.  

The 1993 film version won awards and made a ton of money at the box office, but due to its graphic scenes of rape and murder – plus, of course, those buns – it was age restricted to 18 and up. It’s mildly notorious as a slasher, but difficult to get hold of. Unless you buy from an outlet like the folks at Terracotta.  

Having seen it, my review: 

It’s an odd little duck. The killing scenes are about as bloody and nasty as anything you’re going to see on screen and Anthony Wong Chau-sang as killer Wong Chi-hang is a standout. The comedy cops in hot pursuit are an incompetent bunch of bozos; they’re all stereotypes of one kind or other, led by their fearless Lieutenant Lee, and there’s a peculiar running gag where Lee parades around with a host of prostitutes on his arm much to the disgust of his only female subordinate Bo (Emily Kwan) who wants Lee all to herself. It doesn’t pair all that well with the main plot. That said, it does end in a stunning moment when all those same comedy cops realize that the pork buns they’ve been chowing down on free of charge came with a hidden cost. 

Cheap, nasty, entertaining. It may be the unrelenting realism of the gore scenes (a stark contrast with modern cinema) but it really does stick in your mind in a way that few other films can. 

If you want a good retelling of the pork buns saga I recommend Kento Bento’s version, which I believe is on Nebula; not sure as it’s been a while since I watched Nebula. 


From a gaming POV there have been plenty of examples of suspicious meat on the menu. Sweeny Todd, Telltale’s Walking Dead (the comic too, for that matter, in a different plotline), Fritz Haarmann the Vampire of Hanover, who allegedly sold the meat of his victims on the black market – take your pick, really. 

There haven’t been as many haunted restaurants. 

There is a starting Call of Cthulhu scenario in the main book, The Haunting. It’s been around for donkey’s years. You can find it in the free-to-play Quick Start rules. In that scenario the investigators are called in to investigate a haunted house. So far, so normal – at least, normal in a Cthulhu-esque way. 

What if it wasn’t a haunted house? What if it was a haunted restaurant? What would need to change? 

Not much, really. The Keeper would need to change some of the details of the ground floor plan. But the plot would tick on regardless, and you’d have some interesting horror options – particularly in the kitchen. The family would live above the restaurant, so you wouldn’t have to change much about the upper floors. 

The Macario family would be the ones running the restaurant of course; a nice little red-sauce-spaghetti joint. Until Mr. Macario decided to add a little extra to the Bolognese. Then there’s a discreet pause while the place is shut up for … let’s call it redecoration.  At that point Mr. Knott, the building’s owner, calls in the investigators. He wants to rent the place out to new tenants but the restaurant’s reputation frightens off any interested parties. If they could just give the place the all-clear, he could rent the place out. 

A potential plot change: as written Vittorio Macario, the former restauranteur, is locked up in the asylum. His only plot function is to hint at a way of defeating the evil. 

Suppose he has a secondary function. Suppose he escapes from the asylum with one thought on his mind: a grand reopening of Macario’s Restaurant.  

He’ll need meat for the Bolognese, of course … 

That’s it for this week. Enjoy! 


Sunday, 20 August 2023

Les Babouains (Cthulhu City)

 






You can get inspiration from anywhere.

This is an annual festival event in Guernsey. There’s the walking trail with its scattered hordes of straw men, all designed to parody local and international events. Next door is the church with a big wide field for other events & tents. Exactly the sort of thing you’re probably thinking of; ice cream, bring & buy, local produce, that sort of thing. Bring the kids. Make a day of it. 

What if that were transposed somewhere else?

What if that event were taking place in Cthulhu City?

Well, you’d need somewhere with an agricultural history. Somewhere with a church. Maybe a field, though that’s optional; you could do the same thing in a parking lot. 

In a Cthulhu City context you’re looking at locations like Dunwich or Salamander Fields. Places with an active farming community or a former agricultural history. Dunwich is probably the better option with its connection to the Church of the Conciliator, but the Esoteric Order – encountered in Salamander Fields – works just as well. 

Somewhere with lots of narrow little lanes for the walking tour. Dark alleys. Twisting corridors. Maybe some of the houses or tenements have scarecrows hanging out of the windows, that sort of thing. You don’t even have to change the name. There’s plenty of French speakers in New England. Probably worth mentioning that the literal translation isn’t scarecrow; it’s monkey, or baboon. Except in Guernésiais, which apparently includes an extra letter in its Norman French version of the language.

In the actual world by 1919 the state government, following Federal guidelines, would have instituted programs designed to discourage multilingual education as part of its Americanization program. However, Cthulhu City isn’t the actual world. It’s something altogether other. 

Cthulhu City:

There is – by certain unreliable and maddening accounts, and now by your own dreadful experience – a city on the eastern seaboard of the United States, in northern Massachusetts. You do not recall seeing it on maps when you were growing up, and no-one of your acquaintance ever admitted coming from that place until you found yourself living within its eerie confines

Under the rules:

Masked: The Masked take on a location describes it as relatively untouched by the strangeness of the 
city – or at least, its horrors are hidden beneath a mundane mask.

Unmasked: The sinister, Mythos-tainted version of the location, where the horrors wear no mask.

Cast: NPCs who might be encountered there.

Clues: Clues leading on from this location, pointing to other locations, individuals, or deeper mysteries ...

With all that in mind:

Les Babouains

Masked

A yearly festival where visitors are invited to take a tour round a series of vignettes, all of which are made up of scarecrows arranged in comic poses. Here’s one dressed like a politician everyone hates! Here’s one based on a local event or scandal! The tour trail is along a series of dark alleyways or overgrown, rocky paths; take care not to injure yourself. Once you have had enough of those, feel free to wander over to the food & drink tents, shop at the bring & buy, drop a few coins in the collection box. The Church appreciates your support! 

Children and adults giggle, at first, when they set off down the scarecrow trail. It soon becomes quiet; fear, ever-growing, stops tongues. Did that one move? Are they all … moving? Why is it so dark down here? It seemed sunny before. The displays are supposedly built by locals but you can never be sure who made what, and after a while the displays aren’t even named. They’re just … there. Did you make a wrong turn? What does the map say? Oh, you needed to retrace your steps after number 16 and never did – but was that number 16? Well, at least there’s the bring & buy, though some of those second-hand items have peculiar stains. Is that an atlas? Did this come from Dr. Armitage’s library? Let’s go over to the food tent and have some of that local brew. I’m sure no harm can come from it. After all, Prohibition’s long in the past, ha-ha!

