Ritual Magic (RPG All)

In the old year (feh! Fooey!) someone asked if I would write about Dion Fortune and the magical Battle of Britain. 

Happy to oblige. Before I do, let's set the scene a little and talk about ritual magic. 

Ritual magic, in Western traditions, is all about the big favors. You use it when you want to achieve a major result. In fiction this is sometimes with machines and modern (or at least modernist) technology. The Electric Pentacle and peculiar devices of Thomas Carnacki are an example of this type. You never know exactly what makes those devices hum. That isn't the point; the point is that they work. 

Same with rituals. If you really want to, you can find out how they're supposed to work. I have proof of this: academic tome after academic tome, Histories of Magic, long lists of names and attributes. All wordy, windy, esoteric. Filled with forbidden knowledge and tempting illustrations. 

However, from the point of view of the observer, how ritual magic works isn't the point. How impressive rituals are, is the point. 

Faust 1926, Murnau

The peculiar technology used by Doctor Frankenstein in the early films (and later, in Young Frankenstein) are in this tradition. Again, the desired result is something spectacular: the creation of new life, from dead clay. To achieve it an appeal is made to the heavens, and peculiar technology is used to make that appeal heard.

 Frankenstein, 1932

Early cinema, and plays like Marlowe's Faustus, latch on to this scene-play. They have those central dramatic moments when someone goes out to the crossroads on a dark night and evokes the weird. There's a suggestion that Faust and the rest are completing an esoteric ritual, but the details of that ritual are, at best, sketched in. So long as the visual is suggestive the means of getting there can slide a little bit. 

Video games pull much the same tactic. Whether it's the Rite of Thorns in Baldur's Gate 3 or any one of a dozen summoning rites in World of Warcraft, the implication is that so long as you get enough people chanting faux Latin and standing in something approximating a circle, you've got yourself some ritual goodness and can expect great results. 

In the historical record this often causes religious qualms. Appealing to forces beyond reality? Clearly diabolic. Burn those books. However, even the religious are not beyond a little magical temptation, so up springs a series of tomes that promise power from angels instead. Know the right angel, make the right appeal (in the Lord's name, of course) and you too can have whatever it is you desire. Or, if you're into slightly less work for slightly less reward, you can practice simple bibliomancy. Take out your bible, flip to a random page, and take the advice offered.  A very simple ritual designed to produce a simple result. 

But the key to ritual, whether religious or otherwise, is to know your terminology. You need to know the proper name of the angel (or whatever it may be) you're appealing to. You need to know the offerings that being wants, or the tools you'll need to make the appeal. You need to be able to recite the prayers exactly right each time, in the right order each time, as often as the ritual requires. You need to be able to do this while fasting, or while only drinking or eating the right things, or by only consuming the holy spirit, or whatever it may be. You need to get everything exactly right, possibly over a period of several days or even weeks. 

Get one little thing wrong, and the whole effort is for naught. Or, in the case of devils, get one little thing wrong and put your body and soul in peril.

The interesting thing about a ritual, I think, is that it doesn't rely on the magician, or the magician's innate power. This is the magician asking for a favor. Commanding a favor, really. They know the cheat codes, they press the correct button sequence, and boom! Magical gifts. Angels, demons, deities of the hearth or saints in charge of who-knows-what, beings that have existed before Man and which will exist after him, beings that have seen the face of God and tasted the eternal joys, suddenly bow down to some clown from Croydon, so long as that clown pronounces their name correctly and chants in the appropriate tempo.

In RPG terms, naturally the Bookhounds (or whoever it may be) aren't really appealing to angelic or devilish forces. They're relying on the Mythos to power their Megapolisomancy, their Rough Magick, or whatever else it may be. The ritual found in that collection of scrolls may reference Thoth, but to those who know it's really talking about [insert Mythos here].

