Achtung! Cthulhu is the roleplaying game of fast-paced pulp action and Mythos magic published by Modiphius Entertainment. It pitches the Allied Agents of Britain’s Section M, the United States’ Majestic, and the brave Resistance into a secret war against those Nazi Agents and organisations which would command and entreat with the occult and forces beyond the understanding of mankind. They are willing to risk their lives and their sanity against malicious Nazi villains and the unfathomable gods and monsters of the Mythos themselves, each striving for supremacy in mankind’s darkest yet finest hour! Yet even the darkest of drives to take advantage of the Mythos is riven by differing ideologies and approaches pandering to Hitler’s whims. The Black Sun consists of Nazi warrior-sorcerers supreme who use foul magic and summoned creatures from nameless dimensions to dominate the battlefields of men, whilst Nachtwölfe, the Night Wolves, utilise technology, biological enhancements, and wunderwaffen (wonder weapons) to win the war for Germany. Ultimately, both utilise and fall under the malign influence of the Mythos, the forces of which have their own unknowable designs…
Achtung! Cthulhu: Shadows of Atlantis is a world-spanning campaign and the fourth release for Achtung! Cthulhu. An adaptation to the 2d20 System of the earlier version for Call of Cthulhu, the release of a campaign so early in the line makes sense chronologically. It takes place between August, 1939, before the start of the war and May/June, 1940, the period of the Phoney War when full hostilities had yet to break out and France was not yet invaded. The campaign will take the Player Characters or Agents from Vienna to Greenland via Rome, Cairo, Nepal, India, Persia, and more, in a desperate effort to prevent an incredibly ancient artefact from falling into Nazi hands. The period is rife with tension, but the Player Characters have a greater freedom of movement than might be imagined during the rest of the war and whilst they are not in danger of running into German military forces, they will be stalked in the shadows by Nachtwölfe agents and encounter many of their proxies.
In addition to being set early in the war, Achtung! Cthulhu: Shadows of Atlantis not just the first campaign for Achtung! Cthulhu, but also the first campaign for the Game Master and her players. This shows most obviously in the series of three sets of boxed text. ‘Roving Red Line’ handles the travels of the Agents around the world, summarising the options, but also giving a nod to those interstitial moments of map movements in the Indiana Jones series of films; ‘U.L.T.R.A.’ gives the Game Master extra details about NPCs and plot information; ‘Basic Training’, a simple guide to handling the mechanics of the 2d20 System in Achtung! Cthulhu in a particular scene as well as possible Threat expenditures for the Game Master to make the Agents’ more challenging. It also shows in the path and tone of the campaign. Apart from a framing device, the individual chapters of the campaign are not connected and there is no set path from its start to its end, so there is much less of an emphasis upon the collection and analysis of clues to move from one chapter to another. The tone is muscular, very much more action-orientated and in the realm of the Pulp genre rather than the horror genre. This is not to say that the campaign is not lacking in monsters or scary situations, but Shadows of Atlantis primarily involves encountering Nachtwölfe agents and its local, sometimes indigenous proxies as well as monsters based on local legends. Thus, there is a marked lack of monsters and entities drawn from the Cthulhu Mythos. In fact, almost none of the classic creations from H.P. Lovecraft’s oeuvre appears in Shadows of Atlantis. This does not mean that there is not a Mythos presence in the campaign, since Nachtwölfe plays a major role in the campaign, whilst Black Sun plays a minor role, but it remains offscreen for much of the campaign and the backstory to the campaign is unlikely to be revealed to the Agents. This does, however, fit the period, that of the Phoney War, when there is a high degree of uncertainty as to the nature of the enemy faced by the Allies and what that enemy would do next.
The campaign opens in August 1939. The Agents are in Vienna, Austria, working for Section D before what becomes Section M is established, to contact a German agent who feels betrayed by her masters following the death of her husband, Doctor Botho Ehrlichmann, under strange circumstances. He was a noted archaeologist and she believes that he was killed to keep his research a secret. This research concerned the translation and study of the scripts carved on an ancient black stone found in Egypt by a previous German archaeological team. Now his notes are missing and his wife does not want the Nazis to have them. The paper chase will lead the Agents across Vienna with the Nazis at their heels and subsequently out of Austria, south to Rome. By this time, war will have broken between Germany and Great Britain, but no such state exists between Italy and Great Britain. Nevertheless, Italy under Mussolini is a police state and the Nazis are already in Rome, conducting an archaeological dig deep under the streets of the Eternal City. By now, the preliminary research that the Agents will have done into Ehrlichmann’s notes reveals that the stone was linked to a powerful ancient artefact that was split up into five parts and hidden in various locations around the world. One of the locations was in Rome, which is why the Germans were digging into the tunnels under the city.
