Misappropriating the Mythos

With a game as old as Call of Cthulhu, it is no surprise that over the years its adventures and scenarios have fallen prey to cliché. Not every adventure and not every scenario to be sure, but too many end up relying on clichés that see the investigators blaze away with their Tommy guns at monsters and madmen alike; cast rituals with little or no consequences; and unearth, if not deities, then alien beings that are all too often like the last alien being they unearthed… Such clichés detract from the intent of such scenarios – to instil horror and dread in the investigators, if not the players. In a quartet of scenarios – The Dying of St. Margarets, The Watchers in the Sky, The Dance in the Blood, and The Rending Box – author Graham Walmsley has previously presented the antithesis to such clichés. Each of the four scenarios, recently collected in the volume, The Final Revelation, is designed for Trail of Cthulhu, Pelgrane Press’ clue-orientated RPG of Lovecraftian investigative horror and written in the game’s Purist mode, a mode in which survival in the face of the unknowable is unlikely… 

Not content with writing scenarios in this purist mode, Walmsley has gone one step further in presenting a means by which we can also think about writing our own – Stealing Cthulhu. Originally funded through IndieGoGo in 2011, Stealing Cthulhu is not a guide to writing scenarios for Call of Cthulhu or Trail of Cthulhu, or indeed any one of the several RPGs of Lovecraftian investigative horror currently available. Rather it is a way to look at writing scenarios, specifically Purist scenarios, for any one of them, for Stealing Cthulhu is completely systems neutral, even right down to not supporting Walmsley’s own RPG which is included in the pages of Stealing Cthulhu – ‘Cthulhu Dark’. 

The concept at the heart of Stealing Cthulhu is suggested in the title, and yes, it does involve the theft of Cthulhu. Well almost, for what it actually involves is the theft of ideas from Lovecraft’s original fiction. The author suggests that the Keeper not only go back and reread Lovecraft’s fiction, but having done so, steal his ideas, and then adapt and reuse them, emphasising different aspects, combining different ideas or swapping them, even developing or twisting them in directions that Lovecraft never considered. To illustrate and discuss how this is done, the author draws on a particular type of Lovecraftian tale. Unsurprisingly, that type is Purist in tone and feel and consists of At the Mountains of Madness, The Call of Cthulhu, The Colour Out of Space, The Dreams in the Witch House, Nyarlathotep, The Shadow Out of Time, The Shadow Over Innsmouth, and The Whisperer in Darkness. The author in turn steals creatures, scenarios, locations, patterns, themes, and descriptions. 

For example, what would happen if the incidents described in The Shadow Over Innsmouth are recast in Venice Beach, California or Weymouth (your choice of the original Weymouth in Dorset, or in Nova Scotia, Massachusetts, New Jersey, Tasmania, Auckland, or Barbados, though the Massachusetts might a bit too close to Innsmouth)? How would this change those events? What if instead of a Mi-Go corpse being found washed up on the banks of a river in Vermont as in The Whisperer in Darkness, it was found washed ashore on the beach at Venice Beach or Weymouth? Then again, what if a corpse was found, not with her brain precisely and surgically removed as in The Whisperer in Darkness, but with her reproductive organs missing in a similar manner? Just by thinking through the switching of details and elements, their theft from the original stories begins to open up new scenarios to explore and run. 

In stealing each of these elements, Walmsley does something more – he analyses them, he places them in context, where he can he shows how they can be reconfigured, and he explains why and how they work. He draws parallels – for example, between Colours Out of Space and Lloigor – between elements to illustrate how they can be interchanged and he also suggests what to avoid, such as fish puns in a scenario involving Deep Ones. Lovecraft’s style is not ignored either, Walmsley also dissecting how the author begins and ends a story, creates and maintains horror before increasing it. At every turn Walmsley gives an example to support his ‘criminal’ process of theft and commingling, such that interspersed throughout the tome are a number of detailed scenario outlines that a Keeper worth his essential saltes should be able to develop further.

In examining the primary entities of the Mythos, Walmsley goes beyond Lovecraft’s creations to look at those of Blackwood, Campbell, Chambers, Lumley, and Wilson as well as Lovecraft’s. He still adheres to the key story where they appeared. Despite Stealing Cthulhu’s remit to explore Lovecraft’s Purist tales as they and their elements can be used in RPGs of Lovecraftian investigative horror, the book does not ignore those elements that might be seen as their antitheses. More commonly found in the Pulp style of story and thus many a Call of Cthulhu scenario, most notably Masks of Nyarlathotep, they are ‘Fights’, ‘Cultists’, and ‘Rituals’, what Stealing Cthulhu terms ‘Anomalies’. This is not to say that they do not appear in Lovecraft’s stories, but what the author suggests is reinvent them or replace so that they better fit the Purist style.

Rounding out the volume is a trio of appendices. These include a miscellany, a bibliography, and a complete game, ‘Cthulhu Dark’. A version of the latter has since been republished in The Unspeakable Oath #22, but here is the original version. It is a light story telling system that is wholly Purist and ultimately quite unforgiving in its play.

Lightly, but pleasingly illustrated, Stealing Cthulhu is simply laid out, more written as a set of notes or a journal, one in which the author’s voice shines strongly throughout – even though said author’s voice is mild and scholarly – constantly asking the reader, “What if you do this?”. His though is not the only voice in the book. Almost like a Mythos tome itself, there is a version of Stealing Cthulhu that has been annotated, not by one author, but three. Gareth Hanrahan, Ken Hite, and Jason Morningstar, each an author of Mythos related tomes in their own right, adds their own opinions, suggestions, and even counterpoints to Walmsley’s analysis and reconfiguration, and that in addition to the footnotes Walmsley makes on nearly every page. Their commentary expands greatly upon the author’s and furthers his ideas and their application.

