"Suomi Neito" the Maiden of Finland.
She is in the shape of Finland.

Seems like a good day to talk about fallen gods and demons.  We are also getting into mythos I know less and less about. So let's begin our tour in a country I have always liked, Finnland.
I don't think it is too much to say that the myths and characters presented in the Deities & Demigods for Finnland are largely, if not exclusively taken from the Finnish national epic, The Kalevala.  I have a copy of the audio-book I had been meaning to listen to before this, but since I no longer drive to work it has been taking a bit longer to get through my backlist.   I have had some exposure to the myths in comparative mythology books and of course, every D&D gamers knows that Gary Gygax was also a big fan of these stories.
The Mythos of the Finnish people are maybe some of the most relatable to long time D&D players since so much of them have been adopted into D&D proper.  Goddess Loviatar and Mielikki have been adopted wholesale into the Forgotten Realms campaign and remained unchanged from the D&DG counterparts. Mordenkainen sounds like he could have been a traveling companion to Vainamoinen and Lemminkainen.  Let's also not forget the Louhi, the Witch Queen of Pohjola is also an alternate name/guise for Tasha/Iggwilv.  
It is hard to say if the Finnish Mythos have a more D&D feel to them because of how they are presented in the D&DG OR is because so much of D&D has strands of Finnish/Kalevala DNA in it.  Those ties only got deeper as the development of D&D from the early 70s to the 80s went on.  So it would then reason that any Finnish "demons" would convert over to AD&D demons fairly well.  
Except there is one little problem.
There are no monsters listed in the D&DG Finnish mythos that could even be considered demonic, with maybe one exception.  The mythos are filled with Gods, but they are more background to the stories of the heroes.  The Kalevala is a Heroic epic.  So it has more akin with the stories of Gilgamesh and Heracles than it does with say the neighboring Norse myths which tend to be more about the exploits of the Gods.
So let's look at what we have and expand it out.
Louhi, Loviatar and MielikkiLoviatar/LouhiThere is not a single male D&D player aged 40 and up that doesn't know Loviatar from the D&DG. Expand that outward and there isn't a single Forgotten Realms player of any age that doesn't know Loviatar.  She is the beautiful, cold, and strikingly topless, Goddess of Pain.  She is the intersection of D&D Dungeon Masters and S&M Dungeon Masters. she has been sexed up and everyone knows her.
Or do they?
In the Kalevala Loviatar is the blind daughter of Tuoni/Tuonetar.  The part about the cold wind blowing is spot on, but she is also the mother of the Nine Diseases.  Back in my AD&D witch playtests (late 80s) I had a witch of Loviatar who specialized in disease spells. So I do recall reading that much then in this comparative mythology book. 
There is also some conjecture that in the earliest tales Loviatar and Louhi were the same characters. Called Louhi in some areas and Loviatar in others. Though I think you would have trouble telling a Forgotten Realms fan that their Maiden of Pain is an ancient wrinkled crone. 
At one point I wanted to stat out the nine sons (or in my mind, eight sons and one daughter) of Loviatar as demon-like monsters.  But I never got it to come together in a way I liked.  I may try again after reading the Kalevala. 
If Loviatar went in one direction, Louhi went in the opposite.   Loviatar might be more popular with the D&D crowd, but it is Louhi who is more well known.  A lot can be said about Louhi and maybe one day I'll devote some more time to her. We do know that she was the model/alternate name for Tasha/Iggwilv. Which brings up an interesting idea. We know she has a son and she is the main antagonist of the Kalevala, though she also sometimes helps the heroes.  
Side note: I am sorry, the whole time writing this I keep hearing "Bring me the Sampo!" from the 1959 movie "The Sampo" or better known here in the US and to MST3k fans as "The Day the Earth Froze."  It has been my tradition to watch an MST3k movie while decorating for Christmas ever since I first saw this one. 
I do find one thing about the whole Louhi/Iggwilv connection interesting.  You have a Finnish girl (Louhi) essentially kidnapped and raised by a Russian witch, Baba Yaga.  Allegorical of the Russian occupation of Finnland from 1809 to 1917? Maybe.  OH! here is an idea.  The PCs need something from Iggwilv's past BUT her past is in Russia and Finnland during the Victorian era.  Would give me a chance to play some Ghosts of Albion.  It would work well since the "Suomi Neito" or the Maiden of Finland is a concept similar to "Britannia" or "Éire / Ériu" and what the Protectors are. 
In the D&DG Louhi has 45 total levels of spell casting, she is certainly a very powerful character. She stole the sun and the moon for example. 
Edvard Isto "The Attack" 
The eagle of Russia attacks the Maiden of Finland.
Again her shape is the shape of the country.
Hiisi and LempoThe closest thing we have to a demon is Hiisi the God of Evil.  I say closest, but the entry in the D&DG does not lend itself to being a demon.  Sure he is Chaotic Evil, but he seems to be more human or at least a giant. 
When doing my research I found that much like "The Devil" and "devils" Hiisi is both the name of a god of evil, evil beings in general and the place name where these beings are found.
We know from the D&DG that no evil creature can cause Hiisi damage.  Could it be that these evil creatures are his?   The plural of hiisi is hiidet. It usually translates to "malicious creature " or even demon.
HiidetFREQUENCY:  Very RareNO.  APPEARING:  1 (1-3)ARMOR CLASS: 5MOVE:  12"/24"HIT DICE:  10+30 (60 hp)%  IN  LAIR:  95%TREASURE  TYPE:  Nil, SpecialNO.  OF  ATTACKS:  2 fists or 1 weaponDAMAGE/ATTACK:  2d6 x2 or 2d8SPECIAL  ATTACKS:  NoneSPECIAL  DEFENSES:  +1 or better weapon to hit, hide 90%, Immune to cold and fireMAGIC  RESISTANCE:  10%INTELLIGENCE:  Animal (savage)ALIGNMENT:  Chaotic  EvilSIZE:  L  (12' to 18' tall)PSIONIC ABILITY:  Nil
Hiidet are often confused with hill giants, ogres, and trolls.  Each one is unique in that it takes on the coloration and form best suited to its chosen lair.  A Hiidet of the stoney mountains will appear to made of stone with moss-like hair.  One living in the forests will have brownish or greenish skin and leaf-like hair.  This camouflage is part of their demonic heritage and is set once they find a lair to settle in.  It does not change though as they move around.  It does confer a 90% chance that they will remain unseen in their lairs. 
Hiidet attack with their fists or a weapon. They are immune to the environmental effects of cold and are immune to both fire and cold effects including magic and dragon breath.
Hiidet are something of a cross-species between elementals, giants, and demons.  They are quick to anger and will lash out at anyone invading their lands, but they are also cowards who will avoid attacking large parties.  Their lairs are natural areas such as caves, or holes in the ground that would fit them.  They keep nothing of value, preferring to eat their victim whole.  Every so often though a rare magical item will be found in their lairs (10%). 
Lempo is a similar case.  There was a god (sometimes goddess), Lempo, of love, but of the irrationality of love that causes people to make bad decisions.  Lempo seems similar to the god Pan in many respects including his "demonization" by Christians.  Another character, Paha, is also mentioned. 
LempoFREQUENCY:  Very RareNO.  APPEARING:  1ARMOR CLASS: -1 or 9MOVE:  24"/48"HIT DICE:  6+6 (42 hp)%  IN  LAIR:  0%TREASURE  TYPE:  NilNO.  OF  ATTACKS:  NADAMAGE/ATTACK:  NASPECIAL  ATTACKS:  Cause chaosSPECIAL  DEFENSES:  +1 or better weapon to hit, invisibleMAGIC  RESISTANCE:  25%INTELLIGENCE:  AverageALIGNMENT:  Chaotic  Evil (Chaotic Neutral)SIZE:  L  (12' to 18' tall)PSIONIC ABILITY:  Nil
Lempo are nature and fertility spirits that have been corrupted by evil.  Their former function was to ensure fertility and crop growth, they became corrupted and now sow lasciviousness and chaotic behavior.  They cause faithful couples to stray and young people to behave in an erratic manner.
As spirits, they have no physical presence in the world. Though any weapon that can target ethereal creatures can strike them (AC -1).  Likewise they have no physical attacks save their corrupting influence.  The tactic of a lempo is to rest on the roof of a home to cause all inside to come under it's influence. Characters and creatures under 4 HD have no save and act in a chaotic manner.  Creatures 4hd and above are allowed a save vs. spells.
A priest of 4th level and higher can see the lempo, it appears as a humanoid shape (male or female) with a crow's head, feet, and wings.  The priest can "turn" this creature as if it were a wriath.  A result of T means the lempo has fled but is not destroyed.  A result of "D" means the lempo has been forced out of the spirit realm into the physical.  Here it may be attacked with magic weapons (AC 9), but it has no attacks to counter. 
If the lempo has fled or has caused enough damage in one village it will move on to the next one.
Lempo–Hiisi is also a trans-Neptunian trinary object along with Paha. Like many of these planetoids, they are named for creatures and characters from the underground, afterlife, and chthonic gods/creatures. 
Depending on your read, Hiisi, Lempo, and Paha could be three unique characters or one with two lesser cohorts, or the name of all such creatures.  
Finnish MaidenI have mentioned her a few times above, but the personification of Finland is the Finish Maiden.  I am not sure if there is any relation between them and Ukko's Air Maidens from the D&DG, but it does seem like there could be a thread connecting them.
Finland and her maiden
She joins the others from nearby lands, Lady of the Mountains (Iceland). Ola Nordmann (Norway), Holger the Dane (Denmark), and Mother Svea (Sweden).
My feeling is there is a lot more to these myths and stories and like always the D&DG is just scratching the surface.  Again, this is not a bad thing.  The D&DG is not a textbook on mythology. 
ETA: I am also submitting this as part of November's RPG Blog Carnival.

A few months back I was digging through a bunch of old notes.  We were cleaning up my game room and as typical of me, I took the opportunity to reorganize my accumulated notes. 

One of the things I found was some hand-written notes on various personages from my games.  A couple that had a very strange genesis and how I worked around to get them to where I have them now.  Vague? Yeah. But let me start at the beginning and work my way back up.

Let's go back to Christmas 1982.  I was full-on in my Star Wars fandom.  I had seen Star Wars and Empire Strikes Back a couple of times. I had read everything I could my hands on about Star Wars and I was hungry for more.  Also at this time, I was really getting into D&D. My introduction three years prior and my gift of the Basic and Expert Sets had kept me going for a long, long time.  Anyway Christmas. We would always go to my mom's sister's house for Christmas eve or close to that. Here we would get small gifts.  Nothing huge, my mom had a big family, and getting something for everyone was expensive.

This year (and I don't remember many other gifts we got to be honest) I got something that was very strange to me.  I got a deck of Slap Jack cards.  I thought it was an odd gift really, I was 13 and this was a game for little kids. But this set was different.  At least my Aunt or whoever bought it knew of my love of Star Wars and this was a "Space Age Slap Jack."

While I might have played it as RAW once or twice that Christmas, that is not why I grew to enjoy this set. It was the art and the overall concept.

Jack, The Lord of Aggression was an obvious Dollar Store Darth Vader.  He may have been the "star" but he was also the least interesting.  There were cards named "Interstellar Demon" and "Guardian of the Oathbreakers" and "Orbital Guardians."  The art is not fantastic, but it is very compelling.

But it was the Queen of Goodness that captured my attention.

She was a Queen. She had a glowing sword. Not a "lightsaber" a glowing sword. And she looked profoundly sad to me. I wanted to know more about this deck, the story it was trying to tell me. But what was it? It was 1982, there was no Internet, BitNet was still new and no one had access to it. So I did what I always do.  I made a story up.

In a way, these cards became an ersatz tarot deck.  I would deal out the cards and whatever came up I created a narrative in my mind.   Jack was what I'd call today a Warlock. He was the great traitor of the Galactic Peace. The Queen was the young ruler of the Galaxy, now in charge after the untimely death of her father the old King.  She ruled, but Jack strove to take it away from her.  In this tale, my Galaxy had both high tech and old magic. If this sounds familiar, then yes I have adopted some of these broad strokes for my BlackStar game.

I don't think I ever wrote any of this down. The material I found was recycling some years later. 

Fast-forward a couple of years. Now I am in my hardcore AD&D phase.  While I had been listening to music my whole life I was actually "listening" to the music instead of just "hearing" it as my late brother Mike would tell me.  One of the albums (tapes really) that also captured my imagination was Led Zeppelin's Four, or IV.   The song "Battle of Evermore" on side A, right before "Stairway to Heaven" grabbed a hold of my imagination with its epic Tolkienesqe imagery. But what really grabbed me more than anything were the haunting vocals of Sandy Denny.  I found the voice of my Queen.