Which raises a question. Most Mythos forces aren't interested in humanity and certainly aren't interested in anything humanity wants. Cthulhu could care less. Nyarlathotep is probably interested to a degree but isn't about to fetch and carry for any mortal sorcerer.

There are at least two ways to answer that question. 

The first is manipulation. Humanity isn't drawing directly on Mythos forces. Rituals are ways of channeling power, leeching power that would otherwise go to waste or be used for something else. This may be deliberate manipulation, or it may be an accidental effect, something that's survived from the days of Mu and which some mortal lucked into. When a sorcerer uses a ritual to achieve an effect that sorcerer is accessing Mythos forces that exist around us all the time, in the same way that we might dam a river or redirect a stream to irrigate cropland. We didn't create the river. We merely adapted it to our use. 

The other is natural tendencies at work. Humanity is Mythos. There's some lurking corruption at the heart of us all, and when we manipulate forces to create a ritual result we're drawing on the Mythos inside us to do it. We bring ourselves closer to Cthulhu, or whichever Old One it may be. Perhaps that's what is meant by 'the stars are right' - not that some anticipated conjunction of heavenly bodies will bring about a result, but that we are the stars spoken of in prophesy, and when our devotions over however many millennia finally bear fruit, we will be the reason why Ry'leh rises and why the Old Ones return. Like ants building a mountain, we strive in our own cause, but build something beyond our scope or our ability to understand. 

Now, next time - Dion Fortune!   

 

Akkat, Mother of the Sunrise: Part 2, City Builder

Last time I discussed the basics of this city build: what kind of place is it, what is it famous for, where (roughly) is it located? Now the time has come to go into a little more detail. What, exactly, is this city like?

When I've discussed character design before, it's always been in the form of question-and-answer.  Exactly the same process can be followed here, slightly altered. So where I might ask about the character's name, age, ethnicity and gender, I now ask about the city's name, age, ethnic makeup, and landmarks.

To give you some examples:

Name: Akkat, Mother of the Sunrise. The title Mother of the Sunrise derives in part from the city's most valuable find: the Sunrise star gem, currently held by the Lugal, or ruler, of Akkat.

Age: People have been living here for uncounted generations. However the current rule of the guilds is less than a century old; in the time of grandfather's father, Akkat was ruled by the Lugal, who in turn owed his fealty to the great Raj of the Northern Kingdoms. The Northern Kingdoms in their mountain fastness have ceased to be a concern ever since the great rebellions, and the Lugal hasn't been a serious force in local politics for many decades.

Ethnic Makeup: Akkat is majority human. There is a much higher proportion of Tieflings here than anywhere else in human lands; about a fifth of the city are Tieflings, including many of its most important guildsmen. Though there aren't many half-orc citizens, nearly all the guild guard are half-orcs, with human officers - though the officers are largely for show, the guard being commanded in practice by its non-coms. Halflings and Elves are uncommon but not unheard of; many of the riverboat captains and crew are members of these races. Dwarves, gnomes and dragonborn are among the least common, and dragonborn are especially distrusted, since the old Raj of the Northern Kingdoms was led by dragon-kin.

Three Landmarks:

• The Thousand Window Palace, where the Lugal traditionally holds court, is an architectural wonder, and its stained glass windows are a superlative example of the glassblower's art. The scenes depicted there show the great moments of the Lugal, and the Raj. Though the Palace is meticulously preserved, no new windows have been added for a hundred years. The Palace Guard is headquartered here, and the Lugal's Court is open daily, so the Lugal can hear the concerns of his people. The Palace Guard, as distinct from the city guard, is entirely human, and ceremonial. In days long gone, it was often the case that a new Lugal achieved power thanks to the quick and stealthy blade of an influential Guardsman. As a result, these days the Guard aren't allowed anything sharper than a wooden staff. They even eat their food with wooden utensils.
• Destiny Quarter, the ghetto where most of the Tieflings live, is alive morning, noon and night. When Tieflings began coming here, at first they were confined to a small section of the city that nobody else wanted. Over time, as more of them arrived, their political power increased. Now some of the richest citizens of Akkat live here, side by side with the finest merchant mansions, the most expensive and famous inns and eating houses. The one thing that hasn't changed in all that time is Destiny Gate, that used to mark the way in and out of the walled ghetto. The Tieflings prefer it that way, as a reminder; the ghetto walls may have come down, but if you seek your Destiny, you go through that gate. 
• The Permit House is where you have to go if you want permission to build anything. Since the very rocks of Akkat are impregnated with magical materials, and since merely digging a foundation might uncover priceless wealth, building rights are very strictly controlled. There are only three licensed building contractors in the entire city, each of them richer than a king. Building without a license, or hiring yourself out as an independent contractor, is  brutally punished; the hands of those who try are cut off and nailed up above the Permit House door. Applications for new build, or to repair existing buildings, often vanish within the labyrinthine corridors of the Permit House, never to be seen again. Of course, grumble ordinary citizens, Tieflings never seem to have any trouble getting permission ...

Economy: Akkat's most famous, and lucrative, export, is the star gems from which it gets its name and reputation. These highly magical items are sought after by wizards, sorcerers, liches, kings and princes. There are only a handful of official mining operations, and unofficial diggings are harshly punished - hence the Permit House. This increases the scarcity of an already rare commodity. Moreover the wizards and Tiefling jewelers of Akkat are supposed to have an especial affinity for these gems; a magical device incorporating a star gem shaped and polished by their cunning hands is said to be especially powerful, and valuable.

However it does not stop at gems. The forges of Akkat, incorporating that same magically potent stone, are supposed to be capable of producing the finest magical blades. The very best swordsmiths are, it is said, working on sentient items to rival the creations of mythic wonder-workers of times past. Whether or not this is true is besides the point; a magical blade from Akkat, with the mark of one of the Guild's swordsmiths, is worth twice as much as any other of its type, whether or not it has any kind of extra potency. 

Finally there are the glassblowers. This is a relatively recent innovation for Akkat; the first master glassblowers relocated here forty years ago. However in that brief time they have become renowned for their skill and delicate craftsmanship; alchemists and lovers of art alike swear by Akkat glass, which, so it is said, captures sunlight like nothing else on this earth. The thing that puzzles visitors to Akkat is, why do these glassblowers not add new windows to the Thousand Window Palace? Yet, to date, none have.

There is one other branch of the economy that the Guilds and the lords of Akkat prefer did not exist: poppies. Again, thanks to the magical qualities of the city, its people are themselves slightly magical. You can't live all your life surrounded by material from the far-flung stars, and not pick up a tiny amount of background radiation. Even the animals are a touch fey. What this means is, the night-soil of the city - excellent manure - is the perfect food for a particularly delicate flowering plant, commonly called the Sunset Poppy. The seeds of this plant, properly processed, produce an addictive narcotic, sold throughout the Southern lands as Sunset, Moonglow, or Journey's End. The Thieves' Guild makes a very tidy profit from cultivation of these poppies; most, if not all, of the night soil collectors of Akkat are on the payroll. It's safer that way. Those who resist meet unfortunate accidents. The fields, and processing facilities, are outside the city proper, high up in the hills; it makes it that much easier for the lords of Akkat to ignore a problem on its doorstep.

***

What I'm getting at is this: as a designer of worlds, you can create cities and characters in exactly the same way. If you want to design a character, you ask how old they are, how they make their money, what they look like, what they value, what they want, what they dream of, what their secrets are. For a city, you ask exactly the same questions. The difference is merely scale. A city needs more, makes more money, has grander vistas, and outlives even its oldest citizen. But the questions remain the same.