Unmasked

Careful not to take a wrong turn on the scarecrow path. Some of these trails are deliberately arranged to lure the unwary into a situation they can’t easily get out of. Cultists use these as a means of snatching up victims for their sacrifices. That fellow in the doctor’s outfit is actually from the Sanitarium, as are the burly ‘nurses’ with him. It seems there’s always an incident or two each year that require the Sanitarium’s tender ministrations. Those with Mythos realize that the scarecrow path has its own peculiar significance; participants are actually wandering the holy maze of Theseus, and each step on the path powers the ritual. As the ritual comes closer and closer to its denouement, the sensitive may notice sounds of a large beast, padding after them on the trail. Perhaps the Priest knows more about this; the sweat on his gleaming brow increases as the day wears on, as if he’s waiting for something. Of course, each year at least one person on the Trail never comes out again but nobody likes to talk about that ...

Cast 

This is the kind of event that attracts people looking for a good time, as well as those looking to see and be seen. Artists, Gadabouts, Servants, Students, as well as at least one Priest, possibly a Mystic or Grifter. There’s a decent chance one of the Afflicted can be found out on the trail, howling at the unknown or petrified by the scarecrows.

Clues

Some of the items in the bring & buy did come from dubious sources and may contain information on the Occult or Theology. A chance encounter with the Sanatarium staff (Oral History, Flattery) may lead to further information about that dubious institution, or perhaps even allow the player to develop a Contact there. Outdoorsman may allow the character to turn the tables on whoever-it-was who arranged the scarecrow trail, perhaps even leading to a means of sabotaging the ritual. Medicine or Pharmacy allows the character to make an unpleasant realization about the food on offer - in turn leading to a plot by one of the cults or local gangs. Possibly a Cloned Tyrone moment ...

That's it for this week. Enjoy!

Sunday, 29 April 2018

Grimoires - The Long Lost Friend (RPG materials)

I've talked about grimoires before, those worm-eaten magical texts so often found on the bookshelves of the preternaturally deceased. In the last couple stories posted on patreon, Martin's Beach cunning man and private enquiry agent Mowry refers to one particular grimoire: the Long Lost Friend. I thought I'd take a moment to talk about that book.

Der Freund in der Noth; oder, Gehime Sympathetische Wissenchaft is known to have been published in 1793. No doubt its contents were liberally lifted from other occult works, but at this far remove it's difficult to tell where from. Like many other occult texts it claimed to draw on older secret knowledge.

The following secret remedies were taken from an old Spanish manuscript, which was found at an old hermit's who for over a hundred years lived in a cave in the dark valleys of the Graubünden Land, performing the region many wonderous works, among others totally expelling from the said region the monstrous dragon with four young which dwelt upon those fearsome mountains in Unterwalden.

So it's Spanish, which means it's from them there Foreign Parts with a very slight hint of South American/Aztec Wisdom. It comes from a mysterious place, and through its power great mystic works were possible. All good advertising needs your basic dragon or dragon-equivalent; nobody'd believe Tide got your whites the whitest without a demonstration.

What you actually got for your money was twenty-four pages of charms, medicinal remedies, and other magical workings. Since it was German it travelled across the ocean blue to America in the trunks and bags of German immigrants, and before long became in translation the Long Lost Friend. A collection of MYSTERIOUS & INVALUABLE ARTS AND REMEDIES for MAN AS WELL AS ANIMALS. First printed in English in 1846 by Pennsylvania German bookmaker Hohman, copies of this extremely rare edition now sell for thousands of dollars.

Of course this wasn't the only edition. Success breeds imitators, and before long there were several other Pennsylvania booksellers with their own versions of the Friend. One of the more ubiquitous is John George Holman's Pow-Wows, which went through many pulp printings in the early 20th century. There were some changes in content with each new edition, but at its core the Friend remained the book of charms it had been since 1793. Do you want to cure scurvy and sore throat? The Friend has a charm for that. Do you want to find water? The Friend will show you how.

Its influence lasted well into the 20th century. In 1951 a Pennsylvania Mennonite couple were reported to the police for refusing to have their serious ill child treated by 'scientific' medicine. Their belief in faith healing came primarily from Hohman's Long Lost Friend. "If the Lord wants to heal the boy, He will heal him," said the father to State troopers.

In 1928 a Pennsylvania murder was linked to the Friend. Farmer Nelson D. Rehmeyer was found beaten to death at his home, and it transpired that his killers had followed the advice of a pow wow man named John Blymyer. This cunning man had identified Rehmeyer as a witch whose hexes had bedeviled his killers. Rehmeyer happened to own a copy of the Long Lost Friend, and Blymyer knew about it. Blymyer told Rehmeyer's neighbors to break into Rehmeyer's house, steal his Friend and a lock of his hair, burn the book and bury the hair. That would break the curses they labored under. It all went spectacularly wrong, and in an attempt to cover up the killing the murderers tried to burn the corpse. They fled the scene without checking to make sure their cover-up worked. The fire went out, the murder scene was preserved intact, and the killers were brought to justice. Blymyer served twenty-five years in prison. After this, Pennsylvania authorities became extremely sensitive to hex magic cases, and the Friend got a reputation as a witch book.

In game terms, books like the Long Lost Friend confer no real power as such - not when compared to the eldritch authority of the Cthulhu Mythos. However they do have occult status. Any self-respecting curse-breaker is bound to have a copy. Moreover as it has been through so many printings by so many different booksellers, a Keeper would be well within her rights to give it a few Mythos touches. No doubt those touches are borrowed from some other text, just as the original Friend borrows its ideas from mysterious Spanish mystics.

CoC 7th Ed:

The Long Lost Friend. English translation of a German hex book, containing a collection of prayers, charms and medical advice. SAN Loss: 1/1D2. Occult: +4%. Mythos variant: SAN: 1/1D4+1. CMI: +2%. CMF: +4%. MR: 12

GUMSHOE:

The Long Lost Friend. Adds 2 to Occult rating. Potential dedicated investigative pool Oral History (assumes players use it or phrases from it in conversation with old folks, particularly in Pennsylvania or anywhere there's a significant German population) or Theology. The Mythos version provides 1 Mythos.

Whichever version you use, assume it confers no spells - or at least, no spells that work as advertised.

Enjoy!

Source material provided by Grimoires: A History of Magic Books by Owen Davies.

Sunday, 28 January 2018

Miskatonic Repository Teaser

First this week, a teaser. You may be aware that, over at DriveThruRPG, Chaosium have opened up what it calls the Miskatonic Repository, an official online collection of user-made content. Sounds like fun. I thought I'd dip my toe into those unholy waters, and see what develops. Hopefully not some kind of fungal infection, but you never know ...