But by this time I had moved my sci-fi fandom and my fantasy fandom further apart. Another little tidbit. While listening to the Battle of Evermore for the first time I misheard the lyrics (as we often did in the 80s).  The lyrics go:

Queen of Light took her bow
And then she turned to go,
The Prince of Peace embraced the gloom
And walked the night alone.

But I heard: Queen of Lies and Prince of Beasts.  These names took over the meta-story of the Queen of Goodness and the Lord of Aggression, but of course, they had changed a little.  The Queen of Lies was the Queen not because of lying, but because of the only lie she ever told, a lie that caused the death of her father (remember she was sad).  The Prince of Beasts, the former Lord of Aggression was also changed into a character that was aggressive, but not due to evil, but because he was protecting the wild spaces he lived. He became more of a Beorn-like character. Their stories are linked. And don't get me started on the Angels of Avalon or the Dragon of Darkness. Though my Orange Dragon from the Pumpkin Spice Witch certainly fits that.

The Queen of Lies and the Pince of Beasts eventually became something akin to faerie lords in my games. Both are sad figures and represent the melancholia of certain heroes in various tales.

The Tale of the Queen of Lies and Prince of Beasts

A long time ago a Faerie King had a beautiful daughter. Her mother had been human and died in childbirth.  The King, being a wise King, did not blame the girl as other monarchs might have, and instead of bemoaning the lack of a son he raise his beautiful, but sad daughter to be ready to rule in his place one day.

The King's lands were beset by all sorts of beasts so much so that his Kingdom and the surrounding lands became known as the Wild.  While the King loved his daughter, his people did not. In their minds, she was the cause of her mother's death and the reason the King would not remarry to have sons.  Over time the King's advisors suggested he marry her to the local Lord who had control over all the wild beasts.  The King saw the wisdom of this and prepared the marriage.  His daughter however did not want to marry the Prince, whom she felt was an uncouth savage, even if he was a Faerie Lord.

On the night before the wedding, there was a great feast. The daughter though, not being able to stand it any longer, broke hospitality and claimed she was already betrothed to another.  When it was discovered that the girl had done something no other fey in the kingdom could do. She had lied, but no one knew this or suspected it. 

The Prince, insulted waged war on the Kingdom. The war lasted for what felt like forever. Until a fateful day when the Prince was ready to kill the defeated King did his daughter admit her wrongdoing. 

The Prince, realizing his war was built on a falsehood, left the Kingdom and was never seen by it's inhabitants again, though he could be seen roaming the wilder places of the lands.  The princess, shamed, sat by her father's side. He forgave her and within a few nights had died from his wounds.  The girl, being the only one of royal blood, became the Queen.  She has been ajust, if unloved Queen, but her subjects still refer to her as The Queen of Lies.  Her lands are now known as the Kingdom of Rain.

Queen of Lies
Faerie Lady
Frequency: Unique
Number Appearing: 1 (1)
Alignment: Neutral [Lawful Neutral]
Movement: 120' (40') [12"]
Armor Class: -1 [20]
Hit Dice: 14d8+28** (91 hp)
Attacks: Sword or by spell
Damage: 1d8+4 or by spell
Special: Witch spells (13th level), damaged by magic weapons
Size: Medium
Save: Witch 14
Morale: 10
Treasure Hoard Class: NA
XP: 3,250
The Queen of Lies rules the lands known as the Kingdom of Rain. Named so for rain that always seems to be falling or threatening to fall at any moment.   She called the Queen of Lie because it was a lie that put her on the throne when her father died. 

The Queen is a beautiful, but sad and lonely Faerie ruler. She is a fair and just ruler and her people thrive, despite the weather, but they openly dislike her. She has gained the enmity of the Prince of Beasts, lord of the neighboring kingdom, an enmity that has earned her the attention of both the Erlking and the King of Goblins. While she has no interest in either suitor she knows she must choose one faithfully or the curse of rain her kingdom is under will not be lifted.

The Queen possesses her father's great Sword of Light, which provides her protection as well as magical fighting prowess. However, she prefers to use her magic when needed.  The Queen turned to sorcery and witchcraft to be able to lift her Kingdom's curse. She has not but can cast spells as a 13th level Faerie Witch.

Despite her name, the Queen never lies. She is half-human and can lie, but now she chooses not to.

Prince of Beasts
Faerie Lord
Frequency: Unique
Number Appearing: 1 (1)
Alignment: Neutral [Chaotic Neutral]
Movement: 240' (80') [24"]
Armor Class: 2 [17]
Hit Dice: 11d8+33** (83 hp)
Attacks: Fists or by animal type
Damage: 1d8+4 x2 or by animal type
Special: Beast form, damaged only by magic weapons, summon beasts
Size: Large
Save: Monster 11
Morale: 10
Treasure Hoard Class: NA
XP: 3,500

The Prince of Beasts is an odd fey lord in he does not like the company of other faerie lords and ladies, or faeries of any status. Instead, he prefers to spend his time in the wild running with the animals and communing with them.  

The Prince appears as a huge elf lord, standing 8' tall. He is broad and muscular. He is often mistaken for a large human or even a smaller hill giant. He wears simple animal skins though nothing can hide his regal bearing. 

Like all faerie lords he has a personal weapon, a sword, he can use. But the Prince prefers to fight with his bare hands or by transforming into any natural animal.  He can shape-shift into an animal and back 3/per day in the daylight hours.  At night he chooses a shape and sticks with it till the dawn.

He can summon any animal as per the Druid spells, Animal Summoning, they will obey his calls till the death.

The Prince of Beasts is on good terms with the various Animal Lords, but doesn't belong to their numbers. He ignores most of the Faerie Lords when he can.  He has a special enmity with theQueen of Lies, though he would rather avoid her at all costs.  He is also the enemy of the Erlking.  The Goblin King fancies himself as a rival, but the Prince does not take the Goblin King seriously.

NIGHT SHIFT Content

In NIGHT SHIFT the Lords of the Faerie continue into the modern-day.  The Queen of Lies is a real estate developer living in Seatle.  She has plans for the wild areas surrounding the Pacific Northwest.  The Prince of Beasts is a Wildlife conservationist.  Their battles are less about sword and claw and more about permits and lawsuits.  Both though are still powerful in their respective realms.

Another Halloween is now part of the history books.  I am sad to see it go, but now it is time to sit back and see what I did here.

October saw a whopping 92 new posts here at The Other Side!  That beat my previous record of 72 in October of 2013.

In that time I watched 60 horror movies, with 41 one of them being first-time views.

You can see all my movies from the October Horror Movie marathon on my Pinterest board.

Follow Timothy's board October Horror Movie Challenge on Pinterest.

This translated into 74,587 hits for the month.

The Pumpkin Spice Witch was offered for free as part of DriveThruRPG's Halloween Sales. 

You can find it by going to your Wishlist (you need to be logged in),

Scrolling down and clicking on the Pumpkin,

Then it will be added to your cart for the price of a few clicks!

The promotion went so well that as of right now 1,213 were downloaded!  I also got a few sales and few dead tree versions too.  Not bad for a year-old niche product in a niche market.

In fact, it was so popular that Aubrey Spivey from the Old-School Essentials group on Facebook dressed up as a Pumpkin Spice Witch for Halloween!

I have gotten a lot of nice accolades and nice words about my books over the years. But Aubrey Spivey 's cosplay of my Pumpkin Spice Witch cover has REALLY made my Halloween ????! Thank you!

Posted by Timothy S. Brannan on Saturday, October 31, 2020
I mean really. How cool is that?
NIGHT SHIFT also did remarkably well.  I don't have the final numbers yet, but my payment for the month was great.
Stated up 12 new characters here for Night Shift and a few new monsters. 
I have a few "loose ends" and other ideas I didn't get around to posting. But don't expect this level of posting in November or December! 

The Shadow Over Providence is a short, one-shot, one-session scenario for Call of Cthulhu, Seventh Edition. Published by Chaosium, Inc. to celebrate NecronomiCon 2019, it is mostly set within the confines of the Milton Hotel, based on Providence’s iconic Biltmore Hotel in the year 1928. In addition to a number of other events, the hotel is playing host to ‘The Kingdom of Fire – Egypt’s 18th Dynasty.’ This is a travelling exhibition showcasing some of the finest exhibits and artefacts from the British Museum, including treasures of Tutankhamun and Hatshepsut, and a prize exhibit, the mysterious canopic jar of Ibnhotep the Mad! Whether attending the Sterling-Homes Wedding Reception, the Society of Geological Sudies Annual Convention, or visiting the hotel because of the exhibition, all of the Investigators will have given tickets to see it and as the scenario begins, will be perusing its displays. However, as any good Call of Cthulhu player knows, almost nothing good can come of having Ancient Egyptian artefacts on display—and so it is with The Shadow Over Providence. Within minutes of it starting, it is lights out and away we go—a robbery, a bizarre and grizzly death, a crime to be investigated, abductions of guests and staff—and more… Just what is going on in Providence’s most famous hotel?

The opening scene of The Shadow Over Providence is actually tightly scripted, but this script sets everything up and does it with a bang—or a fusillade of bangs! Once the lights go on and the investigation, the likelihood is that the Investigators will be deputised by the local police and so will have permission to investigate the robbery and both the mundane and the outré deaths on the night. Barring a single excursion to the city’s morgue to examine one or more of the corpses that turn up during the scenario, The Shadow Over Providence is set within the confines of the Milton Hotel. There are actually just a few locations for them to investigate in the hotel and relatively few NPCs for them to interview, and the scenario will play out slightly differently and be more of a challenge if the Investigators are not deputised. So probably more like a traditional Call of Cthulhu scenario. 

Beyond the initial scenes, there are no set events in The Shadow Over Providence, meaning that at the same time as the Investigators carry out their efforts, the Keeper will be pushing events along with an expanding number of strange deaths and disappearances, including potentially, attacks upon the Investigators. There is a sense throughout that the Investigators and the hotel guests are being hunted and stalked through the halls and walls of the Milton Hotel, and despite the size of the building, there is a claustrophobic feel to The Shadow Over Providence. Ultimately, the Keeper will stage a confrontation between the Investigators and the antagonist, its nature depending upon the actions of the Investigators so far. This does mean that although the scenario is of a length and suitability to be run for inexperienced players or those new to Call of Cthulhu, the open structure of the scenarios mean that it better suited to be run by a more experienced Keeper.

One of the strengths of The Shadow Over Providence from the outset is that it can and does bring a diverse group of characters together to investigate the mystery at the heart of the scenario. The six pregenerated Investigators, for example, include a Sikh Psychiatrist from India, a New England elementary teacher, an African American journalist, a Moroccan artist, one of the hotel’s concierges, and the hotel handyman. One issue with these is that they do not have all of the skills listed in the checks throughout the scenario—Locksmith and Egyptian Hieroglyphs in particular. Neither issue is insurmountable should the Keeper allow her players some extra skills points with which to customise their Investigators. Were the players to create their own investigators, this might be less of an issue. Similarly, were the players to create their own investigators, they could also be of almost any background as long as they have a reason to be at the Milton Hotel—the scenario providing three already. That is, the wedding reception, the geology symposium, and of course, the Ancient Egyptian exhibition itself. Then, once the Investigators have successfully solved the mystery behind the horrid events that follow the opening of the exhibition, they have a reason to know each other and a reason to investigate similar mysteries. In this way, The Shadow Over Providence works  as a ‘Gateway’ scenario to further adventures and mysteries, just as much as it does a one-shot.

Should one of the Investigators die during the scenario, it is suggested that he be replaced by one of the NPCs. However, some of these NPCs have abilities more akin to those of Investigators created for Pulp Cthulhu: Two-fisted Action and Adventure Against the Mythos, so the Keeper might want to be careful in selecting which one she assigns to a player whose Investigator has been killed. Another issue is that one of the NPCs knows more about the attempted robbery than any other NPC. This probably makes that NPC unsuitable as a replacement Investigator, but the Keeper could actually develop the NPC into a full Investigator right from the off and include it amongst the starting Investigators. Doing so would add a degree of Investigator versus Investigator conflict to the play of The Shadow Over Providence, which could be entertaining if run as a convention scenario or for more veteran players.

