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October Horror Movie Challenge: Color Out of Space (2019)

The Other Side -

Oh. Now this was fun.
I have heard that some people didn't care for this one, but you can't watch it thinking it is a Lovecraft movie.  Lovecraft never translates well on screen.  Watch this one thinking it is a crazy Nick Cage movie.

Sadly I did not see this one when it came out, but I had heard a lot of good (and bad) about it.   Well the movie itself did not disappoint.  I mean really, Lovecraft, Nick Cage?  This has disaster written all over it but it gets pulled together well.

So the movie follows the story rather well. Well, as can be expected.
Our narrator, the unnamed surveyor, becomes Ward Phillips a hydrologist played by Elliot Knight.  I have to admit I did enjoy that the narrator, our POV character, is played by a mixed-race, Nigerian-British actor who is very active in gay rights.  Lovecraft would be so happy.

Nick Cage is at his Nick Cage best.  Super serious when he needs to be, and bat-shit insane with an accent when the movie needs that.  He reminded me of his characters in  Vampire's Kiss and National Treasure. And let's not forget, Cage has won an Academy Award, a Golden Globe, and Screen Actors Guild Award.  He is great as troubled Nathan/Nahum Gardner. 
The sons are changed and there is a daughter, Lavinia played by Madeleine Arthur (who has some solid geek cred with credits in "Supernatural", "Legends of Tomorrow", "Tomorrow People", "X-Files", "Magicians", and "Spooksville").  Oh, and Lavinia, who plays a Wiccan, also has a copy of the old 1980 Simon Necronomicon.  That made me rather happy to see, to be honest.
And Tommy Chong.  Seriously.
Tommy Freaking Chong playing the "crazy man" Ezra/Ammi Pierce.

The hardest thing I think is to capture the horror of Lovecraft on film.  I am not sure how many half-failed attempts I have watched over the years.  In fact, I think the only good ones have been "From Beyond" and "Re-Animator".  Maybe, MAYBE, 1970 The Dunwich Horror with Dean Stockwell.

What I REALLY enjoyed about this was I watched it with my two boys.  We all love Lovecraft and we all love Nick Cage movies.  So this was a nice treat.

This is supposed to be the first of a shared universe of Lovecraft films, but it did rather poorly in the box office.

Watched: 7
New: 7
What NOT to use here?  Might need to grab my 5e Cthulhu Mythos book and give this one a go using the Night Shift game.  The characters can play the parts of investigators to the scene.  My kids would LOVE that.

The Sky is Falling. Again.

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So there is a new bit of errata out for D&D5.  Nothing new there, in today's Internet age errata is easy to get and often flows out easy enough. For some reason, this latest one has some of the old-school crowd up in arms. Again.  Let's see what it is all about.

This is the Errata for Volo's Guide to Monsters. A book that is described by all accounts as optional. 

What does it say exactly? Let's have a look.

Kobold Traits (p. 119). In the Ability Score Increase trait, the text has changed to read “Your Dexterity score increases by 2.”
The adjustment to Strength has been removed.

Orc Traits (p. 120). In the Ability Score Increase trait, the text has changed to read “Your Strength score increases by 2 and your Constitution score increases by 1.” The adjustment to Intelligence has been removed.

Orc Traits (p. 120). The Menacing trait has been replaced with the following trait:

Primal Intuition. You have proficiency in two of the following skills of your choice: Animal Handling, Insight, Intimidation, Medicine, Nature, Perception, and Survival.

Ok. So this is all for characters. Optional characters. 

Checking online...oh. For fucks sake.

A message to my fellow 50+-year-old gamers. Lighten the fuck up.
Seriously. You all look like a bunch of Chicken Littles, running around screaming about the damn sky is falling.

Wizards of the Coast doesn't care what people who don't buy their product think, to be honest. 

The world didn't end when the whole Oriental Adventures debacle happened back in July.  Everyone was claiming it was the start of censorship and that Wizards would start taking down or editing older books. Censorship! Censorship! CENSORSHIP!!

These optional rules, in an optional rule book for two races that 99% of you would never allow in the first place in a system you never play has fuck-all to do with you.

In D&D5 there are 15 standard races with 28 sub or variants for a total of 34 choices. None of which have negative ability mods. The only two that did have them were in a supplement and those two are being edited to come into line with the other 34 choices. These are two outliers. They are being brought back into line.

How is this any different than say a new rule in Savage Worlds?  Or even in Monopoly? 

Yet, people are losing their shit online and looking like a bunch of idiots. 

The OSR gets a bad reputation online for the reactions of a few. This is just another example.  On one hand, the old-school community will claim not to care or even pay attention to what WotC does with D&D and then turn around and freak out when they release a rule errata that many in the 5e gaming community might just ignore.

So, stop freaking out all the time. 

Impossible Animals: Bernard Heuvelmans and the Making of Cryptozoology

We Are the Mutants -

Daniel Elkind / October 6, 2020

Mort Künstler illustration for a March 1960 True magazine story on “America’s Mystery Giant,” Bigfoot.

During Christmas 1879, the last known wild tarpan (Equus gmelini) was run off a cliff somewhere in Ukraine. Native to the forests of Poland, this undomesticated horse species had survived in Europe’s ancient woodlands since at least the time of Herodotus. Apart from a few individuals scattered among various zoos, its death left Przewalski’s horse the sole wild species. 

Apparently some wild horses remain in Poland’s managed old-growth Bialowieza Forest, but their population is the result of Nazi-era experiments in back-breeding extinct animals, the tarpan included, from captive specimens. Lutz Heck, a Nazi zoologist and head of the Berlin Zoo, was not alone in his enthusiasm for resurrecting the dead. He and his hunting buddy, Hermann Göring—who, in addition to being propaganda minister and chief of the Luftwaffe, was also Reich Hunt Master and Forest Master—intended to reinvent a host of ancient and endangered “native” animals like the auroch and wisent to populate their future game reserve. In the future Europe they imagined, they and other elite Nazis would retreat to lodges in forests like Bialowieza to hunt and kill these impossible animals.  

Impossible animals—animals that do not, should not, or cannot possibly exist—have been part of human iconography and myth from the art of cave paintings to medieval bestiaries. Their absurd anatomies have been used to symbolize and subjugate, to parody and portend. (Think of the details in The Garden of Earthly Delights.) Ironically, it was the discovery of very real fossils belonging to implausible behemoths in the earth beneath our feet that renewed a belief in fantastic creatures. Since the dinosaurs were extinct, however, living anachronisms would have to be found. And because science values “skulls and skins” above all, a whole menagerie of freakish and often fraudulent specimens have cropped up to support one claim after another of isolated species still stalking remote parts of the globe. 