At any rate, consider this your official notice. The scenario's written, formatted, and almost ready for prime time. There's a few last tweaks I need to complete before sending it off into the great unknown. This is an experiment, to see just how viable the platform is. If it looks as if it's a winner, I may put more resources into this. Being more of a GUMSHOE fella, I'd love it if Pelgrane did something similar, but I'm a CoC guy from way back too, so writing this material is no great hardship for me.

Those of you who've got copies of The Long Con and The Many Deaths of Edward Bigsby, both of which were originally written to help fund YSDC and which are now available via Pelgrane, may wonder if this is a London-based scenario. No, not this time: the action is set in Harlem, NYC. I shan't say more than that; a full promo will be published here when the scenario hits the digital shelves.

Price tag provisionally set at $4 a copy for a 24 page document, which is broadly the same rate charged for The Long Con and Edward Bigsby. This is, I freely admit, a practical decision; the way DriveThru calculates who gets what from each sale means it's much easier to keep track of everything if we're all dealing in round numbers. So where $3.95 would be a sod to calc, $4 is blissfully simple.

Anyway, once it comes out, I hope you enjoy it! If it works, I will publish more via Miskatonic.

Sunday, 29 October 2017

The Cracked & Crook'd Manse


For the last couple years some friends of mine and I gather together at Halloween to play games. Two of the faithful, Max and Tacha, are probably going to leave us soon for the wintry wild lands of Canada - pity them, do not judge them - so this is the last of these sessions we'll have as a group. I thought I'd share the result with you all.

The game is Cracked and Crook'd Manse, from Call of Cthulhu's Mansion of Madness collection, though I use Trail rules as the group's more familiar with that system. I created pregens, leaving only the name of the character up to the players, to speed up the session. We only had until 1am to finish, and I didn't want to spend half an hour on character design.

In my innocence I thought I could record the session and upload it here. Well, recording wasn't a problem. In fact, given the extremely primitive nature of my recording set-up, I think I did quite well. Uploading it is a completely different kettle of fish, and 3+ hours of audio just won't be doable on this system. Which is a terrible shame, I'm sure. I could probably work out how to post it via some other means, but I'm not up for learning how to podcast this late on a Sunday.

You'll just have to settle for the précis.

Cast of characters:

Scruffy, the Hobo - Max.
Stormageddon, the Wonder Dog, aka Sassy - Tacha
Hank the Bootlegger - Reuben
Kent, the Journalist - Jym
Annabelle, the Dilettante and Arthur Cornthwaite's sister - Mary

Spoilers for the scenario are inevitable, so be warned.

All of them arrive in the town of Gamwell, Mass., to find out what happened to Arthur Cornthwaite, missing millionare & archaeologist. Nobody knows where he's gone or how long he'll be away. His lawyers think there's nothing very wrong; his sister is deeply concerned. Hank and Sassy are there to look for Moses, Hank's business partner, who was last seen headed to the Cornthwaite estate. Scruffy. who knows nothing of any of this, is looking for a warm place to spend the night.

Hank and Sassy soon work out that the lawyer's office is the place to go. There they meet Annabelle, and thanks to some confusion on the lawyer's part, the lawyers think Hank and Annabelle know each other, which makes life easier for Hank. Annabelle soon leaves in search of her brother, and her beloved horse. Hank spends a little longer at the lawyer's office, and finds out that one of the last things Arthur Cornthwaite did before vanishing was buy a remarkable amount of salt, for reasons unknown. Hank and Sassy steal the keys to the estate, thanks to a quick distraction from Sassy, and they follow after Annabelle.

Meanwhile Scruffy takes his chance, and climbs over the fence to get to the estate, badly damaging his pants in the process. Now almost naked from the waist down, Scruffy needs new pants, and once he realizes nobody's home he breaks into the mansion. He finds the place decayed and abandoned, but after some searching finds the master bedroom, and Arthur's pants. Decent once more, he's surprised when Annabelle and Hank arrive, with Kent the journalist soon after.

Annabelle is shocked and appalled to discover her beloved horse has been eaten, and her family home is in near-ruin. For a moment it looks as if Scruffy might be to blame, but after a rocky start they join forces with the hobo to find out why the house is in such a state,

Much exploring now takes place, from top to bottom. In the attic they find evidence which suggests Arthur brought something awful back from his latest expedition. In the cellar, which is practically a swamp, they find further evidence that Arthur's last expedition did not go well at all, and they also find enough to suggest that Moses met his end here too. In every room, every corridor, there's further evidence of extensive damp and decay. Annabelle is distraught - her family's beautiful house, ruined!

They soon realize that the water's off, for reasons unknown, and putting two and two together they decide that the lack of water in the pipes, and the extensive water damage everywhere else, means something. That's why they go to the cellar, which means the creature, which was hiding in the cellar, needs to retreat. Sense Trouble tells Sassy that something large is in the walls, but the wonder dog doesn't realize just how bad the situation is.

Scruffy separates from the group, so the aggrieved creature has a chance to strike. Scruffy, in the parlor, is grabbed and swiftly hauled out through the window and up. In the process he suffers extensive Stability and Sanity losses. Fortunately for him the group comes to his rescue, with Sassy the wonder dog dragging him back from the brink.

Now they know something's up. They want to leave, but when they go to Annabelle's two seater they see a suspicious pool of 'water' around her car. When the journalist goes for his bicycle, which is outside the fenceline, the water flows ahead of him. They're trapped - or are they? Annabelle remembers that, as a good citizen of Massachusetts, she has a large bag of salt in the back of her car. If only they could get to it!

Unfortunately in the attempt Sassy gets that little bit too close to the horror, and her doggy mind goes spiraling off into the void. They retreat back into the mansion, for now, in search of other salt. They find Arthur's shotgun, and the shells he was filling with salt when he was snatched away. With the small amount of salt they've been able to salvage, they make one usable salt shell. Now's the time to strike.

They're able to escape the mansion again, and get to the salt in the back of the car. However Kent the journalist is snatched away, and dragged to the cellar, where the thing's vast bulk has relocated.

Annabelle grabs the bag of salt from her car and dashes back into the house to save Kent, scattering salt like a maddened flower girl at a salt wedding. She runs down into the cellar, not realizing that in doing so she'll become the world's first, and last, salt suicide bomber. The creature is just as surprised as she is, when Annabelle dives headlong into its mass carrying a lethal bag.