Don't think this just applies to fantasy cities. The same technique can be used to design your version of London, or Macau, or wherever it might be. Sure, a lot of that information can be found in Wikipedia, but you're after the stuff that's not in Wikipedia. Say you're building a version of London much like that Ben Aaronovitch uses for his Rivers of London series. It's very like the London of today - but not exactly like. For the bits that don't fit established modern London, you ask exactly those questions I've asked here - and design your version of London around that.

Which brings me to adventures. Once you design a city, the kind of adventures that happen there should flow from that design. Such as:

A swordsmith has crafted a particularly fine longsword, that he wishes to sell to a nobleman far away. However he needs someone to guard the weapon on its journey South. The swordsmith's rivals are very jealous of his work, and one of them will stop at nothing to prevent the sale - but which of them paid off the bandits that attacked the adventurers?

A Tiefling, on coming of age, or marking a particular life triumph, walks through the Destiny Gate as part of a ceremony that usually involves days, sometimes weeks of feasting, masquerade, and song. The masquerade balls are particularly famous; the grander the masquerade, the more important - and wealthy - the Tiefling host. However this particular Tiefling, on walking through the Destiny Gate, somehow opens up a small, personal connection to the Abyss. Nothing so dramatic as a flaming portal through which can be heard the wailing of the damned; rather, unexpected and swift corrosion, say of furnishings, clothing, or food, or a brief plague of Abyssal small fry, like Dretch, or Manes. Each time this happens, it's centered on the unfortunate Tiefling who walked through the Gate. Naturally this complicates the masquerade somewhat, but it also provokes a human backlash. Can the adventurers defuse the situation, before an angry mob tears through Destiny Quarter?

An innkeeper has, through accident or design, dug a very small pit in the cellar of her inn. Only the tiniest of scrapings, but if the authorities ever hear about it, her hand will be nailed up above the Permit House door. However, if she were somehow to obtain retroactive permission for her illegal excavation, all will be well. Can the adventurers forge, or otherwise obtain, that all-important permit?

That's enough for now. Next week, something completely different!

Wire Rat - the Mulholland Option (Night's Black Agents)

Only a brief post this time. I spent a chunk of the day helping the local Gilbert & Sullivan society clear set from their latest production. There was a bad accident. Flesh torn off palms kind of accident, many stitches kind of accident. We're lucky it wasn't much worse.

Anyway, this week I want to talk about the Wire Rat archetype, which I suspect gets short shrift in many people's campaigns.

Technical experts, says the rulebook, As distinct from hackers, are almost always nuts and bolts electronic specialists, with a side of metal shop. Building bugs into innocuous objects is another wire rat specialty, as is general gadgeteering.

Which is fine, but doesn't really scream 'hero of the story.' More the sidekick, the comedy relief character. The backroom boffin with all the toys at their disposal, but none of the kick-ass. Not a very fair portrait, perhaps, but I've often thought it's one of the big reasons why I've never had a player willingly choose this archetype in any game I've run. The other big reason probably being that few people know much about the nuts and bolts of electronic surveillance, and may feel a bit intimidated by the archetype that seemingly does nothing but.

I'm struggling to think of many media versions of this kind of character, as the lead and not a companion or minor role. There's the Wizard. The FX movies. Lester Freamon off the Wire, though I'm not sure he counts as a lead as this is an ensemble show; really, everyone's a lead. But that's when the well runs dry. There are plenty of lead roles which use gadgetry in some form or other - Michael Westen off Burn Notice springs to mind - but usually it's an adjunct to their role, not the defining part of it, and when they need something complex done they turn to the expert rather than do it themselves. Whereas there are hundreds upon hundreds of Qs out there, or David Niven's character Cpl. Miller from Guns of Navarone; support roles who supply the hero with the tools they need, but who rarely appear on screen for longer than a few minutes at a time, and who never get the girl. Or, like Argo, do all the hard work in the first half of the film and then sit on the sidelines while the action man gets the job done.

Which brings me to John Mulholland, the CIA's favorite magician.