With the introduction of photography, new opportunities for deception arose. Using nothing but their father’s camera and some painted specimens, two girls from Yorkshire managed to fool Sherlock Holmes inventor Arthur Conan Doyle into believing that fairies lived all around us. Obviously, Conan Doyle was less of a skeptic than his invention. In dispelling the shadows, he seemed to believe, science had also purged the world of mystery: “Victorian science would have left the world hard and clean and bare,” he wrote, “like a landscape in the moon.” 

First American edition, 1959

In the early days, these pretenders tended to come from the ranks of the learned—from disciplines such as evolutionary biology, zoology, and Egyptology. Their hoaxes appealed not to fear but to the equally compelling desire to confirm whatever pet theory one had already developed. George Montandon, for example, was happy to christen De Loys’ Ape (Ameranthropoides loysi) a new species based on nothing more than a single, staged photograph taken by a Swiss petroleum geologist named François De Loys. After much publicity and speculation, however, this new primate species turned out to be a dead white-bellied spider monkey (Ateles belzebuth). Erudition can entrap as effectively as ignorance—perhaps more so. Montandon apparently “endorsed and required the creation of a large, vaguely human-like South American primate because—as a supporter of the then seriously regarded ‘hologenesis’ hypothesis—he needed a primate that could serve as an ancestor of South American humans.” 

Sergei Isaakovich Freshkop (often Frechkop), a mummy expert from Moscow, was an early proponent of another theory, now likewise discredited: the initial theory of bipedalism, which suggested that all mammals started out upright. One of his most promising students at the Free University of Brussels was Bernard Heuvelmans, who coined the term cryptozoology, and dedicated his 1955 opus Sur la Piste des Bêtes Ignorées (translated as On the Track of Unknown Animals in 1958) to his former mentor. 

Heuvelmans’ book is an exasperating, encyclopedic bestiary located at the “frontier of science and fantasy.” It’s also a beast of a book, a doorstop-sized chunk of zoological history with no less than 50 photographs, 120 illustrations—from the “monkey-eating eagle of the Philippines” to a “reconstruction of the abominable snowman”—and five hand-drawn maps. (To my eternal disappointment, neither my home state of New Jersey nor the Jersey Devil seems to merit any mentions.) If you’ve ever wondered about how we got from Conan Doyle’s The Lost World and nineteenth century Forteana to the Weekly World News of the checkout aisle, you would do well to look him up.  

Heuvelmans, who died in 2001, lived through some radical transformations in the state of the art. On the one hand, he was a trained zoologist with a dissertation on aardvark teeth; on the other, he marshaled folklore as scientific evidence and wasn’t shy about slapping his name on sensational pulp. (Allegedly, the Yeti bits in Hergé’s Tintin in Tibet derive from his input.) For Heuvelmans, as for Conan Doyle, it was all about bringing back a sense of faded romance. Along with German mammalogist Ingo Krumbiegel and Ivan T. Sanderson, Heuvelmans is often considered one of the founders of the field of cryptozoology. Perhaps more important, he embodied the embattled crypto figure as a righteous scholar who stalks the unknown while reminding the “armchair naturalists” and stuffy old Pharisees in the academy of the great mysteries that still remain in the forests of Minnesota. 

Much of Unknown Animals is thus spent in attempting to “confound the skeptics”—i.e. agreeing that we cannot say we don’t know for sure—rather than in attempting to demonstrate that there is any evidence for his claims. Heuvelmans casts this power struggle as a kind of religious schism. In Searching for Sasquatch (2011), Brian Regal attributes the contest between “eggheads” and “crackpots” to the growing professionalization of natural science as a discipline. Folklore scholar and zombie expert Peter Dendle puts it even more diplomatically

Unconfirmed species served as an implicit ground of conflict and dialogue between untutored masses and educated elite, even prior to the rise of academic science as a unified body of expert consensus.

What’s particularly interesting about 1950s cryptozoology is the way it seemed to exploit this haunted zone of possibility between fiction and verifiable fact, using doubt to its advantage. After all, dinosaurs, too, were once considered the stuff of fantasy. It was only with Cuvier and the bones unearthed by American paleontologists Edward Cope and Othniel Marsh in the 19th century that the systematic study of fossils could take place, bringing dinosaurs closer to the realm of nonfiction, if not yet science. But Sanderson and Heuvelmans went even further. Leveraging their status as outsiders, they argued that dinosaurs not only existed, but likely still survived in some remote corner of the globe. Though they claimed to despise the academy, the cryptozoologists simultaneously aspired to remake it in their image. At the same time, they were right to call out the overreliance on fossil evidence and the role of colonialism. Too often native accounts were dismissed, while white administrators who rarely left the comforts of their coastal abodes were given the benefit of the doubt regarding matters in the interior. Then there was and still is the practice of naming a new species after the first western interloper to lay hands or eyes on it. 

Fawcett Publications, 1970. Cover art by Frank Frazetta

Take the gerenuk. Native to Somaliland, where it is known as garanuug, this beautiful giraffe-necked creature is often called the Waller’s gazelle because in 1879 a hunter-naturalist “discovered” and named it after the Waller who procured the specimen. Ditto Clarke’s gazelle, Père David’s deer, Burchell’s zebra, Hunter’s hartebeest, Meinertzhagen’s forest-hog, and so on. But in what sense can one claim to discover something well-known or to name something that already has a name?

It echoes an earlier struggle, during the 18th century, when European naturalists were skeptical about biological life in the New World. The Comte de Buffon was especially vocal in his doubts that any significant new species remained to be discovered there. Thomas Jefferson, perhaps the founder of American paleontology, disagreed. Jefferson had a network of people supplying him with newly-discovered fossils, specimens that ultimately convinced him that mammoths or mastodons must still exist somewhere out in the American wild. “It may be asked, why I insert the mammoth, as if it still existed,” he wrote in 1785’s Notes on the State of Virginia. “I ask in return, why I should omit it, as if it did not exist? […] [the north and west] still remain in their aboriginal state, unexplored and undisturbed by us, or by others for us. He may as well exist there now, as he did formerly where we find his bones.”