Everyone else was close behind her at the time of the unpleasantness. They needed to make a Fleeing Difficulty 6, since they were so very close to the center of what amounts to an erupting volcano. Only Scruffy, the crazed hobo, makes the roll. Annabelle and Kent were already half-dissolved and swimming in goo, so they weren't in the running, but Sassy and Hank go out in a blaze of glory.

Scruffy, sole survivor and character most likely to be blamed for the whole mess, resolves to get out of town before the Sherriff can catch up with him. "Scruffy lives to see another day!" Max crows.

Thus ends the tale of ... the Cracked and Crook'd Manse.

EDITS SO MANY EDITS WELL ACTUALLY JUST ONE EDIT - FOR NOW:

Thanks to a suggestion, I uploaded the file to Archive.org. It doesn't seem to have worked exactly as I'd like, and download doesn't function the way I thought it would. So changes will need to be made.

However it is there, and seems to be streamable, so the link is here.

Note: spoilers! Also the occasional naughty word.

Friday, 27 January 2017

Sharp Little Needles Kickstarter

TURN ON THE SELF PROMOTION TRUMPETS!

*wrrrrrobblobbleboblle.....wrr...splut*

When did we last clean the self promotion trumpets?

Anyhoo, if you're one of those crazy people who scan Kickstarter daily looking for new Cthulhu material to back you may have spotted something intriguing in the pile. Stygian Fox Publishing is crowdfunding Fear's Sharp Little Needles, a collection of modern day horror mini scenarios for Call of Cthulhu 7e.

Stygian Fox's last effort along these lines, The Things We Leave Behind, was very well received. Pookie, reviewer of all things Cthulhu and some things that aren't, called it "the first great release for Call of Cthulhu 7e" with nary a dud to be seen in its six scenario collection.

Fear's Sharp Little Needles is going a hell of a lot further than Things We Leave Behind, with a spine-chilling twenty one shot scenarios at time of writing, with more being added as each second passes. That's not including a much longer stretch goal scenario by Jeff Moeller, designer of note and editor of Things We Leave as well as Little Needles.

Who can you expect to see in Little Needles? Well, the likes of Oscar Rios, Brian Courtemanche, Chad Bowser, Adam Gauntlett ... and a hell of a lot of other superb writers, but I'm going to stop right there because if you want to know more there's a Kickstarter Page you really should be looking at right now.

I could launch into a whole bit but I'm not going to do that. What I am going to do is share with you a taste of the one that got away. For lo, I submitted two scenario ideas to begin with, and one did not get through. [I may have submitted a third since then. Sue me. I'm greedy.]

The one that did not get through is:

The Huiquing’s Cargo

A 1980s era container ship known to have been captured by pirates beaches itself offshore with a cargo of human remains in its refrigeration compartment; one of the dead in the hold was a Daughter of Atlach-Nacha being smuggled to the Americas, and the would-be spider priestess’ aborted transcendence transforms the Huiquing into a Dreamlands nightmare ship. Inspired by the real-life case of the Hai Sin which, in a breaker’s yard in Guangdong, China, disgorged a cargo of bones and flesh hidden in its refrigeration unit.

You may recall me mentioning the Hai Sin before.

Atlach-Nacha is a monstrous entity which weaves its enormous web across a deep chasm underground; legend says that when the web is complete, the world will end. Some of its tunnels lead into the Dreamlands.

Its Daughters are human women chosen to be its companions, and marked by a spider bite. This lesser servitor is dragooned into service by the Great Old One's human servants, and after a period of vigorous brainwashing and horrible arcane rituals the woman eventually transforms into a giant spider and travels deep below to join her monstrous parent.

The base idea comes from a simple premise: accidents and death happen to everyone, including minions of the Old Ones. The question is, what happens next?

In this instance the snakeheads who attempted to smuggle the Daughter into the United States, presumably to kickstart some kind of cult, are forestalled by pirates who capture the Huiquing and murder everyone aboard, including the Daughter.

Picture that moment. The surviving crew and smuggled cultists, herded into an airless container. They fight for breath as the oxygen depletes, first trying to claw their way out, then implore, then expire. As the Daughter struggles to breathe her transformation triggers, and the spider within starts to emerge. Too little too late; her husk dies, but in doing so she creates a connection between the Huiquing and the most nightmarish aspects of Dream, in a desperate attempt to reunite with Atlach-Nacha.

Imagine what happens next to the pirates, then picture that gutted cargo ship drifting without crew, without direction, finally beaching itself. The Keeper gets to decide exactly where, of course. It might as easily be off North Africa as the coast of Florida.

Tell you what. The Little Needles rules specify that a scenario can be no more than 2500 words long. If at least two of you reading this pledge to that Kickstarter, and say so in the Comments thread, I'll write a 2,500 word short scenario based on the pitch The Huiquing’s Cargo and post that scenario here for you to enjoy.

Can't say fairer than that, can you?

Monday, 22 August 2016

Person of Interest: Sir Bernard Spilsbury (Trail, Call, Bookhounds)

I thought I'd try something different and kick of what I hope will be a semi-regular column here: Person of Interest. I'll discuss the biography and gamification of important historical people, and to start us off let's have a look at the life and career of Sir Bernard Spilsbury, the Scalpel of Scotland Yard.

Spilsbury was born 1877 in Leamington Spa, Warwickshire, to a sold, middle class family. His father was a chemist, and Bernard spent his early years watching his father in his laboratory, experimenting. However his family was trade and his grandmother, a very determined woman, saw no future in medicine or chemicals, insisting that Bernard's father go into business. He did so reluctantly, but made sure his son would be a doctor if he had anything to say about it.

Bernard was a solitary soul who best liked long walks, skating and other hobbies that he could enjoy by himself, without distractions. He was amenable to his father's wish that he become a doctor, and resisted his grandmother's insistence that he go into trade instead, as a draper. He was an older graduate, entering St Mary's Hospital Medical School at 23, and his contemporaries found him amiable but ordinary, certainly not marked out for greatness. He seems to have been one of those people who just got on with things, without drawing attention to himself, and was a born workaholic.

At St Mary's he fell in with some of the best and brightest pathologists of their day, who took Spilsbury under their wing once they saw that, in spite of his seeming plodding unimpressive nature, he was a prodigious worker. Soon he became Student Demonstrator of Pathology, eschewing competitions, prizes and fame for hour after hour after hour in the lab. In fact his dedication to his craft meant that he did not take on the other courses needed for a medical degree, so he graduated much later than many of his classmates.

