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"Come now my child, if we were planning to harm you, do you think we'd be lurking here beside the path in the very darkest part of the forest..." - Kenneth Patchen, "Even So."


THIS IS A BLOG ABOUT STORIES AND STORYTELLING; some are true, some are false, and some are a matter of perspective. Herein the brave traveller shall find dark musings on horror, explorations of the occult, and wild flights of fantasy.

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

Tuesday, July 10, 2018

CTHULHU CHRONICLES: A FIRST LOOK



AH, THE AGE-OLD QUESTION; "what to do in-between sessions, when no Keeper is around but you still want your sanity abused?"  For Call of Cthulhu addicts who just can't get enough this has long been a problem.  Over the years, video games have been the answer, alternate delivery systems for the mind-bending horror provided by the pen-and-paper game.  2005 saw Call of Cthulhu: Dark Corners of the Earth, an unholy partnership between Cthulhu publisher Chaosium and Headfirst, Bethesda, 2K, and Ubisoft.  This year sees Cyanide and Chaosium unleashing the very promising Call of Cthulhu: The Official Video Game.  For those who simply had to take their Cthulhu on the road with them, iOS and Android provided Red Wasp's Call of Cthulhu: The Wasted Land.  All of these adapted the classic 1981 RPG to various engines and platforms...but were--and let us be honest here--video games.  Not that I dislike video games, mind you.  But they are by definition a visual medium where the horror takes place on the screen.  Call of Cthulhu (the table-top game) is a literary experience; it takes place inside the imagination.  I have never been wholly convinced that even the most gifted graphics team can create Lovecraftian horrors as hideous as the mind can.

Now Chaosium and MetaArcade have joined forces to try something a bit...different.  

Cthulhu Chronicles is perhaps the closest thing to the tabletop Call of Cthulhu experience that gamers can reasonably expect.  Released today for iOS, with Android coming soon, Chronicles essentially takes tried and true Call of Cthulhu scenarios and adapts them to text-based solo-play.  About a week ago, via TestFlight, I had a chance to look at the game for this review.  Here's what you need to know.   

Players choose one of six Investigators to play.  These can be changed between scenarios, or if they survive, continue into the next story.  These characters come with a Bio and some equipment, and are defined by 5 statistics.  Health measures how much physical damage you can endure, Sanity tracks your psychological injury, while Appearance, Athletics, and Knowledge each allow you to face different tests during the game.


Players also select which scenario to pursue.  These are all genuine tabletop Call of Cthulhu scenarios adapted to Chronicles.  We have, for example, the introductory 7th edition scenario Alone Against the Flames, and the 6th edition's Edge of Darkness.  Others from the Chaosium archives are Dead Border, Eyes of the Law, and Paper Chase.  



 

Actual play is fairly straightforward.  Chronicles doesn't have the animated sequences that something like the Steve Jackson's Sorcery! line has, though game play is similar.  A page of text is provided with a picture or illustration, and this will give the player a series of choices to pursue.  It's a time-honored approach going all the way back to those "Choose Your Own Adventure" books.  



 

Sometimes these choices lead to a test.  These are the equivalent to rolling dice in the tabletop game.  Tests come in various difficulties, and these modify your chances accordingly.  A wheel appears and spins, resulting in either a pass or a failure.  Consequences depend on the test.  You might simply fail to notice a clue or to persuade an NPC to talk...or you might take damage.






The game is free to play, but as with all games of this sort there are in-app purchases.  These take the form of "tickets."  Basically, players get a number of free trials of a scenario, after which they must purchase the scenario and play it to their heart's content or spend tickets for additional single play-throughs.

Are multiple play-throughs worth it?  Taking different characters through the scenarios changes the text considerably, and I applaud MetaArcade for tailoring the text to each character.  We've all played games like this where it doesn't matter what character you are playing...the text is the same.  This is not the case here.  Also, multiple plays opens up different story paths, either through making alternate choices or passing tests you might have failed before.  On the other hand, just like a pen-and-paper scenario, the second and third time you play it some of the fun derived from surprise and the unknown is dissipated   This isn't a fault of Chronicles, just the nature of the beast.  I suspect players will want to try at least two or three play-throughs at least.

Cthulhu Chronicles is without doubt the closest thing to playing Call of Cthulhu you can get without a Keeper, and this is really the most attractive feature of the game.  The writing is atmospheric, and the music provides suitably creepy immersion playing in your earphones.  The real success or failure of the platform will depend on what scenarios are offered in the future (a massive adaptation of Masks of Nyarlathotep, anyone?).  A steady stream of classic spine-tingling tails will certainly keep drawing players back.  And since the price of admission is free, why on Earth haven't you downloaded it yet?

I give this solid adaptation of Cthulhu three-and-a-half Elder Signs out of five.  Recommended heartily for those who need their Cthulhu fix between sessions and for people who are curious what the whole "Call of Cthulhu" thing is about.  Find it right now in the iOS App store.        

Saturday, June 30, 2018

MASKS OF NYARLATHOTEP: THE REVIEW

To a season of political and social upheaval was added a strange and brooding apprehension of hideous physical danger; a danger widespread and all-embracing, such a danger as may be imagined only in the most terrible phantasms of the night...

...(a)nd it was then that Nyarlathotep came out of Egypt.