In sowing doubt and helping to bust down the door to amateurs, Heuvelmans and his descendants also opened up the flood gates to crowdsourced conspiracy, in which one begins with the desire to believe and then seeks corroborating evidence among the like-minded. The more corrupt our political and environmental reality seems to get, the more technocratic the solutions proposed, the more desperate the reaction from people with nothing left to lose. In a world of constant contact, ubiquitous information, and surreptitious surveillance, doubt has become a powerful weapon against orthodoxies of all kinds. For some self-styled freethinkers, it serves as a shield from truths too ugly and dangerous to perceive directly. It reminds me of the Toynbee Tiles, an anonymous graffiti phenomenon that started with tantalizing mosaics pressed into the asphalt of major cities in the US and abroad, promising some kind of utopian TOYNBEE IDEA/IN MOVIE ‘2001/RESURRECT DEAD/ON PLANET JUPITER, but ultimately spelling out a paranoid Protocols-like media conspiracy: MURDER EVERY JOURNALIST I BEG OF YOU.

We need monsters. Without them, the world is somehow more terrifyingly rational, shrunken, diminished. The imagination rebels against such austerity, casting shadows where they didn’t exist. “But then everyone thinks himself better than his neighbours and gives them beastly habits or animal appearance,” writes Heuvelmans. “Most of the ancient travellers gave tails to the savages they found, especially on islands. Marco Polo mentions men with tails in Sumatra. Gemelli-Careri finds them in Luzon, Jean Struys in Formosa, the Jesuit missionaries in Mindoro near Manila, Köping, a Swede, in the Nicobar Islands.” Then, as if looking in the mirror, he turns back to Europe and the West: “in Europe in the seventeenth century the Spaniards believed Jews had tails, in France the people of Bearn attributed them to the Cagots who lived at the foot of the Pyrenees, and in England the Devonians believed the same slander about their Cornish neighbours. . . . Every savage believes in someone more savage than himself.”

Daniel Elkind is a writer and translator living in San Francisco.Patreon Button


DMSGuild Witch Project: Hex Witch - 5E Player Class

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Another full class today.  This one has been selling well so let's see what is inside.

Again, here are my rules and guidelines for these reviews. 

Hex Witch - 5E Player Class

This is a 9 page PDF (1 cover, 1 title page, 7 pages of content) and sells for $2.95 straight. So well above the 10 cents per page guide at 42 cents per page. This presents a full witch base class and three subclasses, known as "Wiccan Pathways." Now for myself, I try to avoid using the term "Wicca" in games since it is a recognized religion.  Even in the stuff I wrote for the WitchCraft RPG we used "Wicce."

The paths are the Augury Witch (seer), the Fey Witch (combat spellcasting), and the Wyld Witch (healer). So some nice variety. 

This witch also gets Hex powers that a little like the Hexes the Pathfinder witch gets or the Occult powers I give my witches. 

This witch uses Charisma as their main spell-casting ability. 

Some powers sound good, but are not 100% clear on what they really do or how they work. Living Objects for example is described as inanimate objects coming to life. But are they still made from the material they were or are they flesh and blood?  Will Dispel Magic turn them back?

This one also properly credits the artists which is good.

I like it, but it left me wanting something more in the end. 

October Horror Movie Challenge: Il Sesso Della Strega (1973)

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Wait...didn't I watch this one last night?  Well, you would think so just comparing the posters.
Also known as "Sex of the Witch" this one came out a year after Byleth did.  Though in fairness BOTH movies do have a scene that the cover could represent.

An old wine merchant is dying so he curses his family, in particular his greedy grand-children.

One by one people start to die.

The plot, minus the sex and witchcraft, could have been a thriller or even a comedy.  There are some parallels to some murder mysteries like Clue and Knives Out.  In the sense that people keep dying and there are a bunch squabbling children trying to get Daddy's wealth.

There is lots of sex and nudity and it is pretty much the ultimate evolution of the Italian Giallo, Eurosleaze flick.  It was only missing a deformed henchman in my mind. Though there is a creepy dude in black.

I will admit that I am now likely to use "fondling the goldfish" as a sexual euphemism after watching this movie.  The said scene is about 40 mins into my copy.

It is notable that Camille Keaton of "I Spit On Your Grave" fame appears in this one as well as one of the nieces, Anna.  she gets clawed by the previously mentioned creepy dude.

The movie's biggest crime though is that it is a slog and actually kind of dull.

Maybe a Byleth +  Il Sesso Della Strega supercut is needed.  In fact, I know just how to do it.At least we know what poster to use.
Watched: 6
New: 6
The rich brother writes his sister out of his will because she was a witch and seduced him when they were younger.  Now their illegitimate daughter is back. She is also a witch (more powerful since her blood is "concentrated") and begins to kill off all her half-siblings (they think she is "just" a cousin) so she can have all the inheritance for herself.Since she is a diabolic witch her patron is Byleth, the Demon Prince of Incest. While Byleth, or Beleth, has a history this version is closer to the D&D/Pathfinder demon Socothbenoth.
Now, this would obviously be a more R or even NC-17 rated game. To borrow a Scooby-doo trope one of the characters is a distant relative to the brother's wife (so no weird blood relations here).

The Official Music of the OSR is Run-DMC

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Seriously. It is. 

Like Old-School D&D was a pioneer of gaming,  Run-DMC was a pioneer of old-school rap and hip hop.  Many hip-hop groups cite Run-DMC as their primary influence and for many of us Run-DMC was out first exposure to the wider world of rap and hip-hop.  Could there have been a Public Enemy without Run-DMC? Wu-Tang Clan? NWA? Snoop-Dogg? Outkast? Salt-n-Peppa, De La Soul? Cypress Hill? US3? Digable Planets? TLC? (damn, I still love TLC).

We owe it all to Run-DMC.

Silly?  Yeah, a little. But my love of Run-DMC is pure and true. And yeah I know all the words to these songs. 

But making a claim, any claim, about the OSR is pointless.  While there are trends, there are no main drivers here. No one setting policy or dictating terms save for collective memory of a time when you could turn on your radio and hear "It's Tricky."

Consequently, the claim that OSR is conservative only track because the OSR is as has been often pointed out, full of old fucks.

I am pretty far left and get more liberal and more left and more blue with each passing year. 

I shouldn't need to say this, but here it is.

Like THAC0 BLOG and The Elf Game, I don't just reject Nazis and White Supremacists, I utterly reject them and condemn them, and they are not welcome in any part of the games I play, write or enjoy.  They can take their orange shitgibbon Trump with them. 