He did so at just the right time. In years gone by the police force and public prosecutions had been a piecemeal operation, with different standards and practices applying in every county. Now things were being reorganized; there would be a central authority in charge of the police, and a Director of Public Prosecutions, under the supervision of the Attorney General. Scotland Yard, meanwhile, was being forced to update itself. Paris, New York, Berlin, Prague, all these had police laboratories; even some of the provincial British police forces had established ad-hoc relationships with private medical labs. Yet Scotland Yard had no police laboratory of its own. All this was to change, and quickly.

Then along came Crippen.

The 1910 Crippen case gripped the nation. He had murdered his wife, a stage performer, and taken up with his lover, stealing his wife's money and even clothes. Then, when suspected, the pair fled across the ocean, leaving the police to find the wife's remains in the cellar of his house. Not all of the corpse was recovered; head, limbs and skeleton were missing, but a piece of flesh remained. That flesh bore an old abdominal scar, which helped identify the remains as those of Cora Crippen. Spilsbury also found traces of scopolamine in the remains, which suggested that Crippen, a doctor himself, had used the drug to pacify Cora and make her easier to kill. The doctor and his lover were caught and returned to Britain, where Crippen was eventually hanged.

Yet it wasn't Spilsbury's medical ability - excellent though it was - that really made his reputation. It was his demeanor, as an expert witness. Well dressed, handsome, with a carnation in his button hole, he projected solid competence, an impression that was only reinforced by his detached yet determined attitude. Spilsbury would not be rattled by the prosecution, nor yet by the judge. "Here is a coming man," said spectators, and they were right.

From there Spilsbury went from strength to strength. He became the pathologist of choice for the prosecution, travelling across the country from murder site to murder site, gathering and recording evidence. No absent-minded professor he; Spilsbury was an avid record keeper and fastidious note taker. His index card collection eventually sold for several thousand pounds and is now in the Wellcome collection in London.

Spilsbury loved nothing better than to experiment and solve problems. After the Mahon case, for example, Spilsbury determined to carry out Mahon's autopsy himself, though this would normally be the prison's responsibility. Mahon had been double-hanged; the murderer had, at the last moment, tried to save himself, but instead fell backward rather than down, breaking his spine on the trapdoor as he fell, and then his neck. In most instances the autopsy would be fairly perfunctory, but Spilsbury insisted on a complete autopsy including examination of the brain, a portion of which he took away with him. It was the first judicial autopsy Spilsbury conducted but by no means the last, and eventually as a result of his examinations a recommendation was made to increase the drop by two inches on humanitarian grounds, the better to ensure a clean break of the neck.

Spilsbury also developed the Murder Bag, or collection of standard equipment to use in murder cases, and the Mahon case is the cause. This is what Spilsbury and his colleagues found at the murder site, a bungalow at the Crumbles, Eastbourne:

'On a rusty tenon saw, grease and a piece of flesh. Articles of female clothing, greasy and bloodstained, some with soot or coal-dust on them. On the cauldron-shaped coal-scuttle, two minute specks of blood. In the saucer near it, solidified fat. The two-gallon saucepan in the same fireplace was half-full of a reddish fluid, with a thick layer of grease on the surface; this contained a piece of boiled human flesh, the skin adhering to it. The metal fender was splashed with grease. There was more grease deposited in the second saucepan, and smeared in the bath and basin. In the hat-box, among soiled articles of clothing, were thirty-seven pieces of flesh, cut or sawn. All were human, and all apparently had been boiled. The big fiber trunk held four large pieces of human body, sawn apart, but not boiled. On one of those pieces, a left chest and shoulder, there was a bruise over the shoulder blade, the result of a blow inflicted before death, if only a few minutes before; it had been, in Spilsbury's opinion, a heavy blow. There was also in the trunk a biscuit tin containing various organs.' From The Life of Sir Bernard Spilsbury, 1952, by Douglas G Browne and E V Tullett.

Spilbury started work on the murder bag, full of equipment needed to properly collect and store remains, when he saw a detective using his bare hands to scoop the victim's boiled flesh into a bucket.

Spilsbury became Sir Bernard in 1923, one year before the Mahon case. He spent his entire career dissecting, studying, analyzing, and giving evidence in case after case. It's become fashionable now to downplay Spilsbury, to claim that his dogmatic and unyielding attitude on the stand led to miscarriages of justice. Just as in his university years, when he eschewed competitive examinations and prizes for ordinary lab work, in his working career he refused to engage in peer review, or to train students. Spilsbury preferred his own counsel.

Yet it must be remembered that Spilsbury did not get where he was through anything other than effort. He was and remained the persistent, meticulous workaholic who graduated late because, thanks to his dedication to pathology, he could not be bothered with distractions. He lived for the job, and never lied or prevaricated. He thought before he acted but, once he made his mind up, that was that.

It did not end well for him. He had three sons. Peter, the one following in his footsteps, became a house surgeon at St Thomas' in London. On the 13th September, 1940, the Hospital was bombed and Peter died, but the news didn't get to Spilsbury right away. He went to work as usual the next morning, performing post-mortems and giving evidence at the Coroner's Court. After finishing one case and while waiting for the other to start he went through the morning's post, only to discover a letter from a friend with condolences on the death of his son. Except the letter didn't say which son; Spilsbury had seen Alan earlier that day, so it might have been either Peter or Richard.

Eventually Spilsbury learned the truth. He was back at work the next day, but he was never the same again.

Alan, the eldest son, was a sickly soul, and Spilsbury was devoted to him. The two would spend each day together, at the Gower Street laboratory where Spilsbury worked. In November 1945 young Alan died of consumption.

By this point Spilsbury was in decline. A micromanager to the end he could not bear to have other people write his reports or fill in forms for him, yet he became increasingly incapable of doing the job himself. He took longer and longer to make decisions now, his tiring mind unable to do the work of former years.

His death was characteristic of the man. During Christmas 1947 he took care of his affairs, gave his staff their accustomed Christmas boxes, and completed his paperwork for the year. On December 17th he sent out his last post-mortem report, in time to catch the 530 post. He dined at his club, afterwards handing the key to his private cupboard back to the club steward because, he said, he no longer needed it. He went back to the Gower Street laboratory at 730, which he had kept exactly as it was since the death of Alan two years prior. At 830, one of his colleagues passed by the laboratory, smelt gas, and investigated. By then, Spilsbury was dead.

With all that in mind, let's talk gamification.