Lovecraft, "Nyarlathotep"




The Crawling Chaos

IN THE COSMIC IMAGINARIUM of Howard Phillips Lovecraft, the gods have a great deal in common with Ebola. Having the misfortune of coming into contact with any of them will very likely result in your unspeakably messy death, but this isn't because of any conscious malevolence on their part. They bear you no more ill will than you bear the demodex brevis breeding right now in your sebaceous glands. You don't even really exist to them. Your hideous demise is not something they notice or take pleasure in.

Except, of course, for him.

He is not like the rest.  When you look at him, he looks back.  He sees you.  He knows you.  He is the only one of them with anything even approaching a personality.  In fact, he has a thousand personalities, each more psychopathic than the last.  Azathoth and Shub-Niggurath and Yog-Sothoth will crush you in passing, but he will find out where you live, drive your wife to suicide, and make cannibals of your kids...just so he can hear you scream when you come home to find little Andy and Jenny eating the baby under the hanging corpse of your missus.    

He is the Crawling Chaos, the Messenger and Voice of the Outer Gods.  

His name is Nyarlathotep.

Nearly as dark and twisted as the black god himself, Chaosium's Call of Cthulhu campaign, Masks of Nyarlathotep, descended upon the world back in 1984.  It was not the first campaign for this classic RPG--both Shadows of Yog-Sothoth and Fungi from Yuggoth preceded it--but Masks of Nyarlathotep redefined campaign design not just for Cthulhu but gaming in general. Dennis Detwiller (of Delta Green and Godlike fame) calls Masks of Nyarlathotep the "holy grail" of horror.  Ken Hite (Trail of Cthulhu, Night's Black Agents, The Dracula Dossier, GURPS Horror) says it has "to be in anyone's top five" of greatest RPG adventures.  And long-time Dragon magazine game critic Rick Swan, in his classic Complete Guide to Roleplaying Games, cut to the chase and simply named Masks the best RPG supplement ever.  The list of accolades goes on and on.

One of the thrills of the campaign was the Dark God Himself. Because of the mindless (or at least, so utterly alien as to appear mindless) nature of Lovecraft's deities, Call of Cthulhu usually pit Investigators against rabid cultists, alien races, or mad sorcerers. Masks was the opportunity to literally match wits with a god. If we accept the maxim that a story is only as good as its antagonist, Masks of Nyarlathotep was off to a brilliant start. Original authors Larry DiDtillio and the late (great) Lynn Willis delivered brilliantly on this promise, serving up a complex, multi-faceted campaign stretched across five (at that time) corners of the 1920s world. As Investigators peeled back the hideous conspiracy at the heart of it all, the masks of the various cults fell away to reveal a single malevolence plotting the end of the world.

Over the decades subsequent editions of Masks manifested themselves like further avatars of the god.  There were tweaks and changes to each of these, the eventual edition of the "Australia" chapter, and so on.  The tale generally grew in the telling.  Yet, because Call of Cthulhu was itself so resistant to change, none of these new editions of Masks was terribly necessary.  You could have easily pulled out your first edition of the campaign and played it with any of the current iterations of the core rules (and this reviewer did exactly that three times).  The new bits were nice, but not a must-have.  

All this changes, however, with the newest (fifth) edition.  As part of what can only be described as a renaissance over at Chaosium, the release of the new Masks of Nyarlathotep is a vast improvement over previous editions, and something that you are going to want to risk life, sanity, and hard earned cash to possess.  It replaces the original Masks as the definitive edition. 


Who he was, none could tell, but he was of the old native blood and looked like a Pharaoh. The fellahin knelt when they saw him, yet could not say why...

Lovecraft, "Nyarlathotep"




The New Edition 



THREE THINGS DISTINGUISH the new edition of Masks from its predecessors (aside from much higher production values).  For starters, it is fully compatible with the new, seventh edition, of Call of Cthulhu.  Those who have perused this blasphemous tome will know that the seventh edition is the first major rules upgrade the game has seen since Cthulhu first heaved its cyclopean bulk up from the depths of Sandy Petersen's fevered imagination (I reviewed it here). While even the seventh edition, with all its tweaks, has a high degree of backward compatibility, Masks of Nyarlathotep is a massive campaign with a bewildering array of NPCs, and it is nice to have all the conversion done for you.



Second, the new edition of Masks also makes it compatible with Chaosium's 2016 release, Pulp Cthulhu Pulp Cthulhu is a variant play style, more two-fisted action and Indiana Jones intrigue than the purer Lovecraftiana of Call of Cthulhu.  Masks has always had a very pulp element to it, and the new edition contains extensive support to help Keepers increase those elements and run the campaign as cult-busting action.  NPCs and pre-generated characters have both pulp and core stats, and combats have lethality sliders to up the ante for pulp games.  This gives Masks two very different play styles.  You can approach this campaign, via Call of Cthulhu, as the more traditional exercise in Lovecraftian horror, or use Pulp Cthulhu to make it a gangbusting (cultbusting?) crusade against the Dark God.



Third, while the new Masks of Nyarlathotep is bigger than Great Cthulhu and has more moving parts than Yog-Sothoth has congeries of iridescent globes, it manages to be more accessible than any edition before it.  Weighing in at 666 pages (an entirely random number, I feel certain...), the campaign introduces a new location to the Masks mix (Peru, in a prologue set a few years before the rest of the campaign).  Even with this new material swelling its bulk, features like the comprehensive index, detailed appendices of things like Spells, Tomes, and Artifacts all catalogued by location, and innovative "clue diagrams" at the start of each chapter, ensure that Masks has never been easier for a Keeper to navigate.  The clue diagrams function much like old school dungeon maps, carefully and effortlessly detailing which clue leads to which location or NPC.  So don't let the bulk intimidate you, potential Keeper; this Masks handles much more smoothly and should be a joy to drive.