Physically, The Shadow Over Providence is as cleanly laid out as you would expect for a Call of Cthulhu, Seventh Edition, although it is in black and white rather than colour. It is generally well presented with suitable illustrations of Ancient Egyptian artefacts. The floorplans of the Milton Hotel are simple and clear, if small, and appropriately for the scenario, includes the air ducts. For all that the scenario is set in a real world location, it is a pity that none of the illustrations depict—if not the actual hotel the scenario’s Milton Hotel is supposed to be based upon, then of a similar hotel to help the Keeper describe the building to her players. Indicative of both the shortness of the scenario and the focus upon the diverse cast of Investigators is that half of The Shadow Over Providence is made up of the pregenerated Investigators.

After its opening action, The Shadow Over Providence settles down into a haunted house—‘haunted hotel’?—style scenario in which the Investigators are hunted as they themselves hunt for clues. This requires careful handling by the Keeper to maintain the pacing, but in the right hands The Shadow Over Providence delivers a solid balance of creepy investigation and scary action, whether as a one-shot or potential campaign starter.

It has been almost thirty years since there has been a roleplaying game set in the universe of the films Alien and Aliens, but that roleplaying game—the Aliens Adventure Game from Leading Edge Games—is primarily remembered for its complexity and emphasis upon combat over horror. That said, the publisher did produce Aliens, a highly effective treatment of the film which was also one of the earliest co-operative games. However, Free League Publishing, best known as the publisher of Mutant: Year Zero – Roleplaying at the End of Days and Tales from the Loop – Roleplaying in the ’80s That Never Was, obtained the licence and published Alien: The Roleplaying Game in 2019. Drawing from the films Alien, Aliens, Alien 3, and Prometheus, this explores the future of mankind in the late twenty-second century, where out on the frontiers of space, colonists scratch a living on barely terraformed worlds, starships towing mammoth refineries processing resources leave for the inner worlds with their crew in hibernation, corporations own and run worlds, rivalries between corporations escalate in cold wars and hot wars, and the United States Colonial Marine Corps attempts to keep the peace. Out on the frontier, in the coldness of space there are secrets too, some corporate, others unimaginably ancient, many of which will get you killed or kill you. There are rumours of old ruins, of impossible aliens, of lost colonies, and coverups—and maybe they will get a person killed too. This is the set-up for Alien: The Roleplaying Game, its future one of body horror, survival horror, corporate malfeasance, and worse…

The Alien Starter Set is designed as an introduction to the setting and the game. It comes richly appointed. Open up the deep box and you will find two sets of dice, a deck of cards, a large, double-sided poster map, two books—one a rulebook, the other a scenario, five pregenerated Player Characters, and a sheet of counters. Everything is done in a trade dress which evokes the Alien and Aliens milieu, muted blues and greens against a black star field, with superb fully painted artwork done by the same artist who illustrated Symbaroum. Essentially, the Alien Starter Set comes with everything that the Game Mother—as the Game Master is known in Alien: The Roleplaying Game—and five players need to enjoy their first experience of the horror setting and the roleplaying game’s mechanics.

The first of the books in the Alien Starter Set is the Rule Book. Now this is not the full rulebook, but the pared down version you would expect of a Starter Box. It introduces the setting and its history up until after the events of Alien 3, its themes—Space Horror and Sci-Fi Action, combined with a Sense of Wonder, and it explains the rules—skills, combat, panic and stress, and of course, xenomorphs. It also covers the types of characters that can be played and their associated campaign frameworks—Space Truckers, Colonial Marines, and Frontier Colonists. It also mentions Company Reps and Androids, both of which are playable using the full rules. Notably, it also explains the Alien: The Roleplaying Game can be played in one of two modes—Cinematic and Campaign mode. Cinematic mode is designed to emulate the drama of a film set within the Alien universe, and so emphasises high stakes, faster, more brutal play, and will be deadlier, whilst the Campaign mode is for longer play, still brutal, if not deadly, but more survivable. Of the two, the Cinematic mode is suited to one-shots, to convention play, and as introductions to the mechanics and setting of Alien: The Roleplaying Game. ‘Chariot of the Gods’, the scenario which comes in the Alien Starter Set, is written for the Cinematic mode.

Although the Rule Book in the Alien Starter Set does not include rules for creating characters, it explains what they are made of and how they work. A Player Character is defined by four attributes—Strength, Agility, Wits, and Empathy, each of which has three associated skills, for a total of twelve skills. For example, Heavy Machinery, Stamina, and Close Combat are associated with Strength, whilst Observation, Comtech, and Survival are associated with Wits. All skills also have stunts which come into play when a player rolls two or more successes in an action. A Player Character also has one or more Talents, essentially advantages that give him a benefit in addition to his skills. None are listed in the Rule Book in the Alien Starter Set, each of the pregenerated Player Characters in the Alien Starter Set has one.

In addition, a Player Character has a buddy and rival from amongst his fellow Player Characters—intended to create tensions and roleplaying opportunities; Personal Agendas—again to create tensions and roleplaying opportunities, but also to earn a player Story Points—which can be spent to gain automatic successes) for his Player Character; and both equipment and consumables. The latter consist primarily of air, food, and water, for whilst there are monsters—inhuman and human, out there on the frontier which will kill you, so will a lack of the right consumables.

Mechanically, Alien: The Roleplaying Game and the Alien Starter Set use the Year Zero engine first seen in Mutant: Year Zero – Roleplaying at the End of Days. The rules are light and fair quick, with dice rolls primarily intended for dramatic or difficult situations such as combat, hiding from a strange creature bent on doing unspeakable things to you, making repairs in a hurry, and so on. To have a Player Character undertake an action, a player rolls a number of Base dice equal to a combination of attribute and skill (or just attribute if the Player Character lacks the skill), aiming to roll one or more sixes. One result is enough to succeed, whilst extra successes can be used to purchase Stunts, like halving a task’s time or doing extra damage in combat. Although one Player Character can help another, the Alien: The Roleplaying Game—just like the films it is based upon—will involve conflicts between Player Characters as well as NPCs, especially when Personal Agendas clash, and where opposed rolls come into play from such situations, successes rolled by either side cancel each other out. If a Player Character fails, or wants to generate more successes, then his player can push the roll. Although this can only be done just the once for each roll, it can generate successes, but it also leads to the core mechanic in Alien: The Roleplaying Game—Stress (and panic)!

Stress in the Alien: The Roleplaying Game is designed to build and build over the course of a scenario, particularly in Cinematic mode. It is not gained just for pushing a roll, but also for firing a firearm in fully automatic mode, suffering damage, being attacked by a fellow crewman, when someone is revealed as an android, and so forth. For each level of Stress suffered by a Player Character, whenever that Player Character takes another action that requires dice to be rolled, his player not only rolls the Base dice as usual, he also rolls a Stress die. So, the more levels of Stress suffered by a Player Character, the more dice—Base dice and Stress dice—his player has to roll. This has both advantages and disadvantages. On the plus side, it increases the chances of rolling successes, but on the downside, any ones rolled have negative effects. First, they prevent the roll from being pushed; second, they trigger a Panic Roll. This requires the roll of a six-sided die plus the Player Character’s current Stress level. Results of six and below have no effect, but results of seven and above include a nervous twitch which increases everyone’s Stress level, dropping an item, immediately seeking cover, screaming, fleeing, going berserk, and more. Although rest and recuperation can reduce Stress, for the most part, over the course of a scenario, a Player Character’s Stress is going to grow and grow...

Combat in the Alien: The Roleplaying Game is designed to be straightforward, but with one or two tweaks to fit the setting. One of these is Stealth Mode, the initial state for any combat situation. This is designed to cover hidden movement by NPCs and other unknown threats, attempts to detect hidden movement and threats, and the like before actual combat occurs. The rules also cover Initiative—handled by draw of a card, rated between one and ten; actions—a Player Character receives a Fast Action and a Slow Action or two Fast Actions per turn; ranged and close combat; damage and critical injuries—the latter suffered when a Player Character’s Health is reduced to zero, some of them deadly; and Overwatch, the ability for trained soldiers to monitor a particular area and be ready to shoot when something happens within it. Other hazards covered in the Rule Book in the Alien Starter Set include starvation and dehydration, the cold vacuum of space, fire, explosions, disease, and more. The Rule Book ends with a surprisingly extensive list of guns and other equipment, the firearms in particular being illustrated.

In all of this, the Xenomorphs do get their own section. It amounts to half a page. This might seem to be somewhat sparse, but to be fair it is enough to run ‘Chariot of the Gods’, the scenario which comes in the Alien Starter Set. Plus the scenario has more detail about the threat it thrusts in the Player Characters’ way… Written by Science Fiction author, Andrew E.C. Gaska, ‘Chariot of the Gods’ written for Alien: The Roleplaying Game’s Cinematic mode. It falls into the ‘Space Truckers’ framework and is very much a Blue Collar Sci-Fi horror scenario, covering all of the themes of the setting and the roleplaying game—space horror and Sci-Fi action with both survival and body horror along with corporate malfeasance. Its fairly heavily plotted storyline  is supported with a combination of Personal Agendas and events that get increasingly horrifying as it progresses. Unlike the Rule Book in Alien Starter Set, it includes all of the details of the Xenomorph that the Game Mother will need, but this is by design and will obvious why once the Game Mother begins preparing the scenario. It should be noted that given the importance of Personal Agendas in Alien: The Roleplaying Game, ‘Chariot of the Gods’ really only works when all five pregenerated Player Characters are in play and it can benefit from the tensions and conflicts that their Personal Agendas will promote. Overall, this is a nasty one-shot which should provide one or two sessions of play and deliver a film-like plot.

Supporting both ‘Chariot of the Gods’ and Alien Starter Set, the box also includes a number of extras. These start with the two sets of dice—the Base dice and the Stress dice. Both are six-sided dice and there are ten of each. The six face of both the black Base dice and the yellow Stress dice is marked with a ‘blip’ or ‘ping’ a la the Motion Tracker of Alien and Aliens fame. When one of these is rolled during the game, it is counted as a success.  However, the one face of each Stress die is also marked with a Facehugger symbol. When one of these is rolled, it prevents a roll from being pushed as well as triggering a Panic Roll.

The five pregenerated Player Characters make up the crew of the USCSS Montero, the small cargo ship which appears in ‘Chariot of the Gods’. They are double-sided and include an illustration and background on the one side, and a filled in character sheet on the other. They are clear and easy to read.

The deck of cards consists of fifty-six cards. They include the ten Initiative cards and twelve Weapon cards, which can be used when playing any scenario or campaign of the Alien: The Roleplaying Game, whilst the remainder are tied into the ‘Chariot of the Gods’ scenario. These include ten NPC cards for the scenario and twenty-four Personal Agenda cards to be handed out as the plot progresses in the scenario. Lastly, the large foldout map, done on heavy paper stock, is also double-sided. On the one side it depicts the limits of explored space and on the other a full set of starship deck plans. This is designed for play, making use of the sheet of cardboard counters that includes USCMC marines, ship’s crew, Xenomorphs, ship counters, and status counters. One notable feature of the starship deck plans is that they include the ship’s vents—perfect for hidden movement and hunting monsters in the dark!

Physically, Alien Starter Set is superbly presented. The look and trade dress of the box and its contents screams Alien and Aliens to anyone who looks at it. Both books could have been shorter, yet the more spacious layout makes them much easier to read and digest. The cards and the pregenerated character sheets feel a little thin, and perhaps it would have been nice if the counters had been in more then the one colour. The poster map though, is pleasingly sturdy. The writing does a slight edit in places, but it is direct and to the point, getting across the dangerous and dystopic nature of the future of the twenty-second century and presenting the rules in a simple, easy-to-read, and easy-to-grasp fashion. The standard feature of the Alien Starter Set is the artwork, which is just stunning.

The Alien Starter Set does exactly what it should. It introduces the setting and explains the rules, before providing a playing experience within that setting. It does this very well and it does a good job of supporting all three of these objectives. However, the Alien Starter Set is for a licensed property and it has high production values—and both factors are reflected in the price. The Alien Starter Set does cost more than the average starter set. Yet once the Game Mother has run ‘Chariot of the Gods’, the Rule Book can easily serve as a ready reference guide for the rules at the table where it is likely to be more accessible than the Alien: The Roleplaying Game core rulebook. Both counters and the poster map can be used again, and there is no denying the utility of having more dice at the table. Further, future adventures could be run using the rules in the Alien Starter Set alone, especially if they come with pregenerated Player Characters and written for the Cinematic mode. 

The Alien Starter Set is an impressive introduction to the Alien: The Roleplaying Game. It not only looks fantastic, it also comes with everything necessary to deliver and roleplay a frighteningly nasty experience in the cold darkness of space where the horrors faced include the feared Xenomorphs and your fellow man.