As his career spans several decades all of which are core for Call and Trail of Cthulhu, Spilsbury could easily appear in either setting. Some of his most famous cases are in the 1930s - Trail's favorite decade - but Spilsbury was already the most celebrated pathologist of his day long before 1930. Moreover unlike many specialists, who prefer staid laboratory work, Spilsbury travels all over the country, which means he can be encountered almost anywhere from John O'Groats to Land's End. He might even be encountered elsewhere within the Commonwealth; he's known to have worked in the Channel Islands, and a small amount of fictionalization could have him turn up, say, in Canada or further afield.

In Trail or Call, Spilsbury's most likely role is the expert, assisting in investigations without taking part himself. If the investigators have a medical background or any official standing, they might meet the great man himself. From a rules perspective Spilsbury's bound to have expert-level ratings in any medical or forensic discipline and, though his finances were relatively modest, thanks to his professional reputation his Credit Rating is very high. His library and note card collection would be a boon to any researcher, giving boosts to related medical or forensic abilities.

For investigators more likely to commit crimes than investigate them, Spilsbury is a very dangerous enemy. No matter how careful, clever, or resourceful the characters think they are, it's nearly impossible to outwit the Scalpel of Scotland Yard.

In a Bookhounds game, Spilsbury best fits a Sordid London setting. No amount of crime novel romanticism can disguise Spilsbury's grim and grisly world. Agatha Christie and Dorothy Sayers both based their crime fiction in part on Spilsbury's work, directly or indirectly. Yet their depictions are fairly bloodless, when compared to the gore, guts, and limbless torsos that made up Spilsbury's professional career. Spilsbury was no stranger to the variations of the human condition; suicide, accidental death, sexually motivated asphyxia, and a thousand other kinds of demise were his stock in trade.

If you wanted to go in an Esoterrorist direction, the obvious terror to link to Spilsbury is the Practice. This gestalt, described in The Book of Unremitting Horror, is a medical nightmare, a surgical team of the damned. If you were to link Spilsbury to it then one way would be to suggest that the Practice is haunting the site of Spilsbury's old lab at Gower Street. I'm guessing that the old lab is long gone, but it was probably part of what's now University Teaching Hospital. Maybe there's a cult of medical students seeking grim knowledge, or perhaps Spilsbury wants his index cards back from the Wellcome.

In any case, you've more than enough information now. I hope this was useful! Enjoy.


Sunday, 20 December 2015

Not Quite Book Review Corner: Lovecraft Country, Matt Ruff

I've been reading Lovecraft Country by Matt Ruff, a relative newcomer to the scene. He's been writing for a while, but keeps dropping off the map, and so his publication list isn't that long. First published in 1988, then nothing until 1997, then a gap, then a gap, everywhere a gap gap, old Matt Ruff he had a farm, and so forth. My copy is an uncorrected proof. When published, it will be via Harper Collins, and is expected to be a February 2016 release.

The central idea is fascinating. Ruff takes the tropes of Lovecraft's Mythos, and re-imagines the stories with African American protagonists. The setting is 1950s America, heartland of noir fiction, and the collection of short, interconnected stories opens with the tale of Atticus Turner, off to Chicago with a copy of the Safe Negro Travel Guide in his pocket, hoping to find his father. Except his father's gone missing, and all the clues suggest that he's gone to Arkham, Massachusetts, home of Lovecraftian horror. It soon develops that Montrose Turner is mixed up with a peculiar Order of the Ancient Dawn, who are themselves very interested in Atticus since he might be a direct descendant of the founder of their Order.

Things, as you might expect, get very complicated from that point forward.

I mentioned interconnected stories earlier. It wouldn't be entirely fair to call this a short story collection, even though it is a collection of several short-ish stories. There is a common long-term plot, however, and the characters are all related either by blood or by bonds of friendship. So in the first story Montrose is a relatively minor support character, but in a later story he becomes the main protagonist. Childhood friends, cousins, Brothers from the local Lodge, may all appear as fleeting glimpses in one story, only to reappear later as main characters. The Braithwaite clan and its magical machinations make up the main antagonists, along with its allies and rivals in the alchemical Orders that seem to spring up like weeds across America.

In and of itself the concept would be intriguing, but by combining it with Lovecraft Ruff manages to hit a very particular and sensitive nerve. After all, this is Howard Phillips we're talking about, the man who gave us Cthulhu but also gave us the comic verse On The Creation of Niggers, as Ruff reminds us very early on.

Recently the World Fantasy Awards statuette hit the news again. It's been pointed out, particularly in recent years, that having an award of this type made in Lovecraft's image is sending, at best, a mixed message to the world at large, and fandom in particular. "This is something people of color, women, minorities, must deal with more often than most when striving to be the greatest they can possibly be in the arts," said award winner Nnedi Okorafor, on discovering Lovecraft's reputation after receiving her award. "The fact that many of the Elders we honor and need to learn from hate or hated us."

It's been announced that future awards will not bear Lovecraft's image. Noted Lovecraftian scholar S.T. Joshi has been particularly outspoken in his disgust at this decision. "Evidently this move was to placate the shrill whining of a handful of social justice warriors who believe that a 'vicious racist' like Lovecraft has no business being honored by such an award."

I lost a great deal of respect for S.T. Joshi after reading that piece.

There's no denying Lovecraft's hatred, of women, of African Americans, of pretty much everything and everyone except white Anglo Saxons and Gothic Revival architecture. He has created some very compelling art, worthy of study, worthy of approbation. That does not excuse the rest of it.

Perhaps it's time to admit that having his face on an award is exclusionary. That it sends a message, intentionally or not, and that message is an unpleasant one. 

Having touched on that nerve, however, Ruff lacks follow-through. There are many dark and complex scenes in these stories, but at the same time there's an undercurrent of light-heartedness that is at odds with horror. Frankly, there's more angst and despair in The Hobbit than there is in this book, and the main character of The Hobbit is a jolly little fellow whose sole ambition in life is to eat more dinners.

That's not to say the stories are bad. They're very cleverly done, and as a counterpoint to pure Lovecraft there's pleasure to be had in re imagining those stories with these protagonists. Even so, you have to go into this expecting that it won't be horror, as horror is usually understood. There's the suggestion of shoggoths off in the darkness, and weird things do happen, but these shoggoths have a low-fat label on the side with an encouraging nutritional message from the FDA.

An example, hopefully avoiding as many spoilers as possible: in one story, a character is told to choose whether or not to accept a benefit. That benefit, we discover, comes at someone else's expense, and that someone else is kept inside a large machine, apparently unconscious. We're told by the antagonist that this person is in a permanent coma thanks to a head injury, and feels no pain. What would make this really work would be if we didn't know whether the antagonist is telling the truth. Perhaps there is no coma, no head injury. Except as the reader we know that the antagonist is telling the truth. We saw that head injury in a previous episode, and from that we can infer the coma. Trouble is, knowing that undercuts the horror by removing the uncertainty. 