And Black Lives Matter. 

And fuck Trump.

Don't like it? Get the fuck out of the OSR.

Monstrous Monday: Zombie Witch

The Other Side -

Welcome to the FIRST Monstrous Monday of October 2020.

If you are on social media you might have seen this little gem from last week.

The answer of course is, me. I had Zombie Witches on my bingo card!   

Well if I didn't I do now.

Photo by Thirdman from PexelsZombie Witch
Medium Undead (Corporeal)
Frequency: Very Rare
Number Appearing:  2d4 (2d4)
Alignment: Chaotic [Chaotic Evil]
Movement: 90' (30') [9"]
Armor Class: 5 [14]
Hit Dice: 4d8+4** (22 hp)
Attacks: 2 claws + 1 bite, Cause Fear
Damage: 1d6, 1d6, 1d4
Special: Only harmed by silver, magic. Cause Fear 1x per day as per spell. Curse.
Size: Medium
Save: Witch 4
Morale: 12 (12)
Treasure Hoard Class: None; see below
XP: 100

When a powerful lord or lady dies they are often interred with fine weapons, treasures, and other grave goods that will support them in the after-life.  But these lords also know that these good are desired by the less pious and greedy.  So the lords will often arrange for a coven of witches to be sacrificed in a dark ritual and buried with the grave goods.  The witches do not volunteer for this task, they are captured and sacrificed after the lords' death. It is believed that the anger of the witches will transcend death and the tomb will be protected.

This is true and the undead witch, now a mindless zombie will attack anything living that enters the tomb.  Appearances may differ, but they are all undead witches in various states of decay or mummification.

Often lower level witches are used (under 6th level) and the only remains of their magic is a cause fear ability they can use as a group 1x per day.  They then attack as fast-moving zombies (normal initiative).  They will fight until they are destroyed. If the last zombie witch is destroyed and there are still combatants alive they will lay their final curse.  Anyone taking goods away from the tomb must save vs. death or be afflicted with a rotting disease that drops their HP by 1d6 per day until death. Healing magics, potions, or other means will not stop the spread of the curse.  Only a remove curse or similar magic can stop this curse. Then the victim can be healed. 

If destroyed, zombie witches will reform by the next new moon.  Only a cleric casting bless or a witch casting hallow or  remove curse on the tomb will stop their return. 

Zombie witches are turned as wights or 4HD undead.

Zombie Witch
(Night Shift)
No. Appearing: 2-8
AC: 5 
Move: 30ft.
Hit Dice: 4
Special: 3 attacks (2 claw, bite), cause fear, bestow curse

Weakness: Vulnerable to silver, magic weapons and holy items.  Holy water does 1d6+1 hp of damage to them.

If you want to see the other undead witches I have made over the years here is a list:

DMSGuild Witch Project: The Witch from Greg Baxter

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Today I want to focus on a Witch class proper.  I grabbed this one a bit ago and it has been languishing on my harddrive ever since.

Again, here are my rules for these reviews of this series. 

A lot of pdfs on DMSGuild are named "The Witch" and I guess I am not really any better on DriveThruRPG, so to distinguish them I am going to include the author's name in the titles.

The Witch from Greg Baxter

This is an eleven-page PDF (8 pages of content, 1 cover, 1 title, 1 legal) that sells for $1.33 on DMSGuild (PWYW, suggested). So just a little over that 10 cents per page rule of thumb.

This product covers an entire witch base class.

These witches are very tied in with Hags and have the first witches as human women that have broken free from their transformation into hags. 

The main ability of these witches is Intelligence. 

The subclasses for this witch are Haglore Scholar, Athame Witch, and Rune Witch.  They have a lot of flavor, to be honest, and would be fun to try out.

No new spells, but the spell lists are rather extensive covering the Player's Handbook and many of the other sourcebooks.

The art is minimal, but at least there are credits to the artists. 

All in all there are some fun options here and I'd give them a try

Miskatonic Monday #53: The Mummy of Pemberley Grange

Reviews from R'lyeh -

Best known as a manufacturer of props—both gaming and comic book related, Type 40 has now entered the actual gaming industry with the first of its ‘Seeds of Terror’ for use with Call of Cthulhu, Seventh Edition. Each Seed is designed to be concise and easy to run, and not only that, be easy to purchase, prepare, and run all within a single session. To that end, each includes a set-up and a plot, all of the necessary maps and handouts, and five ready-to-play pre-generated Investigators. The very first in the series is The Mummy of Pemberley Grange.

The Mummy of Pemberley Grange: A 1920s Call of Cthulhu Seed of Terror for 4 or 5 investigators takes place at a country mansion in the 1920s to which the Investigators have been invited. Their host, Jessica Pemberley, rich socialite and Egyptophile, has shipped a mummy to her home all the way from Cairo and has invited them to an exclusive ‘unwrapping party’. This is a great event, an especially prestigious event which promises great, even macabre spectacle, made all the more so because of its intimacy, just a handful of attendees rather than the very public spectacle of a Mummy unwrapping as had occurred during the Victorian Era.

Essentially, the unwrapping in The Mummy of Pemberley Grange goes ahead as planned. Then something happens and the Investigators find themselves in a perilous situation—hunted from room to room and down corridor after corridor by a nigh-on unstoppable monster. All the Investigators have to do is keep out of the monster’s clutches and find a means to stop the threat facing them. Fortunately, everything that the Investigators needs is contained within the walls of Pemberley Grange—maps, clues, books, et cetera. The solution, once found, is gruesomely entertaining, though some players and their Investigators may find it quite unpalatable.

For all that there is a plot in The Mummy of Pemberley Grange, it is a simple plot and a straightforward plot. In fact, The Mummy of Pemberley Grange is primarily the set-up for a trigger event, and once that event is triggered, whatever happens next is driven by the actions of the Investigators. Aided, of course, by the occasional nudges from the Keeper in the form of the unstoppable monster…

The Mummy of Pemberley Grange comes with five ready-to-play pre-generated Investigators. They include an Egyptian archaeologist, a reporter, a businessman, a socialite, and a dilettante. Each comes with a little background, but for the most part, the players have plenty of space in which to create the details of their Investigators’ backgrounds. The three handouts are also well done.