I remember when Nyarlathotep came to my city--the great, the old, the terrible city of unnumbered crimes.  My friend had told me of him, and of the impelling fascination and allurement of his revelations, and I burned with eagerness to explore his uttermost mysteries...

Lovecraft, "Nyarlathotep"



Behind the Mask

I AM REVIEWING Masks in a PDF package form.  It consists of the 669 page complete campaign PDF, 10 separate pre-generated character sheets, a 96 page PDF of hand-outs (!), an 85-page Keeper reference booklet, and 13 pages of superb NPC portraits.  If you own or have seen the seventh edition, the layout and graphic design is up to those standards.  The pages are full color, clean, and easy to read without being sparse.  The art is glorious (you have been losing sanity looking at it at the head of each section).  I can only imagine how sensational it will look on paper.

The best way to regard Masks is as both a campaign and a worldbook.  The campaign tells a story that I will not be spoiling here.  Those returning to Masks will already know the tale, and it would be serious spoilers for those coming to the Court of the Crawling Chaos for the first time. Essentially it involves the Investigators being asked by a mutual friend to look into the disappearance of the (in)famous Carlyle Expedition.  Founded by a millionaire playboy suddenly and inexplicably turned amateur Egyptologist, the entire expedition vanished on the African continent.  This request leads a to globe-trotting tale of horror, cult activity, and conspiracy as the Investigators realize they are racing against time to stop an alien god from damning the entire world.  Masks brings this world to life, as well as each of the seven hotbeds of cult activity the Investigators might be drawn to.  Each area is extensively detailed, and attention is given both to accurately portraying the historical ethos of each locale and to sidestepping the same; Lovecraft's world was one deeply racist and sexist by our standards, and the text draws attention to these things so that a play group can remain faithful to them or gloss over them as they like.  These seven locations are basically mini-campaign regions, not just with adventures that further the Dark God's insidious plot, but also delicious distractions.  Masks was doing "side quests" long before "side quests" were a thing.  

The marvel of the original, and it is a feature accentuated greatly in this edition, is the "sandbox" nature of it all.  The players go where the clues they discover lead them, and can choose what avenues of inquiry to go down and which to walk past.  You could fight your way though all seven locations, or just two or three.  Keepers can add their own devious tales to each region as well.  Masks is not a railroad...it's a landscape for players to explore (and go horribly mad in).

Probably the only "key" region is the first, set in America.  As mentioned, there has been a prologue added to this game, set in Peru four years earlier than all other events.  The purpose of this episode is to introduce the Investigators to the friend who will later call them together again to chase the lost Carlyle expedition...but it is an entirely optional prologue.  It never existed in previous editions and they all worked just fine.  The second region then, America, provides the clues that can point the players to the other five areas.  From there, the direction of the campaign is really up to the Investigators.  The number of adventures, their scope, is up to the Investigators and Keepers.

Think of Masks as a massive, hideous playground you have an all-access pass to.  Go where you wilt, stay as long as you like.  But be warned; the park will eventually close when darkness falls...

...And through this revolting graveyard of the universe the muffled, maddening beating of drums, and thin, monotonous whine of blasphemous flutes from inconceivable, unlighted chambers beyond Time...the gigantic, tenebrous, ultimate gods--the blind, voiceless, mindless gargoyles whose soul is Nyarlathotep.

Lovecraft, "Nyarlathotep"




The End is Here

The fifth edition design team of Mike Mason, Lynne Hardy, Paul Fricker, and Scott Dorward has managed to the unexpected; they have released an edition of Masks of Nyarlathotep that actually improves upon the original. This is the same thrilling--and often terrifying--Masks that you know and love, but in every measurable way it surpasses any iteration before it. It looks better, reads better, and with massive amounts of support for the Keeper, runs better. If you play Call of Cthulhu, you need to own it. If you don't play Call of Cthulhu, now is the time to start. Masks of Nyarlathotep once again sets the standard for what a complex, lengthy RPG campaign should look like, and with products like these Chaosium reminds us exactly why it is as storied an institution as it is. Masks is a classic car rebuilt from the ground up with modern parts and the original's soul.


Masks of Nyarlathotep retails at $59.99 US and is worth every single penny.  Get it at Chaosium.com or at DriveThruRPG.





             

Sunday, October 22, 2017

CALL OF CTHULHU: AWOKEN

Every Halloween, my players and I do a one-shot horror scenario.  This year, we took a break from The Dracula Dossier to revisit an old favorite, Call of Cthulhu.  What follows is "Awoken," the Halloween one-shot.  The Dossier's influence should be obvious, as well as my wink and a nod to Brian Lumley.  


HOOK:  A team of Investigators in the employ of Lawrence “The Uncanny” Underwood—escape artist, stage magician, and outspoken skeptic—is sent to the rural Massachusetts town of Shiloh.  It is 1932, and the countryside is in the grip of the Great Depression.  The team has been working for Underwood for some time; they have investigated (and debunked) dozens of hauntings, seances, mediums, and spiritualists.  This time, they are set to the home of Emily Putnam (36) and her two children, Susan (12) and Tommy (7).  For the last two months, their remote farmhouse has been in the grip of a haunting.  Doors open and close.  Objects move.  At times the water runs red as blood.  There are nocturnal moans, thumpings, rattles.  And in little Tommy’s room, a cold spot has developed.  Emily wants help.  She cannot afford to leave the house in such perilous times.    