So would I recommend Lovecraft Country to Lovecraft fans, when it finally debuts? Yes. Just bear in mind, as I've said, that this is not a frightening collection. It has horrific scenes, and its depiction of historical events is all the more shocking because we know the truth of the matter. We also know that it didn't happen very long ago, in the grand scheme of things. For that alone it's worth reading. 

Even if it doesn't keep you awake at night, captivated by existential bleakness and despair.

Tuesday, 27 October 2015

Time After Time (all RPG titles)

I've been watching a lot of Mad Men recently. This drama, set in the 1960s, does an excellent job of portraying all the little details that make up a world, and it's not just in the obvious points, like male/female relations, or the cars and houses. No, it's in the little things, like the constant cigarette smoking, the way the office completely clears out for lunch, and the perfect dress sense of characters like Don Draper or Joan Harris. A host of little details, swarming together, to create a cohesive whole.

It made me think of the efforts Keepers go through to create a cohesive imaginary campaign world. Mad Men, as with all period pieces, has to show you the time as well as place where everything's happening. However it's always a particular window in time that it wants you to look through. There's no point in pretending that Mad Men is a complete, cohesive and entirely accurate portrayal of the sixties. Instead it selects the kind of sixties it wants you to know about and shows that, because that particular kind of history best suits the story it intends to tell.

The same applies in scenario and campaign structure. If your game is set in the 1920s, it needs to reflect that era. Same for the 1930s, the Victorian period, or indeed for any other period you, as Keeper, intend to portray. But the window that you let the players look through needs to reflect the story you intend to tell.

Let's consider the 1920s for a moment. What kind of period touches make up that decade?

To begin with, there's the Great War. The world's just this minute climbing out of an earth-shattering crisis, one which smashed great nations to dust, and then, mere months later, a plague breaks out that kills something in the region of 100 million people. Those events in combination make everything seem fragile, and contribute to a devil-may-care youth culture determined to have a good time regardless of how awful the world is. Then there's a sweeping rise in transport and communications, linking the furthest reaches of the planet. The automobile reaches its ascendancy, with new roads snaking across the planet, and architects like le Corbusier propose cutting through the great cities of Europe to make way for the car. Psychiatrists like Freud are becoming incredibly popular, even if their work isn't fully understood by the millions of people who swear by psychiatry. In the United States there's the question of Prohibition, and with it a completely new culture in which Federal law enforcement agencies suddenly appear, in great numbers, all over the country, determined to enforce an unpopular new law.

No doubt you can think of many other touches. The point then becomes, which of these touches best suits the story the Keeper intends to tell?

Is it an Innsmouth-style tale of corruption from within, with the ultimate reveal that we are all somehow infected by strange and terrible genetic putrefaction? Then the Keeper will want to concentrate on medical issues, perhaps linking the Spanish Flu, sleeping sickness and all other plagues that sweep through the population to this Mythos decay. The psychiatrists may be fighting a losing battle against the horrors that are hard-coded into the psyche. There could be a dozen different threads, but whatever they are, or become, the Keeper needs to emphasize them again and again in the background details. The characters travel to a decayed New England town, and note among other things that the people living there all suffer from a particular disease. Another outbreak of plague occurs in a far-off land that the characters suspect is a hotbed of Mythos activity. An outbreak of suicides among psychiatrists in, say, New York, suggests that terrible horrors are overwhelming those unlucky souls who try to delve further into the murky recesses of the mind.

Perhaps it's all about the vastness of the machine, and the unknowable Nyarlathotep-inspired creations that we unwittingly construct each day, with our new technology. Then the background details should all be about construction, new developments, architectural marvels, scientific advancement, all leading, of course, to an inevitable and tragic conclusion. Or perhaps its about the destruction of old values and their replacement with new, corrupt ideals. Then the characters could be broken refugees from the Old World, fleeing a land devastated by war, only to discover new tendrils of the Mythos in all these fancy innovations their new home expects them to adopt. Changing hairstyles, attitudes, a lack of respect for religion, the modern whirl and rush, all of these could be signs of Mythos activity.

You take that part of history that works for the story, and you bend it to your liking. Then you show it to the players.

Say you wanted to run a Victorian period game. That's a time of great political upheaval masked by apparent tranquility at the top. You've got revolutionaries brewing up political doctrines, or just ordinary explosives, to be used in acts of terror to support their goals. Small wars are kicking off all over the planet, leaving destruction in their wake. Religion is a much more important part of their lives than it is today, but it's a religion of rules and patterns, a little elderly and creaky. Spiritualism and mediumship are fast becoming more attractive, as an alternative to religion. Scholars like Mayhew are beginning to pay attention to the poor, and to tell the world how the poor live. Massive tidal waves of immigration are sweeping across the Old Country, flowing to the New. People are writing things down, in massive tomes that can tell you everything you ever wanted to know about public decorum, how to behave, how to cook, how to dress, what to see if you're abroad. Indeed, what you know and how you demonstrate your knowledge mark you out as an educated gentleman, or lady; a slip here, a misplaced haitch there, and you damn yourself in the eyes of everyone.

So perhaps you want a story in which the forces of the Mythos are crushing out spirituality and replacing it with ennui and despair. In that case emphasizing the spiritual decay of the church and the rise of corrupting spiritualism is key; the Fox sisters as outriders for Nyarlathotep, or the Cottingley Fairy photographs as inspired by Hastur. Or a story in which strange forces of destruction toil away in the darkness while the world goes by in blissful ignorance. In that event, play up the terrorists, the small wars, the limbless veterans begging in the gutter for their daily bread. Again, you take those aspects of the period that best support your story, and emphasize them.

If you're reading this and reminded of a previous column, Murder Most Foul, there's a reason for that. Both ideas use the same principle. In order to create a broad canvas in which the characters operate, you take relevant details and seed the canvas with them. In Murder, I suggested that a clue found in a newspaper report be juxtaposed with other information which helps build the world in which the characters live.

... it can be something like: ‘buried on page 12, underneath a photo array showing exactly where the Battersea Torso Killer hacked up his victim, you find …’ Or alternatively something like ‘the radio announcer is describing the crowd outside Birmingham Prison, where baby killer Victor Parsons is about to be hung, as the jingle of the doorbell announces the entry of a customer.’ ...

These are throwaway details, yes, but the fact remains that it's when you throw them out, and in what context, that helps build your campaign world. Continuous reinforcement will create the kind of world you want to operate in, without the characters being buried in text dumps and historical research.  