Managed to get one last one in for October 2020.  And this one is rather perfect for this week.

The Craft: Legacy (2020)

This one was released to much fanfare online on Wednesday.

The movie begins with three witches, Lourdes (Zoey Luna), Franky (Gideon Adlon), and Tabby (Lovie Simone) trying to get their magic to work.  They lament the lack of their "fourth."

Enter Lily (newcomer Cailee Spaeny) and her mother Helen (the always wonderful Michelle Monaghan) moving to a new town and home to live with Helen's new boyfriend Adam (David Duchovny) and his three sons.   

From here the movie follows the same trajectory as the first Craft movie.  This is not an accident, nor is it sloppy writing.  There are a lot callbacks to the previous movie and a lot of nods.  When this movie comes to the point of climax of the previous movie it takes a turn. 

Spoilers follow.

The coven turns against Lily, not because they are abusing their power, but because she is.  They blame her for the death of Timmy. So the other members of the coven bind her and all of their powers.  

Before Timmy's funeral, Lily learns that she was adopted and she begins to suspect that Adam is not what he says he is.  We learn that Adam is some sort of warlock himself. He takes on Helen's form to get Lily to give him her powers.  When she refuses he decides to kill her.  While fighting she manages to freeze him revealing her powers were back and the other members of her coven were there.  Together they all manage to subdue and then eliminate Adam. 

The coven reconstituted Lily is taken to an institute to meet her biological mother, Nancy Downs from the first movie.  Yes, Fairuza Balk makes a cameo as Nancy. 

So. Yeah not quite as scary as the first, but it also keeps it open for future sequels.  There is the question of Adam and what he was doing all over the world.  There was certainly a vibe of "Warlocks vs. Witches" implied here.  I was expecting more horror given this is a Blumehouse flick. 

In truth, I rather enjoyed it even with its lack of real horror.  Nice nod to the first while moving ahead on its own path.

NIGHT SHIFT Content:  My NIGHT SHIFT co-author Jason Vey also watched this movie a couple of days ago and agrees it would make for a very fun NIGHT SHIFT setting. So expect to see some more from either or both of us on this. 

Watched: 60
New: 41

And that is it. Another October Horror Challenge in the bag. 60 total movies, 41 new. I am already looking at the movies for next year.

ITS HALLOWEEN!  It's a Saturday. We get an extra hour after midnight and the moon is full.  

Again, today I am going to end with some movies around the same theme; or more accurately movies with the same title.

Oh no, must be the season of the witch!

Season of the Witch (1972 or 1973)

Ok, this is a repeat from 2012, but the topic and time period was just too perfect to ignore. While this month has largely been about European Horror prior to The Exorcist, this one from Horror Master George Romero could not be ignored.  

Besides, bored housewife turns to witchcraft? Yeah, that is great stuff, to be honest.  There is still a lot of fun in this movie. A nice slice of Occult Americana. Neat little bits on Rosemary's Baby, Voodoo, ritual tools, and Tarot Cards. Even an honest to Goddess coven and ritual initiation.  If anything this movie is better with another watch. The movie even has enough sense to know when to take itself seriously and when to not.  

The new special edition Blu-Ray art makes Joan look a little scarier than she is but hey, that is fine really. 

A wonderful example of the Swinging 70s and horror prior to The Exorcist. 

New View: No
Witches: Yes
Features the Donovan Song: Yes

Halloween III: Season of the Witch (1982)

Now I remember seeing this one in the theaters. I loved the poster and thought it was really cool.  But for the life of me when rewatching it I could remember any of it.  This movie is best watched as disconnected from the rest of the Halloween/Michael Meyers franchise.  It fits in with the original vision of the franchise as separate, unrelated movies in an anthology.  Much like "Creepshow" and "American Horror Story."

The story is. Well it's dreadful, to be honest. It wasn't well liked then and it has not aged well either.  I do like the idea of the masks being haunted/possessed/curse or whatever it was they were.  Though seriously, trying to get a chip from the megaliths at Stonehenge? Yeah, not likely.  Though I would totally use a bunch of cursed masks in a game.

I think I remember why I don't recall this one as well. It's kinda dull and I might have spaced out a lot while it was on.  

New View: I am going to say No, even though I can't remember much of it.
Witches: None, but it does have Dick Warlock in it. So that is something.
Features the Donovan Song: No

Season of the Witch (2009, 2014)

Did Halloween III leave such a bad taste in everyone's mouth that this title had to wait nearly 30 years to be reused? I guess. 

My first "first time view" today and one of my last (!) new movies of the season.  Make no mistake, this one is not good. It is a little indie film from England. The actors are mostly unknowns.  Mary Blackwell travels back to her hometown of Maiden Hollow to clear out her recently deceased father's house. There is a priest who becomes obsessed with Alice (Beth Kingston) who looks like his dead wife.

Or that's what I think. There are times when the music soundtrack overwhelms the voice track. Calling this a "slow burn" is charitable. Calling it boring might be closer. 

Which is too bad, because I had hoped for some English folk horror.  The "village justice" scene at the end is the closest we ever get to that.  Actually, I felt the whole scene was overdone to be honest. 

The movie was finished in 2009 but not released till 2014.

The tag line is "Don't look behind" which makes no sense. Given how times the question is asked the tag line should be "Did You Have Breakfast?"

New View: Yes
Witches: Not really
Features the Donovan Song: No

Season of the Witch (2011)

This one is pure horror-action cheese.  I saw it when it came out but I am a little surprised in never made it into my Horror Movie Challenge till now. 

So this one has a lot of good going for it on paper. Nicholas Cage and Ron Perlman star as Teutonic Knights.  There is a girl, Anna, played by Claire Foy in her first movie role, being accused of witchcraft and they need to take her to a monastery. 

It goes about as you would suspect. Knights take the witch in a cage. She protests she isn't a witch. Crazy shit happens on the way.

It's a fun romp and Cage never fails to amuse and Ron Perlman is always fun.  The demon effects are also really good. After spend so much time in the 1970's horror it is nice to see a really scary looking monster.

In some ways this movie could be considered part of a series along with Vin Diesel's "The Last Witchhunter." There is a similar vibe to them both.

New View: No
Witches: Yes
Features the Donovan Song: Sort of. It's on the soundtrack, but it is a symphonic instrumental. 

Judgment: If your "Season of the Witch" movie does not feature the song by Donovan, then your movie is going to suck.

I started early while waiting for Trick or Treaters.  I might be able to get in one more tonight!  The new Craft movie is out now!

NIGHT SHIFT and Old-school Content:  The "Season of the Witch" is a potent concept for me. 

I used it for the name of my Willow & Tara series (essentially "Buffy, Season 8") and it is coming around again in relation to my War of the Witch Queens. 

Watched: 59
New: 40

The Dare is a Call of Cthulhu scenario which very much wears its influences on its sleeve. It is a horror scenario of Cosmic Horror, so obviously H.P. Lovecraft and Call of Cthulhu. It is a haunted house scenario, so obviously any number of haunted house horror films and short stories, but also—just a little bit, ‘The Haunting’, the classic introductory scenario for Call of Cthulhu, which goes all of the way back to 1980 and Call of Cthulhu, First Edition. It is inspired by Call of Cthulhu, Third Edition, Call of Cthulhu, Fourth Edition, and Call of Cthulhu, Fifth Edition—certainly for its look. It is inspired by the horror films of the late 1970s and 1980s, including Halloween, Poltergeist, Evil Dead, The Lost Boys, and more. Above all, it is inspired by the kids’ adventure and kids in peril films of the 1980s, so The Goonies, Stand By Me, Monster Squad, E.T., and more. This rich source of inspiration has been mined in recent years by Roleplaying Games such as Free League Publishing’s Tales from the Loop – Roleplaying in the '80s That Never Was, Renegade Game Studios’ Kids on Bikes, and Bloat Games’ Dark Places & Demogorgons: The Roleplaying Game, but also most obviously on the silver screen by Stranger Things.

So The Dare is a scenario for Call of Cthulhu, Seventh Edition, in which the players take the role of preteens who are dared by a school bully to enter a haunted house on Halloween. Published by Sentinel Hill Press—best known as the publisher of the Arkham Gazette, following a successful Kickstarter campaign, The Dare is written by Call of Cthulhu veteran Kevin Ross. Designed as a one-shot, ideally for four or five kids and ideally to be played on Halloween, it began life as a tournament scenario, which has now been updated to be run for Call of Cthulhu, Seventh Edition. As a one shot set in the eighties, The Dare works as a palette cleanser for veteran players, likely going all in on the period motifs—Sony Walkman, leg warmers, genre knowledge gleaned from video nasties, and so on, but it also works as an introduction to Call of Cthulhu for new players, made all the easier by its parred back ‘The Call of Kid-thulhu’ mechanics designed to fit the genre. It could in fact, be the defining experience with Cosmic Horror for the kid investigators, who as adults grow up to become investigators into the Mythos in the nineties, noughties, and beyond!

The set-up for The Dare is simple. School bully Roger Simmons has dared several of his victims to enter the Barnaker House, an abandoned and dilapidated home on the edge of town, and spend not just any night there, but Halloween! As the house wheezes and groans around them, their senses assaulted by the stench of mould and decay, of animal urine and faeces, the sound of scuttling in the walls and from room to room as the light from their torches skitter about them, a storm blows up and it looks like the investigators are there for the long haul… As they suffer the taunts and jibes of their bully, will the investigators find out if the house is really haunted? What horrors await them as they try to last the night?

To support this, The Dare is fully plotted out together with floor plans of the Barnaker House, stats and descriptions of all of the NPCs and the monsters. This includes suggestions as to what the NPCs will do location from location, but also gives suggestions as to how to adjust the tone of the scenario from location to location. These are set at the US film ratings of PG and R, the former minimising the violence, the gore, and the death, emphasising menace and anxiety, the latter being more visceral in its inclusion of gore, violence, and injury. Essentially, the difference between The Goonies and Evil Dead.

Mechanically, The Dare uses the Call of Cthulhu, Seventh Edition rules. It presents the core rules to the roleplaying  game, but it also strips them back to present what it calls ‘The Call of Kid-thulhu’, a simplified version of the rules. Notably, the rules condense the eighty or so skills of Call of Cthulhu, Seventh Edition down to just fifteen. So instead of Psychology, Be a Pal, Be Bossy rather than Intimidate and Persuade, Sneaky in place of Sleight of Hand and Stealth, and Spooky Stuff rather than Occult and Cthulhu Mythos. The most notable addition to these skills is Play with Matches, which covers setting things alight, building traps, using chemicals, and so on, all of which should serve as a spur for the investigators’ invention. Overall, these stripped-down rules could easily be used to run other ‘The Call of Kid-thulhu’ type scenarios, or even slotted into an anthology of ‘Gateway’-type scenarios in which the investigators are kids.

Rounding out The Dare is a short essay by Brian M. Sammons, ‘Grab the Machete or: How I Learned to Stop Going Insane and Love 80s Horror Movies’. It provides a brief overview of the genre and suggests ten films that the Keeper and her players should watch as inspiration. The Dare also comes with ten ready-to-play ‘The Call of Kid-thulhu’ investigators. These are all designed to be played as girls or boys, and come with alternative names and space for boy or girl photos. There are some thirty or illustrations included in the pages of The Dare—each based upon a photograph submitted by one of the Kickstarter backers, which can be used by the players to illustrate their kid.

In terms of its horror, The Dare really revolves around its PG and R ratings and the classic confined space of the haunted house. Played using just the PG rating and it would even work as a scare ridden one-shot suitable for a younger, even preteen audience. Switched to the R rating and The Dare becomes a more visceral affair, much in the mode of the film It—though without the coulrophobia—and so is better suited for mature players. For the Keeper there are plenty of staging notes throughout, though she will need to handle one NPC with care. One option might be for the NPC to be played as a Player Character Investigator working hand-in-hand with the Keeper, but if not, and the players work out what is going on beforehand, it really is up to them to roleplay within the genre until their Investigators know. 

Physically, The Dare stands out because although written for use with Call of Cthulhu, Seventh Edition, the layout for it is of Call of Cthulhu, Third Edition. It not only fits the period setting of the scenario, but it fits the scenario’s sense of nostalgia too and gives it a certain, delightful charm. The maps are perhaps a little plain and it needs a slight edit in places, but the artwork is excellent. The theme is applied to the front and back cover, which is done as the cover of a video cassette.