However, there are a couple of issues with The Mummy of Pemberley Grange. The first is the map, which shows the floorplans of Pemberley Grange. The floorplans are in fact excellent and have a period feel, but they are only of the ground floor. Which is a bit of a problem should the Investigators want to go upstairs. The second is that there are twenty or so locations given on the map, but only a handful are given any description, which means that the Keeper is going to have to make up whatever might be found in these rooms. This should not be a problem if the Keeper has watched her fair share of episodes of Downton Abbey or Poirot, but if not, the flavour and feel of the scenario might suffer, let alone the pacing if the Keeper has to improvise too much.

Physically, The Mummy of Pemberley Grange is presented and easy to read. The handouts and the map are available to download separately, as are the Investigator sheets. They are also easy to use.

A classic Mummy unleashed horror scenario rather than a Mythos scenario, The Mummy of Pemberley Grange has potential to be great fun and the nature of its monster and set-up makes it easy to run as a Cthulhu by Gaslight scenario during the Victorian Era. Equally, it could be shifted to the USA or Australia just as easily—or another country with a few name and language changes. In fact, those changes would only take a few minutes, but really, that would only double the set-up time, because The Mummy of Pemberley Grange really can be downloaded, read through, and prepared in ten minutes—and that is being generous. Overall, The Mummy of Pemberley Grange really delivers on its low preparation promise; after that, it is up to the Keeper to deliver the horror and the Investigators to run scared as the Mummy stalks them in the halls of Pemberley Grange.


A full play through of The Mummy of Pemberley Grange is available to watch on YouTube recorded as part of Melbourne International Games Week.

October Horror Movie Challenge: Byleth: The Demon of Incest (1972)

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This is another one from last year.  The Blu-Ray was not available till November, so here we are. This is another one of those notorious movies of the 70s Euro-sleaze horror. One I had been looking for a while mostly because I never thought I'd find it.

Byleth: The Demon of Incest is a little Italian gem that features murders, gratuitous nudity and enough brother/sister incest for an episode of Game of Thrones.

Let's get right to the point. It's not good. It is slow and the lead Mark Damon as Duke Lionello is not great.

The movie revolves around Duke Lionello, his sister Barbara and Barbara's new husband Giordano.  This is a problem of course since Lionello and Barbara have been having an incestuous affair.   An affair that Lionello is loathed to give up.

The movie does make use of the demon Beleth, which is expected.  At one point Barbara asks her brother, Lionello, if he still has his white horse.  They later talk about "Byleth" on his white horse.

Of course, you are never sure if Lionello is possessed by Byleth or just crazy.  I like to think possessed because that is what I do here.

The Severin Blu-Ray version is really good.  There are some color issues from the original negative, but otherwise, it looks great.  Too bad the movie could not live up to the hype.

Watched: 5
New: 5
Come back tomorrow night for my ideas on this one!

Nika Goltz (1925–2012)

Monster Brains -

Nika Goltz - The Snow QueenIllustration from "The Snow Queen"  Nika Goltz - The Little WitchIllustration from "The Little Witch"  Nika Goltz - Alexander Sharov. Wizards come to the people. The book about fairy tales and storytellers.Illustration from Alexander Sharov's "Wizards Come to the People" The book about Fairy Tales and Storytellers.  Nika Goltz - The Little Water-SpriteIllustration from Otfried Preussler's "The Little Water-Sprite"  Nika Goltz - English Folk Tales, Illustration 03Nika Goltz - English Folk Tales, Illustration 02 Nika Goltz - English Folk Tales, Illustration 01Illustrations from "English Folk Tales"  Nika Goltz - The Little Mermaid, Illustration 01Nika Goltz - The Little Mermaid, Illustration 03 Nika Goltz - The Little Mermaid, Illustration 02Illustrations from Hans Christian Andersen's "The Little Mermaid"  Nika Goltz - Scottish Folk Tales and Legends , Illustration 03Nika Goltz - Scottish Folk Tales and Legends , Illustration 01 Nika Goltz - Scottish Folk Tales and Legends , Illustration 02Illustrations from "Scottish Folk Tales and Legends" 
Nika Goltz - The Little Ghost, Illustration 01Nika Goltz - The Little Ghost, Illustration 02 Nika Goltz - The Little Ghost, Illustration 03 Nika Goltz - The Little Ghost, Illustration 04 Nika Goltz - The Little Ghost, Illustration 05 Nika Goltz - The Little Ghost, Illustration 06Illustrations from  Otfried Preußler's "The Little Ghost"

Most artworks found at Book Graphics. 
 Artist previously shared here.

Psycho-Sexual Killer Qu'est-ce que c'est

Reviews from R'lyeh -

Lover in the Ice, a scenario for Delta Green: The Roleplaying Game carries the proviso that it is, “Recommended only for the most resilient players and Agents”. Be advised that this warning is well deserved, for the horror in Lover in the Ice is of a horrifyingly adult nature, being body horror akin that of the 1979 film Alien, but combines it with the almost viral-like vector of John Carpenter’s The Thing and a psycho-sexual drive of a David Cronenberg film that ramp up its intimately sexual elements to disturbing levels. Whilst most horror scenarios are of an adult nature and require a mature audience, the horror in Lover in the Ice is of an unremittingly intense, if not extreme timbre, which would be very difficult to tone down. However, if a playing group is prepared for it and are forewarned about the strength—though not necessarily the nature—of horror in its pages, Lover in the Ice will deliver a memorably vile investigation into something that should not be…

Published by Arc Dream Publishing, what Lover in the Ice has in common with so many other scenarios for Delta Green: The Roleplaying Game, is that it is about ‘Investigation, Containment, & Denial’—and it really plays up the Containment angle. As is tradition for a Delta Green: The Roleplaying Game scenario, it begins with a telephone call. The Agents are to go to Lafontaine, Missouri which is currently caught up in an apocalyptic ice storm which has shut down and isolated the town. As the Agents may come to realise, although this might hamper their investigation, this is a very, very good thing. An alert has been triggered on a Green Box, one of the private storage areas—typically a rental storage unit, but it could be the boot of a car in a used vehicle dealership—where Agents can store valuable resources such as equipment and arms and materiel, as well as dump evidence of their activities and investigations in relative safety. In this case, the Green Box is at a storage rental facility in Lafontaine and the Delta Green ‘Friendly’—the employee at the facility paid to keep an eye on its has not responded. The Agents need to ride the relief efforts in Lafontaine, locate the ‘Friendly’ and find out what he knows, then verify the contents of the Green Box, determine if any of it is missing or has been stolen, and if so, get it back.