LINE:  The secret to this investigation is a little Geology and Library Use.  A few days before the haunting started, Massachusetts was affected by a rare earthquake.  It cracked the bedrock beneath the house and subterranean, iron-rich springs are bubbling up under the house.  The icy water has created the cold spot; the iron in the water makes it red; the trapped gases from the spring cause the moanings, the thumpings, and at times are violent enough to shake the little farmhouse, shutting doors and moving objects.  Case closed.

But while they are investigating…

The local undertaker, Martin Crane, vanishes from his mortuary.  Blood is everywhere, but there is no sign of a body.  The next evening, his daughter, Mary, vanishes from her bedroom.  His assistant, the gravedigger Paul Rudlidge, vanishes from his cottage the same night.  

And all across town, a stillness has fallen.  No birds sing.  No crows caw.  No insects buzz.  The farmers report their animals seem panicked.  At night, dogs incessantly howl.

Constable Parker Goodman, knowing the Investigators solved the Putnam House mystery, turns to them for help.


SINKER:  The same earthquake that that shifted the ground under the Putnam House cracked an ancient slab of shale at the edge of the woods bordering the Shiloh Cemetery.  This slab was covering an old well, long since run dry.  Just days after the well was exposed, Crane started dreaming of it, of something calling to him.  His journal speaks again and again of the Caduceus, of the Bronze Serpent that protected the Israelites.  He scribbles in the margins over and over again “the wyrm, the wyrm.”  During the day, he started walking along the edge of the cemetery searching for the well and the voice.  When he found it, he tied a rope around a nearby tree and went down.

His meticulous journal records nothing beyond this point.  His wife, however, reports him locking himself up in the mortuary for days.  When she peeked in on him, against explicit instructions, she saw him hovering over something she describes as a “leather ball, but a funny sort of thing…it looked more like a ball of string than anything else.”  During this time, his neighbor’s dog, Silas, vanished.  

In that well, Crane found the remains of a vampire…a Wamphyri leech coiled up into a shriveled ball in the rib cage of a male skeleton.  An iron stake had been driven through it.  Crane removed the stake, took the leech back to the mortuary, and fed it the blood of the neighbor’s dog.  The leech awoke, regenerated, and then snared him in its barbed coils before sliding down his throat.  Now it dominates him, slowly transforming him into a full vampire.  He has already turned his daughter and employee into Thralls.  More will die soon.

THE WAMPHYRI (Mythos Vampires): are a race of leech-like aliens born in the fetid swamps of an alien world.  Neither plant nor animal, they are most akin to a sentient fungus.  Their gelatinous, protoplasmic flesh can change shape at will, extending barbed tendrils and feeding suckers, membranous wings, or thinning to squeeze through even the narrowest of fissures.

On Earth, they are rarely encountered in their natural forms.  Brought to this world millennia ago, they survive in our atmosphere by forming a parasitic relationship with a human or animal host.  The leech coils around the heart, sending a fine network of feeding tubes throughout the cardiovascular system, and sending forth feelers into the nervous system and brain. Seizing control of autonomic and motor functions, as well as accessing memories and experiences, the leech comes to completely dominate the host, which is eventually driven mad.  This hybrid creature is known as a vampire.

Vampire Powers and Weaknesses 
The vampire lives on blood, and reshapes the host’s body into a perfect predator for the purpose of obtaining it.  The leech’s metamorphic properties are partially transferred to the host, allowing it to extend its teeth into ripping fangs, its fingers into grasping claws, and even to sprout wings for flight.  The skeleton and muscles are reshaped and reinforced, increases the monster’s strength and stamina.  A human host no longer ages, is immune to sickness and disease, and regenerates damage at frightening speed (each combat round the vampire heals 1d4 hit points).

In addition to these formidable physical powers, the vampire possesses potent psychic ones.  It can communicate telepathically and read minds; if the target is awake and alert, the vampire must overcome the target in a contest of POW vs POW.  If the target is asleep, the vampire can slide quietly into its dreams.  By making eye contact with a target, the vampire can attempt to mesmerize him or her (again with a contest of POW).  Success means the vampire can paralyze the target for feeding purposes, issue simple, one  or two word commands, or even cloud the victim’s memories.  

Vampires are not indestructible, however.  The parasitic infection transfers many of the leech’s alien weaknesses to the host.  Silver burns and scars the vampire, doing 1d3 points of damage per round of contact which cannot be regenerated.  Damage from fire is suffered normally and cannot be regenerated either.  Exposure to sunlight is the most lethal of all, however, doing 1d6 per round of direct exposure.  Again, this cannot be regenerated.  The only way for the vampire to heal any of this damage is to enter a deep, coma-like sleep.  In this state it recovers 1d4 HP per day. 

Additionally, garlic causes weakness and nausea to the vampire, causing it to flee.

Piercing the main body mass of the leech (the coils around the heart) paralyzes the creature.  It will be held in place until the stake is removed.

The best way to destroy a vampire is to catch it while slumbering.  Vampires do this during the daylight hours, particularly between 9 AM and 3 PM.  Or, the creature can be caught while in a longer, regenerative slumber.  Either way, driving a stake through the heart “pins” the leech.  This is traditionally followed by a beheading, and the entire remains are burned.  Any of these alone may not guarantee the destruction of the beast.  A stake will only paralyze it; and beheading a vampire will cause the leech to rip free from the host, slithering away to seek a new one.  Fire can reduce the human host to ash, but the leech will coil into a hard, leathery ball the size of a fist.  This is immune to further further damage, save from sunlight or silver.  Dormant, it still possesses the power to slide into the dreams of those nearby, especially the weaker willed.