The Dare is a superb one-shot, one that manages the odd combination of being both nasty and charming, all infused with eighties nostalgia, from start to finish. Not just in the style of the story, its tone, and set-up, which can be creepy or horrible depending on the rating selected, but very much with its look. The Dare also suggests a style of play and provides a set of mechanics to support that, both of which deserve revisiting in future releases. Whether you are visiting the eighties for the first time or going back again for another go around, The Dare successfully double dares you with a one-shot of Halloween horror.

It's Halloween Eve!
So I guess that makes it All Hallows Eve ... Eve. 
Whatever.  It's Friday. The moon is Full and tomorrow is my favorite Holiday of the year.  I am been building up all month to this.
Since it is also "Witch Week" let's have some Witch Music.
Of course, you know I have a playlist of witch songs!




Happy Halloween!

 

I want to get in some Witchcraft documentaries from the 70s.  These really cover what formed some of my earliest thoughts on witchcraft and the occult.

These movies are not really horror, but they good supporting movies for all the horror movies I typically watch. All these titles received an X rating when they were released but are really all pretty tame.  

An interesting note that all these films feature Alex Sanders and Maxine Sanders.

Legend of the Witches (1970)

This is a nice weird one and It is part of a larger DVD/Blu-Collection I grabbed from Amazon.  The first part is a slow narration over scenes of the moon and sun rising and setting in glorious black & white.  It reminds me a little of the start of Aradia, Gospel of the Witches.  We get to the creation of man and we see a number of neolithic shamanistic cave paintings. 
We get to the part about witches with prerequisite naked dancing under the moon.

We get to see a witchcraft initiation, which looks a bit Gardenarian or Alexandrian (checked it is Alex Sanders, so Alexandrian). We get some history of England including the notion that William the Conqueror was the son of a Witch, and Robin Hood had a coven. This leads to a bunch of material about witches including the witch hunts. 

Different witch rituals are shown from wicca to Luciferian with copious amounts of nudity (likely the source for the X ratings) but nothing even remotely shocking really.

Secret Rites (1971)

This one starts off with a "witches orgy" and a woman being dragged to "unspeakable obscenities" but fear not! Her lover "John Goodfellow" has come to rescue her brandishing a cross and rebuke witches as if they were vampires.  The scene freezes and our narrator continues in saying that this has been the perception of witches for years.  We cut to Alex Sanders who tells us it is complete rubbish. 

This covers the initiation of a new witch into Alex's coven. As well as a very brief look at his discussion group (likely brief since there is no nudity), a Wiccan handfasting, and even a Great Rite.

The following were included on the same DVD. 

The Witch's Fiddle (1924)
A man gets a fiddle from a witch that can make anyone dance. 

Out of Step (1957)
A documentary series that covers witchcraft in this episode.  Interviewed are Margaret Murry, Gerald Gardner, and Alastair Crowley's friend, Louis Wilkinson. 

The Judgement of Albion (1968)
From Robert Wynne-Simmons, the director of Blood on Satan's Claw.  Based on the poems of William Blake. It is a trippy little flick where faeries, in the guise of young college students, still roam "A Green and Pleasant Land" amid modern troubles.  Completely experimental and yet so utterly British. 

All of these movies and shorts reveal an interesting look at Britain at the end of the 60's.  While in the US we were moving headlong into the excess of the 70s and "left-over hippie shit", England seemed to be two different places at the same time. A country aware that it is slowing down even as new prospects are on the horizon and a country whose Pagan past was just a little bit below the surface. These two are likely related to each other.

Witchcraft '70 (1970)

This Italian "documentary" follows the lives of various real witches in England. I say "documentary" because it only details the most salacious elements of the neo-pagan movement in England.  It also conflates all witchcraft with satanism.  Now a few of the people they profile like Alex Sanders dabbled in "the Left-Hand Path" decades before and Anton LeVey who was a Satanist, others like Eleanor Bone and Maxine Sanders were Wiccans.  The Sanders in fact developed the Alexandrian Tradition of Wicca.  In fact, there are many times that what is depicted on screen and what the narrator is telling us is happening are complete conflict.   There is a hand-fasting between Alex and Maxine Sanders which is described as Maxine marrying the Devil in the guise of Alex.  They imply that in all of these "Satanic Weddings" that Alex, as the Devil, gets to have sex with the women first.  A lot of criticism has been laid at the feet of Alex Sanders and Alexandrian Wicca, but this is not one of them. 

Oh there is the implication too that Brazilian witches engage in incest.  If that feels like it came out of nowhere then yeah, I thought so too. In the middle of talking about proper British witchcraft we get this side trip to Brazil. 

Another unforgivable sin (if that word can be used) is that the Narrator (Alberto Bevilacqua) quotes Jacob Sprenger of the Malleus Maleficarum as an authority. 

Finnish witchcraft is shown to have a nubile nude witch submit to a cult leader as her future husband, chosen by the high priestess. 

It is all very Mondo with plenty of blood sacrifices.  There is a bit on Ted Serios and his psychic photography.  Mediums. Krishna Consciousness (which is entrapping all of America's youth!) and some more on Brazil.  Oh. and they spend some time on LaVey.  Plenty of nude women hanging around including LaVey's own daughter and future high priestess of her own sect. There are a few scenes in the LaVey piece that I am sure got in front of some of the artists of White Dwarf. 

And it ends with Cryonics, or the freezing your body after death.  Cause why not.  Even the start of the 70s was weird.  I guess their issue was the artificial extension of life. 
It feels like some Christian scare tract/documentary.  Better watch out those English witches will get you!

It has an X rating, but there is nothing here that I have not seen in a "TV-MA" series on Amazon or Netflix. 

Reading other reviews online I just watched the Italian version "Angeli Bianchi... Angeli Neri" (White Angel ...Black Angel), not the redubbed, re-edited "American" version. 

NIGHT SHIFT and Old-school Content:  A few notes.

I have had this game idea for a while now, Spirit of '76, that takes place in the summer of 1976.  It has a solid Americana feel to it and it is inspired as much by movies like "Smokey and the Bandit" and "Convoy" as it is "The Omen" and "It's Alive".  But this got me thinking of a similar idea, only maybe set in England during the end of the 60s, 1968 to 1972 in particular.  Something very Mod but with horror and supernatural elements.   I'd love to set it in London. 

Watched: 55
New: 39

It was really only a matter of time before I got around to posting this. 

One of my personal goals with NIGHT SHIFT was to be able to create any character, any situation, I could think of.  While I have dozens of characters I have created for NIGHT SHIFT I am only posting a few to show off the capabilities of the system.  Since we are getting to the end of Witch Week, this is a must post.

Following up on my 2018 Update of my witches I had them coming out of retirement to battle a bloated orange monster.   Looking over my recent posts of both NIGHT SHIFT characters and Baba Yaga from a couple nights ago, I wonder if maybe there is something else going on.  

What if Baba Yaga was targeting the girls of the Wayward Sisters so Jodie and Donna seek out the help of Rowena (who can't help them because she is in Hell) but instead gets them in touch with Charlie, who in turn leads them to Willow and Tara.   Feels like it could be a part of my War of the Witch Queens campaign set in modern times.  It would be appropriate.  I'd just have to figure out how to also work in the Charmed Ones!  

Why go through all that effort? Well to be honest it would take something this big to pull Willow & Tara out of their comfortable retirement. I honestly have not used these characters in anything of my home games in years. Baba Yaga, especially how I am thinking of revisioning her? Yeah. That is big.
Maybe that is one of the reasons the War of the Witch Queens starts, Baba Yaga is on some other world now. 

I digress.  Here are Willow and Tara in their 2020 versions.

Tara Rosenberg-Maclay
11th level Witch, Human

Strength: 12 (0)
Dexterity: 9 (0) 
Constitution: 12 (0)
Intelligence: 16 (+2) s
Wisdom: 18 (+3) P
Charisma: 16 (+2) s

HP: 34 (11d4)
AC: 9
Fate Points: 1d10

Check Bonus (P/S/T): +5/+3/+2
Melee bonus: +2  Ranged bonus: +2
Saves: +5 to spells and magical effects

Special Abilities: Arcana, Casting 105%, Telekinesis, Arcane bond (Willow), Innate Magic (Cure), Telepathic Transfer

Skills: Dance (Dex), Literature (Int), Research (Int), Theology (Int), Beast Whisperer (Wis)

Languages: English, Latin, Greek, Gaelic, 

Spells

1: Bless, Cure Light Wounds*,  Dancing Lights, Detect Evil
2: ESP, Locate Object, Produce Flame, Protection from Evil
3: Clairvoyance, Dispel Magic, Fly, Protection from Evil 10'
4: Cure Serious Wounds*, Dimensional Anchor, Restoration
5: Heal, Contact Higher Plane
6: Enchant Item

Willow Rosenberg-Maclay
12th level Witch, Human

Strength: 9 (0)
Dexterity: 11 (0) 
Constitution: 11 (0)
Intelligence: 18 (+3) P
Wisdom: 16 (+2) s
Charisma: 17 (+2) s

HP: 32 (11d4+2)
AC: 9
Fate Points: 1d10

Check Bonus (P/S/T): +6/+4/+2
Melee bonus: +2  Ranged bonus: +2
Saves: +5 to spells and magical effects

Special Abilities: Arcana, Casting 110%, Telekinesis, Arcane Bond (Tara), Enhanced Senses, Telepathic Transfer

Skills: Computers (Int) x2, Science (Int), Research (Int), Theology/Mythology (Int)

Languages: English, Latin, Greek, Hebrew

Spells

1: Chill Ray, Detect Evil, Detect Magic, Magic Missile
2: ESP, Invisibility, Produce Flame, Protection from Evil
3: Clairvoyance, Fly, Remove Blindness/Deafness, Speak w/ Dead
4: Arcane Eye, Daylight, Produce fire
5: Commune, Dispel Evil, Raise Dead
6: anti-magic Shell, Enchant Item

Yes. I can see these versions working out great, to be honest.  In fact, these versions feel just as "right" as the WitchCraft RPG versions and the official ones in the Buffy RPG (which I worked on anyway).  Looking over them again I maybe should have given them an extra level each.  They are retired, but I am certain they still managed to stay busy.

NIGHT SHIFT Characters

• Wayward Sisters (Supernatural)
• Charlie Bradbury (Supernatural)
• Rowen MacLeod (Supernatural)
• Wynnona Earp
• The Hex Girls (Scooby-doo)
• Larina "Nix" Nichols
• Elizabeth Bathory

Noah Berlatsky / October 30, 2020

This is a revision of a piece that originally ran on Noah Berlatsky’s Patreon.  

The Omen is generally considered a bleak film because the devil wins. But it’s even bleaker as a picture of who the devil is supposed to be, and what kind of measures are needed to defeat him.

The movie stars an aging but still virile Gregory Peck as Robert Thorn, the American ambassador to Britain and a close friend (and former roommate) of the U.S. president. When the film opens, Thorn’s substantially younger wife Kathy (Lee Remick) is in the hospital where she has just delivered and lost a baby in a Catholic Italian hospital. A priest suggests the couple substitute a baby whose mother has died at almost the same moment. Robert agrees without telling his wife, which is a mistake because the baby, Damien, is the spawn of hell. After Damien grows into a disturbingly smirking toddler (Harvey Spencer Stephens), the child quickly uses mysterious powers and malevolent allies to murder, in quick order, his governess, his unborn sibling, his mother, and Robert himself en route to the apocalypse and the extermination of the human race (the last two heavily foreshadowed albeit not quite accomplished at film’s end.)

As with most Hollywood movies that focus on politicians, The Omen carefully has no particular politics of its own. We never learn what party Robert belongs to, and his own geopolitical views are unspecified beyond a general opposition to allowing the antichrist to drown the world in blood. Despite this wishy-washy reticence, viewers can draw some conclusions about the movie’s view of righteous order from context. Director Richard Donner’s cinematography is tasteful and high class, as are the Thorn’s lifestyles and sumptuous residences. Servants are thick on the ground, and little Damien’s fourth birthday party is celebrated with all the casual opulence the American de facto peerage can muster, including but not limited to an apparently rented merry-go-round. The good, the normal, and the safely non-demonic status quo is represented by opulent high ceilings and expensive clothes draped upon the trophy wife, who in one scene tosses a lavish piece of outerwear upon the pricey floor in preparation for what will presumably be equally pricey and opulent intercourse. 