This though, is only the start. The Agents will at least need to establish the veneer of their cover before launching the investigation proper, but clues can be found almost from the off, and the Investigators are likely to be faced by a steady flow of them as they conduct their investigation—almost dauntingly so. The players really do need to be taking notes throughout and linking the clues to gain an understanding of both the backstory and what is actually going on—and ultimately, the threat that represents. Which means that the handler needs to read Lover in the Ice carefully to have that understanding herself. For the most part, the clues veer from signs of weirdly sexual activity to bloody murder scenes and back again, but the author gives the Agents a pause early in the scenario with an inventive array of weird and peculiar artefacts and not-tomes—mostly unexplained—which they need to examine and verify that were stored in the Green Box. Of course, major clues as to what was going on can be found here too, and the Agents are likely to suspect that they tie into some the oddness they will already have discovered. All of this should hopefully prepare them for the horribly bloody, even intimate encounters and confrontations with the threat at the heart of Lover in the Ice which become more dangerous each time they happen.

The environment for the investigation in Lover in the Ice also plays a part, although not as an active a part as you would think, and a Handler might want. It has two effects, one immediately obvious, one not. Not wanting to spoil the nature of the not so obvious one, the primary and obvious effect of the ice storm is to constrain the limits of the investigation. Not just in terms of geography, but also in the size of the cast in the scenario—the Handler really only has the one NPC to roleplay throughout the whole scenario. This only serves to heighten the sense of isolation in Lover in the Ice already present from limitations upon the physical senses due to the storm and the weather and the limited capacity to contact the outside world. However, the weather has no other physical effect on the scenario, and it will be up to the Handler whether she wants to enforce the effects and limitations upon her Agents when investigating in a severely cold environment.

As constrained as the environment for Lover in the Ice is, one of its major problems is that it is lacking a map of Lafontaine. The investigation has a Geographic Profiling aspect to it, and it would have been nice if the Agents had been able to spread open a map and plot the clues on a handout. The other issue is that not all of the monster NPCs are given stats. Neither problems are insurmountable, and the Handler should be able to create both the stats and a map with a little effort. That said, she should not have to, given that the last two pages of Lover in the Ice consist of a Delta Green Agent sheet, which to be honest, is superfluous here.

Lover in the Ice is very much a player and their Agents driven scenario. Its plot is already in motion and the Agents are essentially tracking that down in order to contain the threat. Again, a map of the location for the scenario’s denouement—climax would probably have been an inappropriate description—would have been useful, but again the Handler should be able to find one. In comparison to the investigation, the denouement does feel slightly underwritten, but the conclusion does highlight how the Agents’ failure to contain the situation in Lafontaine is likely to turn into a storm of another nature…

Physically, Lover in the Ice, as with so many other scenarios for Delta Green: The Roleplaying Game, is for the most part neatly laid out and well written. Its clues and handouts are nicely done and the details on the floorplans included are a huge improvement in terms of detail in comparison to other scenarios.

Essentially, The Thing in the ‘Show Me State’—as Missouri is also known—the likelihood being that the players will be going, “No, please don’t show me!”, is as nasty a slice of physical horror that Delta Green: The Roleplaying Game has ever served up. Its adult tone and the nature of the horror simply will not be for every player—and the Handler should take that into account when deciding to run Lover in the Ice. If however, the Handler does decide to run it and with the right group of player, Lover in the Ice combines a rich welter of clues and investigation with desperately disturbing horror.

October Horror Movie Challenge: The Sonata (2018)

The Other Side -

This was a fun one.  It reminds me a bit of "The Mephisto Waltz" and a little bit of the "Music of Erich Zahn", only in reverse.

Rose Fisher (Freya Tingley) is a world-class violinist and she learns that her estranged father, and brilliant strange composer,  Richard Marlowe (Rutger Hauer) is dead.
She inherits his home and all his belongings including a very strange violin sonata.  Her agent Simon Abkarian (Charles Vernais) investigates and learns that the sonata was part of a work linking it to a cult of Satan worshipers in France and it appears to have been written just for Rose.

The movie is more of a thriller, but there is the summoning of the antichrist and the ghosts of the children sacrificed by Marlow in the process of composing his masterpiece sonata.

The movie was rather good.  Frey Tingley is great as Rose and I wanted more Rutger Hauer.

The end was a nice little twist so I enjoyed that.

I am a sucker for any story that mixes music with magic.

Watched: 4
New: 4
Frankly, I would lift this plot wholesale to use as a NIGHT SHIFT adventure. Investigate the scary mansion of a composer that commits suicide. Horrible tapes found in the basement. All sorts of great things here.  Though stopping it would require an active antagonist. 

Brilliantly Sunny Handouts

Reviews from R'lyeh -

As well as introducing players to the cosmic horror of H.P. Lovecraft and the concept of playing ordinary persons—or investigators—pitched stopping the entities and their servants borne of an uncaring universe, Call of Cthulhu introduced something else. And that is, clues, and in particular, their associated handouts. For Call of Cthulhu is a literary game and an academic game, a game in which clues come in the form of letters, diaries, newspaper clippings, excerpts from Mythos tomes, and more. Which of course, means that they can all be copied and cut out for the players and their investigators’ perusal, and from the clues found, so push the play of the game forward. As scenarios and then campaigns grew in complexity, then so did their clues, and then so did their handouts...

Of course, the first sophisticated handout for Call of Cthulhu would arguably be the match book for the Tiger Bar in the Shanghai chapter of Masks of Nyarlathotep, and in some ways, just as Masks of Nyarlathotep has remained the preeminent campaign for Call of Cthulhu, so its handouts have remained as correspondingly important. Thus to accompany the most recent edition of the campaign, updated and adjusted for use with Call of Cthulhu, Seventh edition, The H.P. Lovecraft Historical Society has created the Masks of Nyarlathotep: Gamer Prop Set. With its one hundred and more props and handouts, this—even in its standard form—is a gorgeous looking collection and would deservedly go on to win the 2019 Ennie Award for ‘Product of the Year’. (Note that Reviews from R’lyeh has only had a chance to examine the Masks of Nyarlathotep: Gamer Prop Set and is not ashamed to admit that it would like to write a review of this and other prop sets.)