Vampires can be identified by their failure to cast reflections or shadows…a byproduct of their alien, protoplasmic flesh.  They are usually pale, and their eyes have a reddish caste that glows in darkness.  

Vampire Reproduction
Vampires reproduce by means of an egg.  It takes decades—even hundreds of years—for a leech to generate one.  Once an egg is formed the leech will keep it indefinitely, until a subtable host is selected.  The leech will then inject the egg into the target, where it nestles against the heart and starts to grow.  The transformation can take weeks or months.  As the infection spreads through the victim’s system, it feeds first on his or her flesh and blood.  The victim grows thin, pale, and weak, developing a hunger for raw meat and blood.  Sunlight causes extreme pain and red welts like hives.  Garlic becomes revolting.  As the leech takes over, the victim loses time, sleepwalking under the control of the leech.  Eventually, he or she “dies,” and over a three day period transforms into a full vampire.  The host’s consciousness remains trapped in this body for years, unable to resist the domination of the leech.

Finally, vampires are able to create Thralls.  A Thrall is a reanimated human or animal victim that the leech infected with spores while feeding on it.  A Thrall is a lesser vampire, an infected victim without a leech under the psychic domination of the vampire that created it.  It has no will of its own, and can act as the eyes and ears of the leech that dominates it.  A Thrall possesses all the powers and weaknesses described above, but is not as physically powerful as a true vampire and can be killed by simple decapitation or burning.  In addition, reducing a Thrall to 0 Hit Points destroys it.  Thralls are immobile during daylight hours, lying in a trance-like sleep.  They are not always human; a vampire can create them from bats, canines, or birds as well. 

Vampires Thralls (Human)
STR  3d6 x 2 (20-22)  3d6 + 2 (12-13)
CON 2d6 + 6 (13)        2d6 + 6 (13)
SIZ      3d6 (10-11) 3d6 (10-11)
POW 2d6+6 (13)         2d6+3 (10)
DEX 3d6 (10-11) 3d6 (10-11)
Move 12                    10
DB        +1d6         +0
Armor 2 pts none
Weapons
Bite 50% 1d4 + 1d2 blood drain each round after; Claw 50% 1d4 + db
Skills
Human Psychology 60%, Scent Blood 75%
Habitat
Tombs, ruined manors
Sanity Loss:  0/1d4 to be attacked, 1/1d6 to fully comprehend what the vampire is, 1/1d8 to see the leech pull free of a host.

THE VAMPIRE IN QUESTION:  Samuel Cartwright was a Puritan minister in London.  Born 1598 to a prominent barrister, he later attended the heavily Puritan Emmanuel College in 1613 where he became a minister.  Austere and fervent in his beliefs, he nevertheless harbored a dark secret.  Rumors surrounded him of assignations with young men and boys.  As time wore on, the whispers became more sinister, linking him to the disappearances of children.   

In reality, while at Emmanuel the young Cartwright drew the attention of Adorján Ferenzcy, a centuries old vampire.  The creature was amused by the young man’s torment. As a homosexual living in an age and culture when such a thing was abomination, the struggle between his faith and his flesh proved irresistible to the vampire. It saw in him dark potential, and decided to infect Samuel with its egg.  As the leech inside grew, Cartwright’s hungers grew dark and more intense.  Homosexual impulses became pedophiliac, and these turned sadistic and murderous.  Terrified by what was happening to him, he fled to the New World.  There, the leech consumed him.

The monster Samuel Cartwright had become prowled the Massachusetts Colony feeding its obscene hungers for blood and flesh.  In 1683, it came to Shiloh.  Mutilated livestock and vanishing children convinced the local minister, Andrew Morton, that he was struggling against the Devil.  Morton travelled to Boston seeking help.  There, he enlisted the aid of scholars Edward Garrison and John Lich, who along with a 22 year old Cotton Mather, returned with him to exorcise Shiloh of its demon.

The details of their hunt are vague—supposedly Mather wrote of it in his lost work, A History of the Devil in the Massachusetts Bay Colony—but it ended with the quartet tracking the young and inexperienced vampire to its lair, where they drove a stake through it.  Instead of burying it in holy ground, they dumped the remains in a dried up well on the edge of the vampire’s property and covered the makeshift tomb with a slab.  The rest of their lives they apparently believed they had destroyed the vampire.  Garrison and Lich went on to found Arkham College in 1690, which eventually became Miskatonic.  Cotton Mather, of course, went on to play a pivotal role in the Salem Witch Trials.

And Cartwright…slept.     