I'm not going to go into too much detail here, as I'm writing a long article about him for Genii and don't feel the need to drop spoilers, but briefly: Mulholland was a renowned stage magician asked to contribute his talents to a little project called MKULTRA. He wrote two training manuals for the CIA intended to teach their people stage magic techniques and tricks of the mentalist trade.

So what does this mean? Well, stage magicians are the premier gadgeteers of this or any other era. Their whole shtick is to make something seem as innocuous as it is possible to be, and yet create wonder. Maybe nobody wants to be the sidekick, but I guarantee everybody wants to be Penn and Teller. Moreover with Mulholland as an archetype you have the perfect excuse for stage magic in espionage; the man who builds, designs, stage manages, plans, and executes every conceivable trick in the book, all to fool the hardest audience in the world - the one that'll kill you if you get it wrong.

You'll notice that this reduces the role of electronic surveillance a little. It doesn't have to; bugs and those who are bugged is still a huge part of the archetype. But if that's all the player thinks the character can do, the player may not be in a hurry to play that role. Ultimately it's very passive. You plant the bug, and then you sit and wait, and wait, and wait. It's not something you do if you crave adrenaline-pumping action.

But a Houdini that can seemingly walk through walls? A charmer whose words lull you into a false sense of security? A specialist adept with the hold-out camera, or pistol, and whose pockets are full of trick coins? A technical genius who can make you think everything's normal, right up to the point when it's very clearly not? Now that's magic.

With all that in mind:

Darci
One sentence: A Parisian street artist whose deft hands and charming smile have fooled half the continent.

Investigative: Architecture 1, Bullshit Detector 2, Chemistry 1, Data Recovery 2, Electronic Surveillance 2, Flattery 1, Human Terrain 2, Languages 2, Notice 1, Negotiation 1, Reassurance 2, Research 1,  Tradecraft 1, Urban Survival 2

General: Athletics 8, Conceal 10, Cover 10, Digital Intrusion 2,  Disguise 3, Filch 8, Hand to Hand 10, Infiltration 8, Mechanics 12, Network 15, Preparedness 8, Sense Trouble 6, Surveillance 6

MOS: Conceal, for those moments when she really needs to make something disappear. Plus, what with Swiss Army Prep (Mechanics Cherry) and ordinary Preparedness, she's ready for just about any eventuality; after all, any performance can go wrong, and when it does, it's great to have a backup plan.

Finally, a scenario seed:

The same street artist has been sighted, either by witnesses or by security cameras, outside three different venues, all of which suffered mysterious break-ins. Twice the intrusion was so skillfully done that, had the perp not left a calling card - a print of The Surrealist, by Victor Brauner - on display at each scene. The victims are baffled; what was taken? Was this some kind of scam? Have their networks been infected with malware? Should the directors worry about blackmail material?

Forgotten London: Egyptian Hall (Trail of Cthulhu, Bookhounds of London)

England once had a Home of Mystery, founded by one of the premier family businesses in all of entertainment history: the Maskelynes. Forgotten London has touched on the Crystal Palace and Tussauds Museum. Now it's time to turn our attention to the history of magic, and with it, the Egyptian Hall.

Built by Mr William Bullock in 1812 to house his extensive collection of curiosities, the Egyptian Hall covered numbers 170 to 172, Piccadilly, Westminster. Egyptology being the prevailing obsession, it was designed in a broadly Egyptian style, with a frontage reminiscent of Karnak or Luxor. However it was a multi-purpose building. The Musical Repository had shops there, where it manufactured sheet music. A grocer's, Jacksons, remained there until its destruction in 1910, and even after the Hall was gone Jacksons still maintained a shop at its old location for many decades afterward. There were other shops, and an art gallery, but from Bullock's point of view the main purpose of the Hall was to house his museum, originally called the London Museum of Natural History. It went through several other name changes before finally becoming the Egyptian Hall, sometime between 1819 and 1821.