This sets up the framework for Achtung! Cthulhu: Shadows of Atlantis. Researchers back in Section D in England will continue to translate and decode Doctor Ehrlichmann’s notes. This provides the clues as to the next location where another part of the device can be found and what it is called. These assignments will take the Agents to Cairo, Nepal, India, and Persia, but beyond Vienna, these can be tackled in any order. In many cases, the Agents will find that the Nazis already have their own operatives or proxies on the ground, conducting archaeological excavations, often oblivious or uncaring of the dangerous consequences they are triggering. All involve fantastically monstrous situations, whilst the Cairo and Nepal chapters stand out for their weirdness. The Nepal chapter takes the Agents to an almost Shangri-La-like location, whilst the Cairo chapter sends the Agents into a version of the Dreamlands. The latter is the more engaging of the two, the other often exposition heavy and reading more like a travelogue.
Prior to the campaign finale in Greenland—and beyond, Achtung! Cthulhu: Shadows of Atlantis includes an extra location, new to this version of the campaign. This is British Honduras. With the Agents busy in Asia and the Middle East, when Section M learns of the location of another part of the artefact, it sends another team to secure it. Unfortunately, nothing has been heard from this team, ostensibly conducting an archaeological dig, for quite some time, so Section M arranges for a second expedition to locate the missing team and recover the piece of the artefact. However, word has got out about the missing team and the authorities have already agreed to an offer of help in finding it from the German Ambassador. Though this is with the proviso that neutral observers accompany the rescue mission. The twist here is that these neutral observers will not be the Agents who have been following up on details from Doctor Ehrlichmann’s notes in Vienna, Cairo, Nepal, India, and Persia, that is, in the rest of the campaign. They will instead be entirely different and new Player Characters. This is intended to provide a change for the players, both in terms of perspective and challenge, in roleplaying other characters, but it is a jarring shift. It is also a shift in tone, since the characters and the players will be dealing with Germans and German agents, not as direct threats, but as individuals—supposedly—helping to find missing archaeologists. So, this sets up some tensions between the Player Characters and the NPCs, as well as presenting more roleplaying opportunities than in the other chapters. However, the chapter does take the campaign to an off-scene location and so out of the flow of the campaign’s story. Alternatively, it provides a change of pace and focus before the big finale.
The finale takes place in Greenland and beyond—way beyond. The finale delivers on the title of the campaign and drops the Agents into the most mythological of places. In other words, Atlantis. Since this is Atlantis, this is on its last day, the day of its collapse. As the city falls apart around them, the Agents need to rush through the panicking and fleeing citizenry to stop Nachtwölfe from bringing its plans to fruition. It is a big, exciting conclusion to the campaign and there are some pleasing payoffs to the rest of the campaign as well as little Easter eggs for Achtung! Cthulhu as a whole. The campaign finale discusses various outcomes including failure upon the part of the Agents.
In terms of support, the appendices for Achtung! Cthulhu: Shadows of Atlantis provides stats for the major NPCs and monsters in the campaign and details of the new tomes, spells, and artefacts that appear in the campaign, including the one that forms the major driver for the campaign. There are also several related scenario seeds, quite detailed, but take place after the events of the campaign, all of the handouts, and four pre-generated Agents. They consist of a German émigré Private Investigator, an American secret agent, a British engineer and explosives expert, and an Irish-Czech circus performer turned mystic! If the players are choosing to create their own, then an Agent with knowledge of archaeology will be useful, as will a mystic.
Physically, Achtung! Cthulhu: Shadows of Atlantis is a great looking book, neatly laid out and illustrated with some excellent artwork. It is also well organised, each chapter opening with a Mission Overview, followed by its three scenes, and then brought to a close with a Debriefing. Where the campaign is lacking is in illustrations of the moving parts of the campaign, all the parts that the Agents will interact with. So there are no illustrations or portraits of the NPCs (though some do appear in the artwork) and certainly no illustrations of the various objects and parts of the artefact to be found. This is a major omission in either case, as the illustrations would make the identification of both objects and NPCs faster and easier and so made the campaign more real for the players and their Agents. There is also very little in terms of text to be read out or paraphrased by the Game Master, leaving her with quite a lot of description for her to parse and present to her players. Overall, given that Achtung! Cthulhu: Shadows of Atlantis is intended as a first campaign, certainly for Achtung! Cthulhu, the campaign is not always as helpful as it could or should be.
Given the Pulpy tone of the campaign, what is surprising about Achtung! Cthulhu: Shadows of Atlantis is the lack of good NPCs. Or the lack of scenery-chewing villains who appear over and over to make the lives of the Agents difficult before making their escape vowing to have their revenge after being defeated by the Agents. Part of this is due to the lack of illustrations to help the NPCs to life in general, but it is also due to the true villains of the piece working through proxies—often over-the-hill archaeologists with questionable morals—so they do not get a chance to strut their stuff as much as the style of the campaign warrants it.
Achtung! Cthulhu: Shadows of Atlantis is a campaign of the opening moves in the secret occult war between the Allies and Nazi Germany, but very much one of Lovecraftian action horror rather than Lovecraftian investigative horror. Not without its moments of intrigue and stealth, especially in the opening chapters in Vienna and Rome, Achtung! Cthulhu: Shadows of Atlantis is action-orientated, fists-flying, pedal to the metal, cosmic horror.