The Spine of the Investigation

  • Arriving at the Putnam House, they meet the family and begin to experience the “hauntings.”  Geology, or Idea Rolls in a pinch, reveal the haunting symptoms could all have underlying geological causes. There was an earthquake in this part of the country just three weeks ago, before the haunting started.  Of course Geology is necessary to confirm this theory, and if no one has it, an NPC geologist will need to be brought it.
  • At some point before they conclude at the Putnam House, stage an atmospheric scene at night where suddenly all the crickets, the peeping frogs in the marsh, and the birds just suddenly fall silent.
  • After they have confirmed the geological source of the haunting, have them stop for fuel on the way out of town.  Here Constable Goodman stops them and asks for help.  The timing of this is the day after Mary Crane and Paul Rudlidge go missing.  To sell it, have him tell the players he has the coroner’s journal, which is full of “weird, spooky nonsense.”
  • Reading the journal reveals Crane’s dreams of the well, the voice in his head, and the sudden obsession with divine snakes.
  • Speaking with his distraught wife (Persuade, Psychology) reveals Crane’s odd behavior and the existence of the leather ball.
  • Following the hints in the journal and exploring the property will lead to the well.  To discover more, someone will need to descend into it.  The darkness, cold, and stench grow greater the further the Investigator descends.  At the bottom of the well the earthen floor is covered in a weird, sickly white mold that looks suspiciously like veins and capillaries.  Half concealed in this filth is a skeleton.  Medicine or Biology identifies it as male and at least 200 years old.  It has recently been disturbed.  A wrought iron stake lies beside it (SAN roll 0/1d3).  There is evidence this was in the skeleton’s chest.  Examining the weird mold more closely requires Spot Hidden and triggers a second SAN roll (1/1d4).  The mold covers a vast carpet of bones and insect carapaces…rats, birds, snakes, desiccated beetles.  It is almost as if the mold was feeding on all this.
  • Shiloh has nothing resembling a library.  The nearest one is twenty miles away in the county seat of Arkham.  Using the Library there turns up the volume Towns and Tales of the Miskatonic River Valley.  Shiloh is mentioned in this book, as is the “witch scare” of 1683.  It includes rumors that the town minister, Andrew Morton, enlisted the aid of Cotton Mather, Edward Garrison, and John Lich to investigate rumors of witchcraft behind the mutilation of livestock and the disappearance of young boys.  
  • The first night after they interviewed her, Mary Crane will come to her mother and vampirize her.  She will vanish like the others.  If the Investigators are with her that night, they will encounter their first vampire.
  • The next day, two local boys—Jack Draper and Rummy Boyle—will also be discovered missing.
  • Towards the end of his life, Andrew Morton (d. 1716) built a home in central Shiloh that still stands.  It is now owned my the town doctor, Stewart Hughes.  There are papers in the attic dating back to Morton’s lifetime, and these can be found with Library Use or Spot Hidden.  In very poor condition, badly faded and with many missing pages, they tell the same story as Towns and Tales above but from Morton’s point of view.  He mentions Samuel Cartwright by name, and mentions he hails from London.  He also mentions Garrison and Lich discovering the “nature of this fiend” in “the book of one Ludvig Prinn.”  There is a strange passage about the “wyrms of the Earth having their origins in the Stars.”
  • Miskatonic has a copy of Prinn’s De Vermis Mysteriis of course, but this will require Credit Rating, Persuade, Fast Talk, or something similar to be allowed to see.  It cannot be removed from the library.  It would take weeks of study to read and comprehend.  However, Library Use and a period of 2d4 hours will track down Prinn’s references to “the blood drinkers” and “the leeches from the Void.”  It describes these as “demon wyrms coiled round the heart of corpses giving them horrible life and hunger for blood.”  SAN loss 1/1d4, Cthulhu Mythos +03%.  Apparently the “traditional remedies” have basis in truth, but Prinn warns not to “put your faith into the devices of the Church.”  He advocates staking, decapitation, and burning, lest “the wyrm survive the corruption of the flesh, coiled into a ball in slumber.”
  • Library Use, either at the town library in Arkham, the Miskatonic University library, or the Miskatonic Valley Historical Society (also in Arkham) can track down the location of Samuel Cartwright’s old farm.  It once stood adjacent to Martin Crane’s funeral home.  The farmhouse is long gone—it is all woods now—but conducting a search of the forest beyond the well (which once stood on the edge of the property) will reveal (with Spot Hidden) a set of stone steps that descend into a hole in the ground.  This is partially covered in brush, and the steps themselves are carpeted in leaves.  Descending reveals a root cellar hewn into the rock with a dirt floor.  This was the cellar of the Cartwright house.  It is here that the vampire lairs, surrounded by his Thralls.  Between the hours of 9 AM and 3 PM, all will be completely immobile.  Beyond those hours, the vampire will appear to sleep but can awake and attack instantly.          

THE QUICK: I like to use a fairly simple rubric for NPCs in Call of Cthulhu.  Unless the NPC is a main antagonist or critical ally, I simply assign it a single “stat,” usually between 1 and 20.  This serves as an average characteristic, like INT, STR, or DEX, and also represents hot many hit points and magic points the character has.  Doubling it gives you a damage bonus.  “Core skills” for the character are assumed to be stat x 5%; “secondary skills” are stat x 3%.  For example, a (12) night watchman might have Blackjack and Handgun at 60% and Dodge, Listen, and Spot Hidden at 36% each.  If I need the character to have higher skills, I just assign them.

Emily Putnam, Concerned Mother, (10).  Emily’s husband, Ernest, died young, having been wounded back in the Great War and never fully recovered.  She is a simple, plain-spoken woman with little or no book learning but a lot of common sense.  She doesn’t understand what is happening to her family, and though religious has never believed in ghosts.  She just wants the disturbances to stop, unable to afford relocating her family.

Constable Parker Goodman, (13).  Another veteran, Parker is a husky bear of a man…but like so many with his inherent size and brawn is really a bit of a teddy bear.  He is a good cop for so small a town; drunk and disorderly he can handle with his big brother charm, but multiple murders and disappearances is way out of his wheelhouse.  He doesn’t know what to make of what is happening in town and is more than happy to ask for help.