It was an odd collection. One moment the Hall might be home to Egyptologist Belzoni's collection of artifacts, and then next week it might house fresh exhibits Bullock had brought home from Mexico. Then again it might be home to Eng and Chang Bunker, the original Siamese twins. Or P.T. Barnum, or Tom Thumb, or the Mysterious Lady, or magicians, hatchet throwers and other entertainers. This was the age of spectacle, and the Egyptian Hall excelled at spectacle.

The Maskeylnes were not the first magicians at Egyptian Hall by any means, but they were the first to realize the possible benefits of having a theatre of their own. Up till that time a typical magician's career was peripatetic, and one of the consequences was that he had to rely on the theatre having what he needed to carry off the performance. It meant that he had to be versatile, but it also meant that he had to accept the misfortunes of travel. Sometimes this meant disaster; imagine being the magician who, on unpacking his expensive and carefully crafted props and devices after a long sea voyage, discovered that his life's work had been eaten by termites. The Maskelynes were no strangers to this kind of life, and when J Nevil Maskelyne signed up for a three month stay at the Hall in 1873, he probably had no intention of staying longer than that.

Bullock, by this point, was out of the picture, having died in 1849. Before his death the Hall had been bought by lifelong bookseller George Lackington, who rented it mainly for art exhibits and entertainments. It's difficult to find out who owned it after Lackington's death in 1844; presumably either the Lackington bookselling firm owned it outright, or it was held in trust for Lackington's heirs.

J. Nevil Maskelyne soon discovered the benefits of being master of his own theatre, even if, in the Hall, he was merely a tenant. It became his home base. He could travel to Italy, France, Spain, Portugal, and rest assured that, on his return, he had a space, and his tools of the trade, waiting for him in London, the grandest city of the Empire. His son Nevil followed in his footsteps, spending the first nineteen years of his performing life at the Egyptian Hall.  Yet nothing lasts forever. Its owners decided there was more profit in office blocks than magic, and in 1905 the Egyptian Hall was demolished.

As a side note, its dissolution was captured by the artist Muirhead Bone, who later went on to become a famous war painter. The best version I've been able to find is here, and isn't all that clear, but you may have better luck.

The Maskelynes, father and son, went on to St George's Hall, which J Nevil significantly adapted for their work. J Nevil died in 1917 leaving the business to his son Nevil, and Nevil's children, including grandson Jasper who, at the time of J Nevil's death, was only fifteen years old. Jasper's father Nevil died in 1924, when Jasper was barely in his twenties. Nevil had the benefit of nineteen years at the Hall and a further twelve at St George's before inheriting the family business. Jasper had less than a decade. Jasper must have felt bereft, and perhaps a little unsteady on his professional feet, which may help to explain his later erratic behavior.

Jasper was one of five Maskelynes to inherit the magical Maskelyne empire. He had three older brothers. Captain Clive fought in the War and won the Military Cross, despite a heart murmur, and later became a stage magician. John Nevil had no interest in working the stage, and handled the business side of things. Noel also became a magician and maker of illusions, along with Jasper, who was the most adept of the brothers on stage. Their sister Mary, a talented performer, completed the Maskelyne menage.

Before his death, J Nevil attended the inaugural meeting of the Magic Circle at the Green Man pub in Soho, and St George's Hall later became a regular meeting place for the Circle. The Magic Circle eventually established itself at Euston, where it remains to this day. For a time Captain Clive was president of the Circle, but that heart murmur proved to be the death of him at a tragically early age, in 1928. Jasper would have been twenty six years old at that point, when the last strong connection with the Maskelynes of old was severed.

That was the start of the Maskelyne family feuds. Jasper proved to be a difficult sibling to work with, and Clive the war hero seems to have been the glue that held the family together. Jasper was dismissed from the family business in 1933, which coincided with the loss of St George's Hall. It was taken up by the BBC, and the Maskelyne's permanent home for magic ceased to be. The Maskelynes briefly tried to keep the dream alive at a different location, but by the end of 1934 the family business was kaput. St George's itself was demolished in 1966, and a hotel stands where the Maskelynes used to entertain all of London.