Into this paradise of privilege slides Damien, whose sin, like the fork in a snake’s tongue, is twofold. First, he’s a child, and America in 1976 was notably anxious about the next generation. The Omen‘s most direct predecessor, 1973’s The Exorcist, is less shy about drawing the connection between the demon in the daughter at home and the demon in the daughters and sons out there protesting in the streets. But even if Vietnam is never mentioned in The Omen, Damien’s revolutionary assault on his elders’ government seems congruent with the nation’s contemporary traumatic generational conflict. The demon child’s remote murders of his various adversaries show up as dark, shadowy predictions on photographs—a priest bisected by a dark line, a governess with a shadowy, inexplicable loop around her neck. The children are the future, and that future is one in which the confident, smug olds are harvested with a scythe of blood and documentary photography. 

Damien is not just evil because he’s young, though. He’s evil because he’s upwardly mobile. Damien has no birth and no breeding; he’s a presumptuous upstart who murders Robert’s infant heir and seizes the perks of power to which he has no right. It’s significant in this regard that Damien’s chief allies are servants. You’d think that, given a choice, the devil would subvert the wealthy and powerful to his cause. But those most drawn to him aren’t capitalists and kings, but service workers. The obsequious priest in the hospital in the opening scene is eager to bend the rules to get the American ambassador the child he wants. It is Damien’s first nanny (Holly Palance) who delivers to him the most enthusiastic paean he receives in the film, shouting “Damien! Damien! I love you!” as she hangs herself to make way for her equally devoted replacement, the malevolent Mrs. Baylock (Billie Whitelaw). The horror of The Omen is in large part a terror that all the people you pay to scrape and stoop are plotting your downfall from down there on their knees. 

In addition to the hired help, the devil’s other devoted acolytes are dogs; he is attended by a number of bristling Rottweilers. Damien’s association with animality is cemented in one of the film’s most striking images: in a barren cemetery, Robert opens the tomb of Damien’s mother as the camera, panning down, reveals the skeleton of a jackal. Damien was not born of a human woman; he’s of a different, fouler womb. The eugenic implications are that the elite are actually of a different species than the less fortunate. Damien is passing as rich, as white, and as human, all categories that are conflated with each other in a film that, not coincidentally, barely has a single person of color on screen during its entire run time.

Damien represents the young, the poor, and the non-white—all those in the outer darkness staring in at Robert’s immaculate top hat and Kathy’s blond coiffure. When Robert realizes the uncouth hordes have breached the gates, and the stray dog is actually in the living room, his eyebrows flex, his jaw clenches, and he turns to rabid homicidal conspiracy theories and Christian apocalypticism. Driven by the paranoid ramblings of priests and millenarian, vaguely anti-Semitic prophecy, he drags his four-year-old to the altar and prepares a ritual sacrifice. Faced with a challenge to its purity, power, and lines of succession, the humane, rational representative of cosmopolitan American power reaches immediately for the prop of religious zealotry, bending his upright angles to the bloody work of reaction and child murder.

Robert’s bid to murder his son for the greater glory of God and country is foiled by the authorities, who shoot him dead, little knowing they are contributing to their own doom. The last, now famous shot of The Omen is of Damien holding the hand of his new adoptive father, the U.S. president; the child turns towards the screen with an unsettling grin. The revolution has come, and all will change utterly. The American way of nice homes, genetic purity, and obedient servants will fall like the blade of a guillotine, or the pane of glass that Damien arranges to have slice through the neck of a meddlesome reporter. Change is apocalypse, and the defenders of the status quo must do all they can to resist it, even unto murdering their own children. 

Damien’s smile, though, was perhaps premature. The forces of reaction and Christian nationalism are not so easily overthrown. In retrospect, The Omen warned not of the devil’s child, but of those who hunted him—all those blank-eyed patriarchs and their long knives.

Noah Berlatsky is the author of Wonder Woman: Bondage and Feminism in the Marston/Peter Comics.

This one is a last-minute find.  I am going to have more to say on all my 5e reviews and how they might work together.  But for now, let's look at this one on its own merits. 

Witchcraft: Magic of Hereva (5e)
From Xacur

This one caught my eye with its very striking art. Downloaded and the art continues throughout the book and the layout and design are top-notch.  I do want to get into detail about the art, more so than other products I have reviewed, but first I want to talk about the 5e content.

The PDF is 121 pages for $13.00.  That might sound like a lot, but given my guidelines of 10 cents per page that is only a buck more.  So that is fine.  You also get a mobile version for your phone or tablet.

This looks like the first OGL book for this author, prior to this they have had some DMsGuild Titles. 

This witch appears to be based on the Web Comic "Pepper & Carrot" which helps explain the art. Again, more details on that in a bit.  But for playing purposes this is part class and part world guide. The world of Hereva to be precise. 

The Witch Class

The witch class presented in this PDF is a full 20 level caster.  They do get spells up the the 9th level, but they do not have the normal spell progression as say Wizards or Clerics. They have known Cantrips (max 4) and known spells (max 15). It is the same as the warlock, without the Invocations. They do get Spell Research starting at 11th level and something called Rea ("Reality") Points starting at 1st. Rea points to power your spells.   Doing some quick mental calculations this means that there are many spells that will tap out your Res points quickly.  This makes this spellcaster a bit underpowered compared to others. They do have some other powers though.

I supposed here it should be noted that this is not a generic Witch class, but rather a Witch of Hereva. 

This witch gets 1d8 hp per level and is a Charisma-based spellcaster.   You do get familiars, and they have a mechanical benefit to the characters.  

Witches of Hereva's archetypes or subclasses are known as Houses. A nice change from the others I have reviewed all month.  You get your House at 2nd level.  

These witches also can brew potions (3rd level) and get Broom riding at 5th level. 

There are six Witchcraft Houses. Each provides an additional list of spells and powers. Each also has its own special niche to cover in the world. 

There is a chapter on Player's Options. This includes a number of backgrounds. Most are specific to this world, but all can be altered as needed and easily done.  There are some Feats as well that fit both the world and the witch in general. 

The magic chapter has the witches' spell lists as well as 43 new spells. It also 74 new magic items for witches. Making this chapter a step above many of the other witch classes I have reviewed all month long. 

There are also two Appendices. The first covers Familiars. The second monsters. Both feature creatures that are unique to this world. 

We end with some art credits and the OGL.

The Art and Artist

I grabbed this product because of the art. It has a cool "Kiki's Delivery Service" vibe about it and that is something I have been wanting to play lately. I thought this might be the product to do that, but I was prepared to like it anyway if it wasn't.  

Since this is based on a webcomic I thought I should check it out. After all, the art here is fantastic.  The webcomic is "Pepper & Carrot", Pepper is the witch and Carrot is her cat familiar. It is created by David Revoy.  You can find him at davidrevoy.com and the comic at peppercarrot.com.

It was here I discovered that Revoy releases his comic into the public free as Open Source!  I mean wow. The comic is supported by his Patreon who charges per comic released. That is seriously cool. The comic looks fantastic and I am going to have to start reading it.   I went to his story to see if there was a paper/dead tree version of his comics, there are, and to see if there was a paper or even PDF version of this D&D 5 supplement.  There wasn't.  Ok, no big. Did some digging.

So according to this post the Witchcraft: Magic of Hereva (5e) was a Kickstarter project (again, no big deal) BUT the comic creator didn't know anything about it. He was not consulted or asked.  Now that all seems to be fine with Revoy, he released the comic as Open Source after all, so it fits with his overall philosophy.  There is a bit about how any new art created will be released back into the public domain via Creative Commons. That sounds nice and Revoy seems to take that as good enough.   The author of this game supplement Xacur did in fact do that.  But it was only two pieces of new art; a broom and a wand.  The Kickstarter for this PDF raised a little over $3,100.00.  You would think that most of that money would go for art, as typical for a Kickstarter, but all of the art was free/open source.

I can't help but think that this PDF adheres to the letter of Revoy's Open source philosophy while violating the spirit of it.  No mistake, the class is fun and the spells and magic items are very nice, but I was drawn to this product based on the art and style. That all belongs to someone else's vision.   Strip away what started with David Revoy and what is left?  Well. Mostly an underpowered warlock with some powers I have seen in various "Hedge Witch" products.  I mean the author didn't even have the decency to list Revoy as the artist on the DriveThruRPG page. Note: He is listed on the supplements for this class. 

Is this a playable class? Yes.  Is this a fun playable class? Absolutely.
Could have Xancur created this class without the influence of the webcomic? I don't think so.

But there is something here that I feel is a bit distasteful. I know that David Revoy is likely ok with all of this. But it feels a little off to me. 

Here are the links to David Revoy's sites.

• Pepper & Carrot comic, https://www.peppercarrot.com/
• David Revoy's Patreon, https://www.patreon.com/davidrevoy
• His Website, https://www.davidrevoy.com/
• His Post about the Kickstarter, https://www.davidrevoy.com/article728/derivation-witchcraft-rpg-supplement-on-kickstarter-by-xacur

In the end, you have to decide if this product is the one for you. 

Part 2 of my Halloween-themed Kickstarter round up.  Today I have mostly some comics. 

Brian Pulido's Newest: Hellwitch: Sacrilegious #1!

https://www.kickstarter.com/projects/brianpulido/brian-pulidos-newest-hellwitch-sacrilegious-1?ref=theotherside

Brian Pulido has assembled an all start group of comics writers, illustrators, and colorists to bring the latest in his Hellwitch Saga.  I have picked up a couple of these over the years, but have been looking to complete my collection.  This looks like a good way to do it. 

This is the same talent that brought us Lady Death. I will admit I have used more than a few things from these comics in my own versions of Hell for my games. 

Stake Presents: Jessamy #1

https://www.kickstarter.com/projects/davidabyrne/stake-presents-jessamy-1?ref=theotherside

If vampires are more your speed then might I suggest meeting Jessamy from the world of Stake.

David A Byrne has also brought us an A-Level team for this comic.   I know less about it, but the art is fantastic. 

Looking forward to reading more on this one too.

And finally!

Elvira's New Comic Book Quarantine Special!

https://www.kickstarter.com/projects/dynamiteent/elviras-new-comic-book-quarantine-special?ref=theotherside

Do I really need to remind everyone here how much I love Elvira? No? Good.

It's Elvira. She has a comic from Dynamite Entertainment. That's all I need!

Cabin Risotto Fever is an investigative horror scenario set in the depths of winter in Canada, involving a missing academic or two, an Italian antiquary, and a bone warming dinner. If the scenario is run as written, then the Game Master will have prepared said dinner and actually dish up during play! As with other scenarios from Games Omnivorous, Cabin Risotto Fever is a system agnostic scenario, but unlike previous scenarios—The Feast on Titanhead and The Seed before it, it takes place in the modern world rather than a fantasy one. Specifically, northern Canada in 1949. However, just like The Feast on Titanhead and The Seed before it, Cabin Risotto Fever adheres to the Manifestus Omnivorous, the ten points of which are:

1. All books are adventures.
2. The adventures must be system agnostic.
3. The adventures must take place on Earth.
4. The adventures can only have one location.
5. The adventures can only have one monster.
6. The adventures must include saprophagy or osteophagy.
7. The adventures must include a voracious eater.
8. The adventures must have less than 6,666 words.
9. The adventures can only be in two colours.
10. The adventures cannot have good taste. (This is the lost rule.)

As we have come to expect for scenarios from Games Omnivorous, Cabin Risotto Fever adheres to all ten rules. It is an adventure, it is system agnostic, it takes place on Earth, it has one location, it has the one monster (though like the older scenarios, those others that appear are extensions of it), it includes Osteophagy—the practice of animals, usually herbivores, consuming bones, it involves a voracious eater, the word count is not high—the scenario only runs to twenty-eight pages, and it is presented in two colours—in this case, tangerine and black. Lastly, Cabin Risotto Fever does lack good taste—though that will either be ameliorated or exaggerated by the quality of the scenario’s singular handout and how the players and their characters react to it.

It is 1949, and Professor Martin D. Ernst from the Department of Anthropology at Schuylkill University has led an expedition into the wilds of northern Labrador in order to locate and explore an ancient Algonquian ritual site. The expedition is funded by Italian antiquarian, Rubicondo Bronzetti, who also accompanies the expedition, as does Professor Ernst’s researcher, Solomon Silverberg. It is three weeks since the expedition has been heard from, and a team of rescuers is being sent to check on them. The scenario suggests a Forest Ranger and his apprentice, another professor of anthropology, and a native shaman. It outlines the basics of the four Player Characters, all of whom should be easy to create using the roleplaying game of the Game Master’s choice. In fact, Cabin Risotto Fever could be run straight from these descriptions should a playing group want a very light game in terms of its mechanics.