Doctor Stewart Hughes (9, First Aid 80%, Medicine 65%).  With Crane missing, it is very likely the players will reach out to the town doctor if any medical mysteries or exsanguinated bodies turn up.  Hughes is semiretired; he’s 68, though still sharp-minded and vigorous.  Trained in Boston, he is a highly educated man (EDU 20), literate in both Latin and Greek.  he is not a believer in the supernatural, but presented with evidence of things beyond is ken is open-minded and inquisitive enough to accept them.  Note that he currently owns Andrew Morton’s house.           

AND THE DEAD: The only full vampire is the leech formerly inhabiting Samuel Cartwright, now nestled in the body of Martin Crane.  The most important thing to remember here is that this leech grew from an egg in the body of Cartwright, so it identifies completely with the Puritan minister.  Despite now being hosted in Crane, it speaks antiquated colonial era English, and finds the brave new world of the 20th century terra incognita. In addition, the Keeper shoulder bear in mind that Cartwright is a very young and inexperienced vampire; he was active only a few decades before Morton, Garrison, and Lich condemned him to the bottom of the well.  Older and experienced vampires have far greater powers, such as access to Mythos magic and spells.  Cartwright has only his strength, enhanced senses, and telepathic abilities.

Mary Crane, Paul Rudlidge, Jack Draper, and Rummy Boyle are all undead Thralls.  Ravenous, the leech inhabiting Martin Crane drained all of them, infecting them with wamphyri spores to reanimate them.  He did so primarily out of fear; he is alone in a strange new world, not fully adapted or come into his powers, and needed servitors to protect him.  Mary Crane and Rudlidge were easy targets…the two boys fell prey to the vampire because he still carries the perverse appetites of his previous host.  

The Thralls are essentially mindless revenants.  They can speak, and possess a low cunning, but they are no longer remotely human and the only thing they are after is blood.  Cartwright dominates them utterly, and if he wills it can speak through them and see what they see and hear what they hear.  As of now, they nest with him, sleeping on the dirt floor of his cellar (see above) around him.  It is up to the Keeper whether or not he creates more Thralls—he wants and needs their assistance and protection, but creating too many draws attention to himself and is more competition for the food supply.  

Perhaps the best way to use the Thralls is to have the players encounter one or more of them first.  Because these seem like more or less standard vampires—reanimated, blood-drinking corpses—it will make Crane/Cartwright and his leech all the more shocking.

Saturday, August 26, 2017

THINGS NOT MEANT TO KNOW: HP LOVECRAFT IN THE CYPHER SYSTEM

For decades, the definitive representation of Lovecraft at the gaming table has been Chaosium's classic Call of Cthulhu. While other Mythos-releated game systems have appeared sporadically in its wake, most of them (Trail of Cthulhu, Realms of Cthulhu, d20 Call of Cthulhu, GURPS Cthulhupunk) have looked to Call of Cthulhu for guidance on recreating the genre. Because it is so radically different--in both mechanics and tone--from the Chaosium game, Monte Cook's Cypher System might appear a poor choice for authentic Lovecraftian play. Cypher System characters can take a lot more punishment, have a wider range of abilities, and follow a much more traditional progression in power and options than classic Cthulhu Investigators. But Cypher is a surprisingly flexible tool, and can easily be dialed up to handle four color superheroes or dialed down to portray normal men and women pitted against the titanic, unknowable powers of the Mythos. In this article, we hope to show you how.


GETTING THE GENRE RIGHT

The Cypher System system rulebook includes five chapters on adapting the game to portray different genres; Fantasy, Science Fiction, Modern, Horror, and Superheroes. Expanded Worlds builds on these by introducing seven "Fantastical" and "Gritty" sub-genres. None of these, however, is actually right. 

First published in 1981, Call of Cthulhu billed itself as "Fantasy Role-Playing in the Worlds of H.P. Lovecraft." Later editions would change that to "Horror Roleplaying." Given that Lovecraft's work frequently dealt with alien races or scientific experiments gone wrong, a case might even be made for "Science Fiction Roleplaying." So which exactly is it? If we look to Lovecraft himself, he would have defined his fiction as Weird.

To get a handle on what Weird fiction is, let's look at a few different voices in the genre. First, James Raggi, the author of Weird Fantasy Roleplaying, distinguishes between the Horror and Weird genres in this way;

The main thing that separates a Weird Tale from a conventional horror story is the forces completely out of the control of those who encounter them. A thing that cannot be explained, cannot be defeated, cannot be solved...

Jeff Vandermeer, author of (among many other things) the superb Wonderbook, wrote for The Atlantic;

...the weird tale, or literature of the strange...fascinates by presenting a dark mystery beyond our ken and engaging the subconscious. Just as in real life, things don’t always quite add up, the narrative isn’t quite what we expected...

Both of these place emphasis on inexplicable rather than horrific, If the intent of the Horror story is to scare, the intent of the Weird tale is to instill a sense of having confronted something incomprehensible. Fear is often a byproduct of this, but so is wonder or awe. Lovecraft himself describes this by emphasizing a sense of having left reality behind;

...I believe that weird writing...should be realistic and atmospheric--confining its departure from Nature to the one supernatural channel chosen, and remembering that scene, and phenomena are more important...than are characters or plot. The "punch" of a truly weird tale is simply some violation or transcending of fixed cosmic law--an imaginative escape from palling reality...