I hope you find this useful. Enjoy!

Monday, 23 March 2015

Total Party Kill (Escapist)

I no longer write for the Escapist. Until recently I had a regular column, and as I completed several pieces which now will not be published there, I thought I'd make use of the material here. Thus the first in a short series of unpublished stuff, this one about the notorious Total Party Kill.

Enjoy!

**



The Total Party Kill is the one thing players, and usually Game Masters, want to avoid, yet it happens so often you’d think people actually enjoyed getting fried by dragons. Usually it’s a very sudden event, and almost completely unexpected. Someone tanks a save, or whatever it may be, and before you know it, six stalwart heroes are being mashed into jam for the next orcs’ tea party. What went wrong?

Dave Noonan, back in the days of 3.5 Dungeons and Dragons, suggested that lack of communication between players is one of the big issues. “When times get tough at the game table,’ Noonan said, “It’s easy to stay focused on your character and lose awareness of what your comrades are doing.”

Noonan noticed that players, when faced with a significant threat, stopped thinking like a team and started reacting like individuals. As a team, a group might realize that a fight’s too tough, and decide to withdraw. But each of those individuals has a character sheet, with a long list of combat abilities and spells. It proved too tempting to study that character sheet, looking for a way out that wasn’t there. Players would say they wanted the group to retreat, then engage in combat themselves, or start spellcasting, hoping for a good roll.

Funny thing: every single player I’ve ever met has worked out, in advance, how fantastically awesome their character will be, if they roll a critical success. That’s partly because every player thinks they’ll be the one to roll that critical success, right when they need it the most. Just like diehard gamblers, they think critical failure is something that happens to other people, not to them.

In a TPK situation, the chance to retreat is usually a fleeting thing. Before too many rounds go by, the enemy might have blocked the escape route, or knocked out one too many important characters; the cleric, say, with all the healing magic.  Then it’s too late. All that’s left is to order the pizza and start the post-game argument.

On the other hand, if the players – or even just one player – step up and devise a plan for getting the whole group out, the TPK problem might never come up. Assign one player the task of picking up the unconscious or critically wounded, assign a couple others the task of securing the exit, and then tactically retrograde as fast as your feet will let you. Job done!

That’s in situations where the combat system is crunchy, with lots of add-ons and modifiers. Call of Cthulhu used to be famous for its TPK situations, and its mechanics about as crunch-free as can be, while still using dice. There’s no leveling system, so the 10 to 15 hit points you start the game with are the only ones you will ever have. There’s a percentage chance to hit, a chance to critical succeed or fail, and a damage roll, but the system lacks many significant combat modifiers and situational adjustments that Dungeons and Dragons players would be familiar with. What counts as a TPK situation in that system?

Let me just give you the brief low-down on one such situation, from the Masks of Nyarlathotep campaign. Very mild spoiler warning, but really, we aren’t talking plot here. The situation is described as:

Present at the ritual will be twelve priests, including [powerful and important NPC] and [equally powerful and important NPC], nearly 800 cultists … and 100 [powerful monsters]. The rest of the [friendly NPCs the group will have encountered previously] will be there, as sacrifices. The din and screams will be loud and sustained. Eventually, at the height of the ceremony, the enemy will summon up a godlike creature capable of demolishing a city.

Now, if your first thought is, ‘Attack! ATTACK! ATTACK!’ there’s clearly a disconnect going on here. If ever there is a moment for stealth and caution, it’s when you’re facing off against a battalion strength group of dangerous people backed up by another small army of monsters. Yet I have seen otherwise rational players, without any special equipment beyond a few sticks of dynamite and a couple rifles, happily charge in without a moment’s thought. Tell you what I rarely see: I’ve rarely seen those same rational players get together, as a group, and plan out what the group was going to do about the problem.

I get that everybody wants to be the hero. I really, really do, but there is such a thing as overwhelming odds. Bilbo Baggins, when meeting Smaug for the first time, doesn’t rush up and try to kick the old wyrm in whatever passes for its genitals, hoping for a critical success. Maybe that’s one of the bonus scenes on the DVD; I’m not in a hurry to watch it. In the book, Bilbo’s more sensible than that. He hides, and schemes, and bluffs, because he knows that, if he puts even one foot wrong, there isn’t a Reflex save high enough to save him from becoming a charcoal briquette.

So far I’ve been talking about the player’s side of the equation. What about that sinister fiend behind the screen? How much responsibility does the Game Master have for the TPK?

As Wizards of the Coast designer Andy Collins once pointed out, “It's no challenge for the DM to kill off the whole party; the challenge is in creating encounters that are just tough enough to put a scare into the PCs without actually killing them all off.” Sometimes, particularly for novices, finding that balance is a tricky business, and it doesn’t help that some monsters are well over the top to begin with. However there’s no advice anyone can give to help you there, beyond ‘be careful’; finding that balance is a skill that only comes with time and practice.

That said, there is one way that better communication between GM and player can help avoid a TPK. The players don’t always know when a monster is going to test their limits, and that’s sometimes because the description the GM’s given so far is insufficient. If the group’s about to march into a boss encounter, the group needs to be aware of that fact, and that means clearly signposting the threat. It might be plenty of corpses lying around, or scorch marks where the deadly trap’s exploded several times before. Maybe the Doppleganger’s impersonation of an ally is just a little bit off, or that doorway just radiates evil. But there has to be that one clue, or warning sign, that things are about to get very nasty, to put the group on alert.

This goes back to something I’ve said before: the GM should always be open in all of her dealings with the group, because even perceived unfairness can ruin the session, if not the campaign. This doesn’t mean the GM can’t be clever; it means the GM has to always be seen as a fair arbiter. Therefore the group gets one warning, whether it’s as cheesy as a talking skull on a stick, or as menacing as a fresh bloodstain on the dungeon floor.  What the group does with that warning is out of the GM’s hands. The heroes want to be mashed into jam? Fine. Let ‘em get squished, and maybe next time they’ll be more careful.

This isn’t a time to get hung up on ability checks either. Just give out the necessary information; don’t make them roll for it. A failed Spot check might put the group on alert, but it lacks drama. Suddenly realizing that all the birds and wildlife in the forest have gone quiet, fearful of some large predator, is drama personified. 

So next time you and your buddies are down in the dungeon, wandering around without a care in the world, remember: you get one warning, sunshine. Just one, and if you march headlong into trouble regardless, you’d better be ready, and willing, to run. None of this hero nonsense. The orcs already have a jar picked out, just for you!