Jasper's life never really lived up to his early promise. Though he had an interesting wartime career, how interesting it actually was depends on how much you're willing to suspend disbelief and take Jasper's word for it. "You are not actually under oath when writing your own memoirs," as one historian put it. He chucked it all in and went to Kenya to start a new life as a farmer which, in hindsight, was one of the worst things he could possibly have done. He would have been there post-1960 and during the age of Mau Mau, when independence made things very difficult for those white settlers who'd chosen to believe, in their folly, that the sun would never set on the Empire. Jasper died in 1974, an embittered drunk. 

With all that in mind, let's talk about what this might mean for a Bookhounds game.

Both the Egyptian Hall and St George's Hall offer strong possibilities. By the 1930s the Egyptian Hall no longer exists, but the grocer's, Jacksons, does. In fact it may still exist, as Jacksons of Piccadilly, though I can't be certain that the modern Jacksons still occupies its old Egyptian Hall address. Be that as it may, Megapolisomancers may wish to take advantage of this long-standing lever by using Jacksons to keep in contact with the Egyptian Hall of former days.

It may even be possible, if you walk through the right door at Jacksons, to get to whatever's left of the memory of the Egyptian Hall, though what you'd find in that hidden space between worlds is anybody's guess. It once housed anything and everything, from a family of Laplanders plus reindeer to relics from the tomb of Seti I. Who knows what might still lurk in the shadowy, somehow dustless corridors of that Hall which is still a prisoner of time? Possibly spending the night there, or investigating the Hall further, would confer 1 potential Magic point.

Alternatively Jacksons' records might prove very interesting, to students of history. After all, the firm's been there since the Hall was first built. The account books, photographs, and other memorabilia hidden away in Jacksons' offices would prove very interesting, if they could be accessed. Of course, they might be very dusty, the perfect environment for Dust Things.

Or perhaps something else is still living there. A Rat Thing that's been hiding in Jacksons all this while would know everything about the old Hall. It could be that the oldest employee at Jacksons has been there much longer than even his or her employers know; did one of the many mummies housed at the Hall over the years decide to sneak to safety when the Hall was demolished?

St George's Hall is slightly different. It's still home to the Masklynes until 1933, which means it's also home to the Magic Circle. Getting involved with any of the Masklynes, especially Jasper, could be interesting. They're all going to want to collect books on magical practice, mechanical engineering, and other topics related to their craft. J Nevil, like many magicians, was a confirmed skeptic, and founded the Occult Committee to investigate strange claims. By the 1930s J Nevil is long gone, but perhaps Jasper, in his ongoing feud with his siblings, is reviving the Committee out of spite, spending family money on its endeavors. Or perhaps the protagonists, desperate for a bump in the shop's profit margin, is courting members of the Magic Circle in hope they'll become patrons. It's also possible that one of the characters is a practicing stage magician, in which case they might be members of the Circle, or be hoping to join.

Of course, when St George's Hall is taken by the BBC in 1933, the Maskelynes would have to downsize. Even if each of them took some of their props and properties with them, there would probably have been plenty of items left over that Nevil's heirs either wouldn't or couldn't take. That sounds like an excellent opportunity for an auction.

Alternatively among the many bits of props, papers and other ephemera carted over to St George's Hall in 1905 may be something that the characters really want. It might be something owned by the Maskelynes, or something accidentally moved over from the Egyptian Hall. Perhaps an occult artifact, or book, or something more substantial. Maybe something in old J. Nevil's notes holds the key to the protagonists' current dilemma. Or it could be that the stuff in St George's Hall, while not useful in itself, could be used to make a squiz, or be material for a forgery.

That's enough for the moment. Enjoy!