What Cabin Risotto Fever does include mechanically, is rules for handling Sanity. These require four tokens per Player Character. When a Player Character sees, hears, or experiences something weird or unsettling, the Player Character’s player rolls a six-sided die. If the result is less than the number of tokens the Player Character has, the Player Character suffers a minor panic attack and looses a token. The Player Character may also learn a piece of random information pertinent to the situation in Cabin Risotto Fever. At two tokens, and then at one token, the Player Character suffers a worse panic attack and another effect, determined by the roll of an eight-sided die on the included table. These effects range from attacking a fellow Player Character to a case of unfortunate micturition. Of course, should a Player Character lose all of his tokens, then he becomes an NPC.

Cabin Risotto Fever requires some set-up, some of it traditional, some of it less so. It is suggested that the playing space be lit with candles for atmosphere and that a fast and light roleplaying game be used to prevent any impediment to roleplaying. That is the traditional. The non-traditional is the preparation of the risotto that is the scenario’s singular handout—or is that dishout?—or prop, that should be served during the play of the scenario. The recipe for the risotto al midollo in full is included in the scenario.

The focus for Cabin Risotto Fever is the cabin—as much as it is the risotto. Here the Player Characters will encounter the expedition, its members surprised to see them, but welcoming all the same and happy to invite them to dinner. Events will play out as the Player Characters poke around the cabin and interact with their hosts, some of them random, and of course, the horror of the situation slowly dawning upon them. The likelihood of course, is that the players will realise what has happened, but not their characters—and it is their realisation the players are roleplaying and reacting in horror to.

Physically, like The Feast on Titanhead and The Seed before it, Cabin Risotto Fever is well presented. It is darker and gloomier in tone given its choice of colours. The single location of the cabin is mapped out inside the separate cover. The map is detailed, but suffers a little from forced perspective. Some of the chosen fonts are a little difficult to read, but overall, Cabin Risotto Fever is easy to read. The illustrations have a heavy oppressive feel and many can easily be shown to the players during play. It needs a slight edit in places, but is overall quite a sturdy product, being done on heavy paper and card stock.

As with other scenarios which adhere to the Manifestus Omnivorous manifesto, Cabin Risotto Fever is nasty, brutal, and short, it being possible to play through the scenario and even survive in a single session. It is also easy to run using a wide variety of roleplaying games. The most obvious one is Lamentations of the Flame Weird Fantasy Roleplay, another is the publisher’s own 17th Century Minimalist: A Historical Low-Fantasy OSR Rulebook, but with some adjustment it would work with Cthulhu by Gaslight or a darker toned version of Leagues of Gothic Horror for use with Leagues of Adventure: A Rip-Roaring Setting of Exploration and Derring Do in the Late Victorian Age!. Take it away from its European setting and Cabin Risotto Fever would work well with Mörk Borg as they share a similar tone and sensibility.

Whether used as a one-shot, or added to a campaign, Cabin Risotto Fever is easy to prepare and set-up for a night’s single session of juicy, meaty horror. Indeed, the only thing difficult to set up is the risotto itself. 

Demon Witch Child (1975)

Another one that has been on my list for a while now.  I had it on tap for 2018, but for some reason, I never got around to it.  I think I just forgot about it. Actually, it is perfect for this year and right now.

Before I get into the plot, such that it is, I want to talk about what this movie represents.  All month long I have been focused on the time period in Europe, and mostly Italian and Spanish cinema, just right before the Exorcist hit.  The sweet spot for me has been 1971 to 1973.  Now maybe someday I'll do a post Exorcist run of movies, but until then this is the film that I will hold up as Exhibit A as to the effect the Exorcist had on filmmaking. 

Demon Witch Child, aka The Possessed and La Endemoniada, has a pedigree of sorts.  Marián Salgado who plays Susan, the titular "Demon Witch Child," was the Spanish voice actress for Linda Blair's Regan in the Exorcist.  So she was handpicked by director Amando de Ossorio for his Exorcist rip-off, er, homage.   The fact that she also bears some similar facial features to the old witch played by Tota Alba helps.

The Exorcist influences are all over this movie.  Susan crawls around, her body (not just head) spins around 180 degrees. She swears, she makes rude sexual comments all the time, she speaks in different languages (though we never hear them).  And it is all a little weird. I honestly got the feeling that the movie was written one way, but when the Exorcist hit more was added. 

An old witch desecrates a church and is arrested.  She is suspected of kidnapping a baby, but instead of talking she throws herself out of a window.  Her daughter (played by Kali Hansa who also spent some of time working with Jess Franco, including one of his hardcore outings, Weiße Haut und schwarze Schenkel, 1976) witnesses this and decides to curse the daughter of a local politician, Susan. 

Susan it seems is now possessed by the spirit of the dead old witch. The make-up effects are pretty good and do a good job of making Marián Salgado look like Tota Alba.  

Sadly the movie goes nowhere really.  Susan sacrifices babies, eats them,  gets people killed, murders a reporter, and comments on how well hung he is before castrating him. But there is also a surprising lack of gore or nudity for the time.  There is a subplot with a priest, our would-be exorcist, how before he became a priest he was engaged.  It is all very random in places. 

This is not the only movie I have seen from the time that suffers a lot from comparisons to The Exorcist, but this one of the most glaring ones. 

Watched: 52
New: 36

NIGHT SHIFT and Old-School ContentPossession is always fun in a game. Unless you happen to be the one possessed.  While this movie was obviously about demonic possession they can be other types.  Based on similar tales, I posted about the Eretica Vampire a few years back.  I even used a still from this movie.
Eretica (Vampire)No. Appearing: 1AC: 6Move: 40ft.Hit Dice: 7Special: 2 attacks (claws, bite), Mind control, Strong and Fast, Witch spells, blood drain.XP VALUE: 750 
Eretica are the spirits of dead witches who possess the living, turning them into a sort of living vampire.
Unlike the typical Vampire, these creatures cannot Polymorph and cannot create new vampires.  In their host form, they can also move about during the day and are immune to holy items.  In their "possessed" form they have all the standard weaknesses of vampires. They can witch spells at the 4th level of experience.

Ok, this is not a witch RPG per se, but that is not going to stop me.  

Also, this one appeared on my doorstep and I have no idea if I ordered it, if it was sent to me, or what. I looked back and I have no interaction with the author or the company Strange Machine Games (SMG).  

So let's get into it.

Charm RPG
by Jeff Mechlinski, illustrations bt Yimi Jian "Meammy"

Charm is a "universal" RPG designed to be quick and usable across any genre or playstyle.  It advertises itself as being portable enough to keep your character sheet in your pocket and use a dice roller app to play.

For this review, I am considering both the softcover physical book and the PDF.  The book is 158 pages, 8" x 8" format. The covers are color, the interior art is black & white.

A quick note about the art. I like it, it does have a comic-book, almost anime style to it, but it also fits the game well. 

The first 40 pages cover the basic rules and the remaining 100 or so cover the seven different sample "worlds" you can play in.  

The rules are pretty simple, roll a d20 (sometimes with a d6) to get over a particular Target Number set by the GM.  Greater levels of success or failure result in added effects.  Rolls can be modified.  You add the d6 when your character is particularly good at something. 

Characters regardless of the Power Level of the game are assumed to be good at what they do.  So out of the gate this game is going to have a more "Cinematic" feel to it.  A thief will almost always be able to break into a place or steal something for example.  Rolling occurs only when there is a chance of failure, combat (or other opposed rolls) or the GM needs it.  

The Challenge Threshold, or target numbers, are pretty easy to use and memorize, so players and GMS will catch on very quickly.  The levels are all multiples of 3, so abstraction of the rules is easy.

Characters are built using some basic abilities in a way that reminds me of Fate, but a little crunchier.  To me this is a GOOD thing. I find Fate a little too fluffy for my needs. This includes the use of a similar term, Aspects. At first level you have three aspects rated at 4, 3 and 2 points.  As you level up you can add points to these or gain new aspects. A list of sample aspects is given with guidelines on what else can work.

And that is it.  Not difficult to learn and certainly very easy to play the first time.  Get together with some friends, decide on a world and then make characters with various aspects. You are ready to go.

While not as crunchy as say GURPS it is crunchier than Fate or FUDGE.  I'd put it just south of True 20 and Unisystem in that regard.

The seven sample scenarios are:

•  Action 5 News: You are the city's most elite local news team! It isn't easy staying on top. You'll need to pull together all your guile and charisma to keep the number 1 spot.
•  Temporal Raiders: Travel time, seeking the ultimate heist. Ally with powerful historical figures, change history, be your own grandfather. What could go wrong?
•  Dustbound: Take on the role of a god-touched gunslinger in a bleak world of dust and decay. Fight Oni, rival gunslingers, and vengeful townsfolk.
•  Mystery Incorporated: Jeepers, guys.  Play as a gang of kids, or possibly a lovable pet, who solve mysteries using their astonishing meddling abilities.
•  Pact of Night: Small town woes meet big monster drama. Play a Vampire or Werewolf as you balance your life with the humans during the day and beasts at night.
•  Onitech: You exist in a high-tech world ruled by demon masters. Civility has superseded morality, leading to a perverted and deadly state of affairs.
•  Asylum Reflections: In Victorian London, people are being replaced with mirrored doubles. Uncover the duplicitous mystery in this dark world.  

Actually, these all sound like a lot of fun.  I have to admit it was the Action 5 News that really grabbed me at first.  In this one, you are not likely to get into deadly combat, but your social "hit points" could take some damage.  No they don't call them "hit points" but that is my translation to my readers.  I will admit, years ago I tinkered with a True 20 idea of newspaper reporters, tabloid writers and news bloggers as a game. When Fate came around I tried it in that too.  Never really got it to jell the way I wanted.  Action 5 News though does this now for me.  A few EASY tweaks, and to be fair all tweaks in this game are easy, and I can run it like I was planning some 20 years ago.
Mystery Incorporated practically jumps off the page and begs me to run something with it. 
If I had a complaint at all it is that book makes me jump all over the place to get the information I need.  For example there are lot of "see page XX" (no actual xx though, they do have page numbers.)So reading about Power Level on page 11 I need to jump to page 25 to get information on aspects. There are a few of these. Now to be fair you quickly figure out where things are and how to get to them fast.  But maybe a character creation flowchart might be nice for first time players.
Still, there is a lot to like about this game.

It's Supernatural Thursday of Witch Week and that can only mean one thing; let's do some NIGHT SHIFT stats for Rowena MacLeod.

Spoilers up to Season 15 follow.


What is there not to love about Rowen? She is a badass redhead witch who gave the Winchesters a run for their money for seven seasons. She was the big bad for Season 10. She was born in the 17th Century Scotland, she is a pagan and is the mother of the former King of Hell, Crowley.  Now she is the Queen of Hell.  She only "died" because she needed to turn herself into a giant ghost bomb.
There were a lot of magic-using characters in Supernatural as well as a lot of them that were witches, but Rowena was the most powerful. 
Rowena MacLeod
15th level Witch, Human

Strength: 12 (0)
Dexterity: 13 (+1) 
Constitution: 15 (+1)
Intelligence: 18 (+3) P
Wisdom: 17 (+3) s
Charisma: 20 (+4) s

HP: 52 (11d4+8)
AC: 8
Fate Points: 1d10

Check Bonus (P/S/T): +7/+5/+3
Melee bonus: +3  Ranged bonus: +3
Saves: +6 to spells and magical effects

Special Abilities: Arcana, Casting 125%, Charm Person, Enhanced Senses, Pre-cognition, Innate Magic (Raise Dead, self only), Suggestion

Skills: Sleight of Hand (Dex), Body Control (Con), History (Int), Research (Int), Theology/Myth (Int), Convince/Deceive (Cha)

Languages: English, Latin, Greek, Gaelic, 

Spells

1: Bane, Command, Disrupt Undead, Inflict Light Wounds, Sleep  
2: Cause Fear, ESP, Hold Person, Locate Object, Suggestion
3: Cause Blindness/Deafness, Curse, Fly, Remove Curse
4: Arcane Eye, Cure Serious Wounds, Inflict Serious Wounds, Produce Fire
5: Dismissal, Finger of Death, Harm, Raise Dead*
6: Disintegrate, Enchant Item, Projected Image
7: Death Aura, Draw forth the Soul
8: Wail of the Banshee

I will admit. I adore Rowena.  She was a fantastic enemy AND ally of the Winchesters, and I would have loved to see a little of Rowena's and Charlie's road trip. That would have been a lot of fun.   

If I am serious about running a Wayward Sisters game, Rowena will have to show up. Dead? That never stopped her before!  And we know that Rowena/Ruth supports the Wayward cause!

 

Ruthie Connell is an absolute delight.  I can't wait to see what she does next.