So what exactly does this mean for your gaming table? 

First, it suggests that the GM should create a world as realistic and mundane as possible. If everything is Weird, then nothing is. Instead, you want to create a sane and ordered world into which the Weird intrudes from outside, violating sanity and reality when it does. Use the "Modern" setting as your starting point, or better still, the "Historical" setting in Expanded Worlds (most Lovecraftian games are set in the 20s and 30s, though the Victorian Era is another popular choice). 

Second, make sure that all "supernatural" or "paranormal" elements in the setting are in the GM's hands, not the players'. Character Types should all be based on Warriors, Explorers, and Speakers, with no Adepts and no Magic flavor available. It is important for all paranormal elements to be inexplicable, incomprehensible, and beyond mortal control. If player really wants to create a psychic or medium character, have them create a Scholar or Dilettante or Professional instead...but then handle their "paranormal" abilities as GM intrusions rather than powers. The characters are not in control of these extraordinary talents, and cannot reliably call upon them. They never know when a sudden vision or cryptic communication will occur...and when these do, they are probably damaging to the character's psyche (see Mere Mortals below).

Finally, don't feel pressured to define the Weird elements as either "magic" or "science." Don't define it at all! Blur the lines. Clarke's Third Law applies here anyway; any sufficiently advanced technology is indistinguishable from magic. Are the spells in the dread Necronomicon sorcery, or some advanced mathematical formulas that bend the fabric of time and space? There is no answer to that question--it is beyond mortal ken. 

MERE MORTALS

Call of Cthulhu differs in feel and motivation from other roleplaying games. in many such games, player characters can directly confront and attempt to destroy obstacles and opponents. This strategy typically leads to disaster in Cthulhu scenarios. The majority of the other-world monstrosities are so terrible and often so invulnerable that chasing open combat almost guarantees a gruesome end for an investigator. Even the merest glimpse of some of the more macabre horrors can send one screaming into insanity...

Call of Cthulhu, 6th Edition


While they are capable of great heroism, and even on occasion do manage to drive the horrors of the Mythos back (see The Dunwich Horror), Lovecraft's protagonists are all mere mortals. These are not action heroes or supermen. To get the genre right, and to raise the stakes, the player characters need to be considerable more vulnerable than the average Cypher System character. Physical combat must be deadly, and encountering the alien, incomprehensible forces of the Mythos must be damaging to the psyche.

To simulate this, the optional "Shock" and "Madness" rules in the Horror setting chapter are a good start, and every Lovecraftian game should include them. When a character encounters something Weird or horrific, he or she needs to make an Intellect defense roll, the level of which provides both the Difficulty AND the Intellect damage suffered if the roll is failed. For example, when the intrepid cub Reporter sees a chair move across the floor of a haunted house, he makes a Difficult 4 (12 or better) roll, and if he fails, he loses 4 INT points from his pool. Failure also results in shock; for one round the character panics, freezes, or flees.

Encountering Weird entities--alien races and horrors--triggers the same response. Seeing a Deep One (a level 4 creature) requires a level 4 (12 or better) roll and inflicts 4 INT points of damage. However the gods and Great Old Ones of the Mythos are infinitely worse. Beholding Yog Sothoth or Great Cthulhu is a mind-shattering event. These beings inflict at least three times their level in INT damage. Watching Shub Niggurath manifest in this dimension, might require a Difficult 9 (27) Intellect defense roll, with failure causing the lost of 27 points from the INT pool!

While the optional "Madness" rules model the slow and steady slide into insanity common in long term Mythos games, true Lovecraftian gaming needs even more "punch" in the sanity department. In Lovcraftian games, if any character suffers an INT loss larger than their maximum value, he or she must make a second Intellect defense roll (against the last Difficulty) or go permanently insane on the spot.  For example, our cub Reporter has an Intellect of 16. Seeing Shub Niggurath manifest, he fails his Level 9 (27) defense roll and loses 27 Intellect points...far more than his maximum number (16). He now must immediately make a second Level 9 roll or go permanently insane. 

Another option you may want to consider is to take away the damage track.

If a character's Speed pool is depleted, he or she is paralyzed. If his or her Intellect pool reaches zero, he or she is stunned and helpless. And if the Might pool is emptied, the character is unconscious and at the mercy of the opposition. This will definitely make players think twice about entering combat, and much better reflects the grittiness of the genre. GMs should seriously consider using the "Lasting" and "Permanent" damage rules as well.

CYPHERS

It wouldn't be the Cypher System without cyphers, but how do these fit into a Weird game?

To start with, make "Subtle Cyphers" the primary ones in the game. These are the lucky breaks, flashes of inspiration, or extremes of effort characters call upon in their struggles against the Weird and horrific forces of the Mythos. 

Manifest cyphers can be fun as well, but these must take the form of Weird spells, chemicals, or devices and as such should be used VERY sparingly. Further, using a manifest cypher is by definition an encounter with the Weird and thus triggers a Shock test (Difficulty 3 or 4 most commonly).


WAIT...HORROR MODE?

"Horror Mode" (also discussed in the Horror setting chapter) is a good mechanic, but I think the methods discussed above are sufficient for creating the right sense of trepidation and dread. While Horror Mode does ramp up the tension, it also telegraphs ahead that something Weird is coming. Opting not to use it, and emphasizing that the Weird can intrude any time any place without warning, better suits the genre.