However, not every campaign or scenario warrants so lavish a treatment, but over the years there have been many efforts to support Call of Cthulhu’s use of handouts as props. For example, Chaosium, Inc. published the Beyond the Mountains of Madness Game Aid, which collected all of the handouts and supporting material for the pre-millennium campaign, Beyond the Mountains of Madness Game Aid. Similarly, Pagan Publishing published GM Packs for many of its campaigns, such as that for Realm of Shadows. Many of these extras have become highly collectible, with correspondingly high prices, even though in some cases, they have not amounted to much more than a few sheets of paper.

Alongside this, another trend has allowed the Keeper to create more and more of her own handouts—the use of the personal computer and inexpensive Desktop Publishing software. Previously, a Keeper might have written out a handout and then soaked it in tea before drying it out in the oven to get that effect of its being old, and whilst she might still do that today, she is just as likely to create something her computer—a letter, a diary entry, a newspaper article, a map, and the like. This also means that publishers can do the same, whatever their size. So it is with Dave Sokolowski and Weird 8, who has released the Sun Spots Prop Kit, a set of handouts for the 2016 scenario, Sun Spots. Set in 1926, west of a wintery Boston in the resort town of Red Valley where sun-worshippers are taking advantage of the unseasonably warm weather and a father—accompanied by the investigators—have come to retrieve his daughter, whom he believes to have fallen into immoral company. Of course, nothing is as it seems, for that immoral company turns out to be sun-worshipping cultists, more and more of whom flocks to the town the heat grows and grows, threatening burn it—and more—down.

The Sun Spots Prop Kit is a simple envelope, inside of which are just four items. The first of these is the first of three maps in the Sun Spots Prop Kit. This is an A3-sized, double-page spread of the town, drawn in topographical style, and done as the sort town map you might find at a tourist office or a hotel. It even comes with marked and numbered location as well as list of adverts down one side. This gives it a lovely verisimilitude. The second prop consists of several entries in the daughter’s diary over a couple of sheets and they are nicely presented with a slightly rough and idiosyncratic feel to the handwriting. The handwriting is large and easy to read, but with elements that make it just a little harder to read in places—just like the handwriting of you or I.

The second map—and third prop—is a simple plan of the town of Red Valley. This feels much more a handout rather than an in-game map like the first one, but is clear and simple. The likelihood is that this map was designed to accompany the third map—and fourth prop, an elevation map of the valley around the town of Red Valley. Now in Sun Spots, only the fourth prop was included in its pages, rather than including a map of the town. So, the Sun Spots Prop Kit certainly fixes that omission. Of the two maps, the elevation map is the only one done in full colour and it has a pleasing delicacy to it matching the area maps of the period.

Physically, the Sun Spots Prop Kit is solidly presented. All four items are printed on weighty paper stock and feel good in the hand. 

The Sun Spots Prop Kit is smartly done and all four props have a lovely feel to them. Now if you have a copy of Sun Spots, then the truth is that the props in the Sun Spots Prop Kit are not entirely necessary to play the scenario. However, they do add a degree of verisimilitude when running the scenario—especially the tourist-style map and the diary. Which means that the Sun Spots Prop Kit does what it is intended to do and that is, help make the play Sun Spots all the better.

Mutant Cosmic Horror

Reviews from R'lyeh -


Mutant Crawl Classics #8: Evil of the Ancients is the eighth release for Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic, the spiritual successor to Gamma World published by Goodman Games. Designed for Third Level player characters, what this means is that Mutant Crawl Classics #8: Evil of the Ancients is not a Character Funnel, one of the signature features of both the Mutant Crawl Classics Roleplaying Game and the Dungeon Crawl Classics Role Playing Game it is mechanically based upon—in which initially, a player is expected to roll up three or four Level Zero characters and have them play through a generally nasty, deadly adventure, which surviving will prove a challenge. Those that do survive receive enough Experience Points to advance to First Level and gain all of the advantages of their Class. In terms of the setting, known as Terra A.D., or ‘Terra After Disaster’, this is a ‘Rite of Passage’ and in Mutants, Manimals, and Plantients, the stress of it will trigger ‘Metagenesis’, their DNA expressing itself and their mutations blossoming forth. By the time the Player Characters in Mutant Crawl Classics #8: Evil of the Ancients reached Third Level, they will have had numerous adventures, one of which might have been Mutant Crawl Classics #3: Incursion of the Ultradimension. This is important because both scenarios are written by Michael Curtis and because Mutant Crawl Classics #8: Evil of the Ancients can be played as a sequel to Mutant Crawl Classics #3: Incursion of the Ultradimension.

In Mutant Crawl Classics #3: Incursion of the Ultradimension visited a strange island off the coast, home to a scientific research facility which has been invaded by, guess what, an Incursion of the Ultradimension. It combined a sense of the weird with a hint of Blue Collar Science Fiction Horror a la the 1979 film, Alien. The facility also contained a map indicating the location of other facilities in the time before Terra A.D., which might actually still be found, possibly even found intact, in the here and now of Terra A.D. The location for Mutant Crawl Classics #8: Evil of the Ancients is such facility located on the map. However, it need not be run as a sequel, but simply as an encounter along the way as the Player Characters travel from one place to another. However, it may lose a certain resonance if played as a standalone and playing Mutant Crawl Classics #8: Evil of the Ancients as a sequel to Mutant Crawl Classics #3: Incursion of the Ultradimension will go towards building a sense of a campaign, something that is not necessarily a strong feature of the Mutant Crawl Classics Roleplaying Game.

Most scenarios for Mutant Crawl Classics Roleplaying Game are a combination of the gonzo and the weird, Science Fiction with an element of fantasy. Mutant Crawl Classics #8: Evil of the Ancients is different in that it is less fantasy and less gonzo, and very much a weird horror scenario. Once the Player Characters descend into the facility, they at first find scenes of death, but the more they explore, they find that these deaths appear to be the result of a manic outbreak of madness and violence. Of course, the apocalypse that brought Terra A.D. into being, killed millions, but in many of the thirteen rooms and corridors underground, the Player Characters will discover signs of the staff having run amok, signs of their not only having inflicted bloody violence, but of have actually committed acts of torture upon each other. The question is, what drove them to act in such a way?

What drove them to act in such a way was an extra-dimensional creature, a thing dragged into this world by the comic researches being conducted at the facility—think the Large Hadron Collider, but significantly more compact—and in its efforts to persuade the scientist to find a way of getting it home, its viral emanations drove the staff mad and they killed each other. Unfortunately, for the Player Characters, it is still trapped, and it still wants to get home, and it will go to any means to make it possible, even if it means sacrificing a sufficiently powerful enough psychic mutant as part of the process. Which means communicating with the Player Characters, which means that just like the facility before them, it means driving the Player Characters crazy! And is something of a problem when it comes to running Mutant Crawl Classics #8: Evil of the Ancients as part of a campaign.