Links

• Wikipedia
• Supernatural Wiki
• Supernatural Fandom Wiki
• Villains Wiki

Reviews / October 29, 2020

Invitation to Hell
Directed by Wes Craven
ABC (1984)

Last year, my esteemed editor-in-chief delivered me a Halloween treat for our Tubular Terrors series in the form of The Night Stalker. My overall lack of familiarity with the made-for-TV horrors of yesteryear led to another recommendation this year, and it was just as enjoyable as skulking around 1970s Las Vegas with Carl Kolchak. But the sunlit suburbs of Wes Craven’s 1984 Invitation to Hell hide just as many demonic horrors—and conspiracies among the ruling class—as the shadowy, vampire-stalked alleyways of Las Vegas’s sleazy eternal night.

Invitation to Hell (Wes Craven’s previous made-for-TV horror was the 1978 Linda Blair vehicle Stranger in Our House) definitely follows on well-trod thematic ground, examining the American nuclear family’s impulse to conform and keep up with the Joneses in suburbia. But it’s on the execution, in the casting, and in a few of the left-field plot developments that the film really shines. Robert Urich and Joanna Cassidy play Matt and Pat Winslow, a married couple with the requisite pair of kids, Robbie and Chrissy (Barret Oliver of D.A.R.Y.L., Cocoon, and The NeverEnding Story and Soleil Moon Frye of Punky Brewster), and the obligatory dog moving into a brand new planned community as Matt takes a new job at the believably-ludicrously-named firm Micro-DigiTech. Matt is working on a new spacesuit for NASA’s exploration of Venus (not only is it temperature resistant to the thousands of degrees, but it can also identify non-human life; unsurprisingly, these details will become very important later in a unique case of Chekhov’s Spacesuit).

The Winslows’ beat-up station wagon literally runs into the town car of the woman who seems to really run this community: head of the local Steaming Springs Country Club, Jessica Jones (played by All My Children star Susan Lucci). The Winslows are soon drawn into the inevitable peer pressure to “join the club,” which, yes, ends up being a Satanic coven where the wealthy members of the club are replaced by doppelgängers from Hell. Matt ends up becoming the de facto resistance to this infernal conspiracy as his work colleagues get “promotions,” loyal secretaries are killed in mysterious accidents, and eventually the members of his own family are replaced by their evil demonic duplicates.

Again, this is all pretty bog-standard stuff that’s been explored since the very beginnings of American postwar suburbia: we’ve seen it from Invasion of the Body Snatchers to The Twilight Zone and back again by this point. If the Reagan 1980s jostle alongside Eisenhower’s 1950s as the collective psychological emblems of our Cold War material bounty (and the neuroses that come along with it), then it’s no surprise that we’d see a reflection of the same social-parable B movies just as “morning in America” is dawning. But this is the ’80s, and times have changed. From the very outset of Invitation to Hell, the creeping presence of technology is as much a sinister undertone as the impulses towards conformity and upward mobility. From the very first minutes, we see Robbie staying up late playing a hand-held video game (later smashed up by one of the neighborhood’s bratty demonic kids) and Matt’s habit of bringing his work home, impelling Pat to complain, “I want this house to be a home. Not a lab.” Later on, as Matt’s paranoia ramps up, he finds a seemingly hypnotized neighbor kid over at the house for a sleepover smiling in front of the television—not in front of static as in 1982’s Poltergeist but in front of violent riot footage. Matt’s first secretary at work suspects something is wrong with all the people who’ve received promotions at Micro-DigiTech; she hands Matt the pertinent HR files on a giant computer tape. All around Invitation to Hell, the ways in which surveillance, automation, and computers are beginning to intrude upon family life in the 1980s abound.

The brand new home that the Winslows move into also becomes demonically-possessed in a way. Full of the family’s more old-fashioned furniture and decor at the beginning, Pat redecorates it in a severely dark and angular 1980s style, laden with all the modern amenities, once Pat and Robbie and Chrissy become “members of the club” without Matt’s knowledge. All around the country in the 1980s, the often homespun aesthetic embraced by Boomers in the 1970s as a post-hippie reaction to their plastic childhoods began to shift to something more aspirational, sophisticated, and urbane. This transformation is foreshadowed early in the film—before Pat’s demonic replacement!—with Pat stating that she wants to redecorate to make this house look like a home, not “a fraternity house.” “We’re grown up now,” she says. “You work for a big corporation.” Of course, Pat’s hope for a “pretty and bright” home is subverted when you see it looks like something out of an ’80s music video—or the films of David Lynch or Tim Burton.

Pat wants to keep up with the neighbors, which leads to her being seduced by Jessica into membership at Steaming Springs. The family (minus the suspicious Matt) undergoes a creepy “initiation” ceremony in the resort’s springs, which is actually a literal portal to Hell locked behind a giant steel door (with, of course, electronic keypad lock). The idea of locating the town’s demonic clique at a country club is a deeply resonant American trope by this time, but the prominent and conspicuous addition of a health club and spa to the country club’s social matrix shouldn’t be ignored. In the 1980s, physical fitness was peaking throughout America, and while jogging had been a fad since the 1970s, the next decade saw more and more Americans buying memberships to pricey private health clubs. Locating the sinister impulse to conformity within a palace of fitness and health might be one of Invitation to Hell‘s more subtle and successful horror metaphors, especially considering so many other ’80s horror films did so either exploitatively or gruesomely.

It’s really only in the final act that Invitation to Hell somewhat falls apart. As Matt discovers his family are seemingly forever replaced with their evil duplicates, he takes the fight right to Steaming Springs and Jessica. Filching his experimental space suit from the lab at work, Matt gate-crashes the club’s Halloween party (where the guests favor costumes as conspicuously evil as honest-to-God SS uniforms!) and makes his way down to the steel doorway leading to “the springs.” There he actually physically enters Hell. I was still under the impression that there might be a twist, and Jessica and her doubles might be aliens from Venus themselves, or robots—but the shadowy Gustave Doré-like caverns and the cries of the damned (including Matt’s coworkers and family) convey neatly that Matt is about to follow Orpheus, Aeneas, and Dante into the depths. And at the very bottom of this TV-movie Hell? Well, it turns out that it looks an awful lot like suburbia (the suburban street grid that Matt falls into, shot in negative film, actually looks a bit like a circuit board). In a mist-cloaked replica of the Winslow family home (empty of all furniture except a piano that Pat must play eternally), Pat, Robbie, and Chrissy are trapped in laser-lit circles, which Matt can only break through by reasserting his familial  love for (and patriarchal control of) his family. They escape, of course, and Jessica—who tries and fails to seduce Matt into abandoning his family—is defeated. The Winslows teleport home to find the country club in flames after the Halloween party.

Whatever mawkishness the ending might possess, and despite the overall simplicity of the film’s message, there’s a lot to love about Invitation to Hell. Susan Lucci manages to convey real menace without chewing the scenery, portraying a sort of 1980s glad-handing, professional-class noblesse oblige that hides an iron fist underneath. It’s only when she’s forced to become a run-of-the-mill succubus that her character becomes uninteresting. In a pre-credit sequence at the very beginning of the film, she mercilessly combusts a limo driver who accidentally runs her over; in the aftermath of the explosion, her perfectly-poised big hair, makeup, and wardrobe say more in a few seconds than any clumsy exposition: Jessica is a confident, powerful, shoulder-padded coven leader for the Eighties. After getting used to Robert Urich in hardboiled TV series like Vega$ and Spencer: For Hire (as well as his turn as a world-weary cop investigating cattle mutilations in Endangered Species), it’s hard to buy this tough guy as a middle-management, Lacoste-wearing tech nerd. His transition to third-act quasi-badass seems almost like a fait accompli. But the scene where Soleil Moon Frye portrays a possessed Chrissie sitting in the middle of the dark and severely redecorated Winslow living room disemboweling her beloved stuffed bunny with a crowbar (!!!) throbs with real eerie energy. The synth soundtrack also gives the film a potent underscore of the technological paranoia telegraphed but never quite delivered upon by the film’s final act. Unsurprisingly, it’s mostly swapped out for an orchestral score during the scenes in Hell.

Wes Craven, for the most part, delivers the goods in Invitation to Hell, a funny little parable from a year of paranoia that occasionally punches above its B-movie lineage to deliver some real thrills and thought-provoking themes.

—Michael Grasso

Here we are at the end of all my 5e Witch class reviews.  I was saving this one for last just because it is so complete and there is so much here.  

Again, I am following my own rules for reviewing these; I want to stay fair. 

Hidden Oddities, A Witch’s Primer
By Eva M. Brown

Hidden Oddities is a monster of a book.  At 154 pages for a single class it has my attention.  Also at 154 pages, no point in figuring out how much is content vs. title, ogl and the like.  It is a beast of a book.

This book rivals any other published book for the D&D 5 game or any other game.  The layout is great, with crisp easy to read text. The artwork is fantastic.  And the authors know their OGL.  I should really just say "Author".  While it looks like Eva M. Brown surrounded herself with a great team to work on this, it is obvious from the reading that this is a single voice and author vision. 

Up first is a Foreword and it becomes obvious that this book is just more than a witch class. There is a bit of world-building going on as well.  This can only be a good thing in my mind.   There are Seven Chapters in this book. 

Chapter 1 covers the Introduction, what this book is about and the list of Kickstarter backers.

Chapter 2 is the Witch Class.  There are little quotes and “magical text” all throughout the book that really gives it a nice feel.  Break the code of the magical text for more information!

And in a bit of “magic text” of my own, “yes Eva, I do think we will be great friends!”

We start off in a place I think it great.  Background.  There are also d6 tables of “I Became  A Witch Because…”, a d6 table of “We Whisper to Each Other By…”, “Our Relationship Is…” and “My Curios Are…”  This is great stuff and perfect not just for EVERY D&D5/DMsGuild Witch I have reviewed but nearly every witch I can think of (and that is a lot is I can be so bold).

An aside. Curios are a great idea. I love them. I wish I had come up with them first.

The witch is a full 20 levels spellcaster. She can’t use armor and has 1d6 HD.

Instead of getting spell slots the witch gets curios, which are tiny mundane object that can store spells.  The witch records her spells in her spell book but uses that knowledge to charge her curios.  The witch gains two spells per level (four at level 1) of any spell level she can cast, half her own level rounded up.  This means the witch can know up to 42 spells. She can only cast the number of spells as she has curios.

The witch also gains an otherworldly companion. These are roughly the same as Familiars, but can be more than just animals.  The witch’s other worldly companion teaches the witch, Witch Script. It is invisible to all non-witches save for when detect magic is cast on it.

The Witch Archetypes are known as Sacred Secrets. There are also some powers known as Arcane Wonders.  

Between these, the different types of otherworldly companions and the various types of Curios, there should be an unlimited variety of witches one can create with this book.

Chapter 3 covers the Sacred Secrets.  Each one has their own background, Arcane Wonders and other powers.  Again, these are treated like subclasses, Traditions, or Covens in other books.  There are 14 of these and are all quite details have a lot of great potential.

Chapter 4 (mis-labeled Chapter 3 in text) are Additional Options.  This is a great chapter and one often forgotten about by other authors of Witch classes (including myself on occasion) and that is other archetypes for other classes.  There is a new Druid Circle, a Fighter Archetype, A Paladin Oath, a Ranger Archetype, and a Wizard Tradition. There are also new backgrounds, complete with personality traits, ideals, bonds, and flaws, for any class.

This chapter also has a number of new feats and some new equipment.

Chapter 5 gives us Spells.  Here there are 111 new spells. Overtly for witches they can be used by other classes as well.  Some of these spells share the same or similar names with spells I have written, enough to make me do a double take.  But it is obvious from reading them that these are not used OGC, merely the result of both Eva Brown and myself reading a lot of the same source materials.  Which in a way is really cool.

Chapter 6 Lore is our world-building chapter. Here we get some organizations the could belong too, or are against the witches. Even if you only use them as ideas or seeds there is a lot here to add to any game.   Membership, leaders (some detailed), goals and headquarters are all detailed.   Nine such organizations are detailed here.

The Appendices cover how to choose a companion, what equipment you might need and the roles of the witch. 

Additionally, there is art information and a Witch’s Script translation guide.  OGL and a four-page Character sheet.

While this might not be my favorite 5e Witch class, it is my favorite 5e Witch book.  There is just so much here that is great and really grabs my imagination.

I mentioned before that the art is great, but it really needs to be re-said.  This is a great book.

You can also get the Character Sheet for PWYW.  It works nicely with other witch classes as well.