Essentially, Mutant Crawl Classics #8: Evil of the Ancients is a haunted house scenario whose horror is cosmic in nature. Mutant Crawl Classics Roleplaying Game is not a horror roleplaying game and does not have a Sanity mechanic a la Call of Cthulhu, but as the Player Characters explore the facility, they will receive—initially, but then eventually suffer echoes of memories of the staff before they died, and then when they died. It is horrific and it is horrible, and worse, the most terrible of memories not only inflict harm on the Player Characters, they also force the Player Characters to inflict harm on both each other and themselves—and that is a big problem.

Mutant Crawl Classics Roleplaying Game is not a horror roleplaying game and so does not normally deal with situations in which the Player Characters are trapped in a closed environment and in some cases driven to inflict bloody torture on each other and themselves. In a horror scenario for a horror roleplaying game, this would not be as much of an issue because it is within the remit and the nature of the genre. In the post-apocalyptic genre of the Mutant Crawl Classics Roleplaying Game it is so much. So as consequence, the first issue with the scenario is that it should have included warnings as to its nature and the traumas it entailed. The second issue is that the scenario’s events and traumas are divisive and will see the Player Characters acting against each other—physically and mentally given that this is a scenario for the Mutant Crawl Classics Roleplaying Game. Ultimately, this could see the Player Characters killing each other, potentially leading to a ‘Total Party Kill’, and not every group will be happy with this. For such a group, it could break the game or even the group itself! And again, the scenario should have included warnings as to its nature and the traumas it entailed.

However, if the players are happy with the horrific nature of Mutant Crawl Classics #8: Evil of the Ancients, then it is a horrifically atmospheric scenario, its creepiness building and building as the Player Characters encounter memory echo after memory echo and become aware of the true nature of past events in the underground facilities. Ultimately, it is likely to lead to an outbreak of bloody violence amongst themselves, and perhaps their best course of action is to retreat, to count the exploration as at best, a horrifying experience best left unrepeated. Its horrible nature means that it also works as a one-shot, and its short length, means that it could also be played in a single session, possibly as a convention scenario (doing so, would definitely require the warnings that the scenario is sadly lacking).

Lastly, it should be pointed out that Mutant Crawl Classics #8: Evil of the Ancients discusses possible outcomes to the scenario and gives an alternative ending involving a more physical confrontation—rather than the Player Characters running away. An appendix details the viral nature of the threat they will face in the scenario.

Physically, Mutant Crawl Classics #8: Evil of the Ancients is nicely presented. It needs an edit in places, but is generally well written and the artwork involves a lot of the signature characters seen in other Mutant Crawl Classics Roleplaying Game titles.  The double-page spread map is excellent though.

For all of its issues, Mutant Crawl Classics #8: Evil of the Ancients is a good scenario—creepy and weird, with a growing sense of horror as the Player Characters explore the facility. However, the scenario is also nasty in its horror, and some playing groups are not going to be happy with that and its divisive effects, especially in a game like Mutant Crawl Classics Roleplaying Game which normally does not feature either. The Judge is advised to read the scenario carefully and consider its effects on her campaign and her players before running Mutant Crawl Classics #8: Evil of the Ancients, and perhaps if Goodman Games publishes a scenario of a similar nature in the future, advisory warnings might be a good idea.

October Horror Movie Challenge: The Witch Who Came from the Sea (1976)

The Other Side -

Another "leftover" from a previous challenge.

This might be the most "1976" movie I have seen in a long time.  Lots of drugs, naked hot tubbing, and a busted up Volkswagen Karmann Ghia.

The main character, our "Witch", Molly is fairly insane.  She tries to repress the abuse she suffered at the hands of her father while lusting after all these different men.
She also seems to be killing men but not remembering it.
 Molly is not just deranged, she is also very simple like she is still stuck somehow back at being a child.

Molly keeps spiraling deeper into madness and the police are quickly on to her.

In some of her flashbacks, it's hard to tell what was real and what is only her delusional state.  So she either killed a few men or a lot of them.

What I don't get is how in the hell did she get up and kill people with all those drugs and alcohol in her system.

IMDB said this movie had witchcraft in it, but not really.
There is horror here, but not of the conventional sort.

Watched: 3
New: 3

Not every supernatural occurrence is a bad one as I have tried to show in Ordinary World. Some times the supernatural occurrence is not even really supernatural.  In the case of this movie, there is a supposed "witch" but really it is just a mentally disturbed woman that kills men.  A ruse like this only works once to be honest so use it sparingly.  Too much and you turn your "Supernatural Horror" into "Scooby-Doo."

Friday Night Videos: The Hex Girls

The Other Side -

It's Friday! It's October! Let's start some Friday Night Videos!

Since I am also doing my October Horror Movie Marathon posts I am writing these posts early to autopost.

So let's get started.

Tonight I have the music of my favorite all-girl, eco-goth band of witches, the Hex Girls!  Not just the songs from their Scooby-Doo episodes but some clever coplayers and cover bands.

And all the Hex Girls songs in one place.

Happy Halloween!

October Horror Movie Challenge: The Horrible Sexy Vampire (1970, 1971)

The Other Side -

Well.  One of the words in the title is a lie, but one is spot on.
Also known as "El Vampiro De La Autopista" this is a movie that never really knows what it wants to do.  Both titles tell us this is a Vampire film, but it is often treated (right up to the end in fact) as a mundane murder mystery.   They make a big deal of the murders happening every 28 years, but the ending does nothing to explain that.

Not to spoil it, but the movie is kind of dull, the police detective pins the murders on an escaped mental patient.  One we don't even hear about till the very end.  This is despite the fact that the murders have an obvious supernatural element to them.  How obvious?  Well, the killer is invisible.

Now under other circumstances, this might be interesting, but here it is just cheesy.

Sadly some interesting ideas lost in this Spanish "Hammer-envy" movie.

Watched: 2
New: 2
Night Shift ContentWell.  The best thing to do with this one really is to have a serial killer in your games. Everyone thinks it is a vampire, but it really just a human psychopath.  This works well in Ordinary World if all the characters are supernatural and they are worried that one of their own is going to get them exposed.


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