Stealing Cthulhu is not a comprehensive tome. It does not deal with each and every one of Lovecraft’s stories nor does it examine all of Lovecraft’s creations, the creatures and entities of the Mythos – yet so many of them are interchangeable that this is a moot point. It focuses solely on the Purist tale, but that is its remit, and anyway so much of its contents could be applied to the Pulp style, were a Keeper so inclined, that again such an issue is moot. It lacks an index, but the layout and organisation is so light that its contents are easy to find.

In the past, attempts at giving advice on creating and running scenarios of Lovecraftian investigative horror, too be honest never more than mere essays, have invariably approached it from a gaming angle. With Stealing Cthulhu the approach is a literary one, one that begins almost a literary analysis of the source material, but the difference is that Walmsley does more than analyse – he applies it, or at least questions and suggests how it can be applied. In doing so, he does not provide the Keeper with a guide to creating and running scenarios of Lovecraftian investigative horror, but rather he gives us the tools and the prompts to think about the process. It may well be a manifesto, or a love letter to the Purist tale, but Stealing Cthulhu resurrects the essential saltes of Lovecraft’s original fiction from the catacombs that the clichés of Lovecraftian investigative roleplaying has oft consigned it. Having done so, Stealing Cthulhu thoughtfully and artfully prompts us to sift those saltes into something playable. 

Pulp Cthulhu

It should be remembered that for twenty years, the only way to play Lovecraftian investigative horror was Chaosium Inc.’s Call of Cthulhu. In 2002, Wizards of the Coast’s d20 Cthulhu

 offered another option, and in the last decade we have been offered PelgranePress’ clue orientated Trail of Cthulhu; Reality Deviant Publications’ more structured Shadows of Cthulhu using the d20 System distilled True20; CthulhuTech, a combination of science-fiction and horror roleplaying from Wildfire LLC; Cubicle Seven Entertainment’s bureaucratic approach to fighting the Mythos with The Laundry; as well as Reality Blurs’ Realms of Cthulhu, which in being written for use with Pinnacle Entertainment Group’s Savage Worlds, actually pre-empted the arrival of Pulp Cthulhu, a supplement that is yet to arrive for Call of Cthulhu. That supplement promises a new approach to playing Call of Cthulhu, one that is more action orientated, more cinematic, more adventurous… In the absence of that supplement, Realms of Cthulhu is quite possibly the pretender to its throne.

First published in 2003, Savage Worlds is a light, fast playing RPG that sets out to do two things – cinematic action and mass combat as well as handle roleplaying. In the past ten years, it has been used to power an array of settings and campaigns, the best known being Fifty Fathoms and Deadlands Reloaded, both also from Pinnacle Entertainment Group. For much of that time, Savage Worlds has been available in an Explorer Edition, a handy sized, inexpensive rulebook that provided the basics of the rules. The rules have since been republished in a new ThirdEdition, which saw some changes that do mean that Realms of Cthulhu is slightly incompatible with the new version of the rules, since Realms of Cthulhu was published in 2009. That said, the differences are slight.

The changes to Savage Worlds in order to make it one of Lovecraftian investigative horror start with character generation. The process in Savage Worlds involves assigning points to improve the die types for a character’s five traits and then more points to purchase skills, which are again measured by die type. Thus a skill of Shooting d8 is better than a Shooting of d6. In addition characters can have Edges and Hindrances – the equivalent of Advantages and Disadvantages in other RPGs – that set them apart from ordinary men and women. Apart from the addition of the skill, Knowledge (Mythos) – the equivalent of the Cthulhu Mythos skill in Call of Cthulhu, the major addition to character creation in Realms of Cthulhu is that of “Defining Interests.” In Savage Worlds a character usually speaks a number of languages equal to half of his Smarts die type, so three languages for Smarts d6 and so on, but in Realms of Cthulhu a character has a number of “Defining Interests,” hobbies, knowledges, crafts, and so on, again also equal to half of his Smarts die type. This factor also has to take a character’s languages as well, and for each Defining Interest, for example, Archaeology, City Knowledge (Boston), Electrical Repair, Oratory, and so on, he gains a bonus to his Common Knowledge rolls (this being the equivalent of a character’s Know roll in Call of Cthulhu). Now a character’s Defining Interests also encompass what languages that he knows, which does mean that a character has to choose between focusing on one or the other. That said, the addition of these Defining Interests takes into account the fact that Lovecraftian investigative horror is primarily about what you know, rather than what you can do. In contrast, Savage Worlds tends to be more about what you can do than what you know, which is the case with Call of Cthulhu.

The sample character is Henry Brinded, one of my signature characters that I have used several times over the last decade or so. Indeed, he will be appearing as one of the starting pre-generated investigators in the forthcoming Masks of Nyarlathotep Companion for Call of Cthulhu. Of Boston Brahmin stock, Henry Brinded is a former Classics scholar at Yale who served as an artillery officer in the Great War. He returned partially deaf and with an aversion to loud noises, and unable to withstand the stress of continuing his studies, used his inheritance to open a small, antiquarian bookshop in his native Boston. He enjoys painting and sailing where he used to enjoy hunting, and employs one member of staff, Mrs. Rutherford, to help source and restore rare books.

Henry Brinded

Agility d6 Smarts d8 Spirit d6 Strength d4 Vigor d6

Edges:Linguist, Noble, Scholar

Hindrances: Curious (Major), Hard of Hearing (Minor), Pacifist (Minor)

Skills: Boating d4, Guts d6, Investigation d4, Knowledge (Ancient Greek) d6, Knowledge (History) d8, Knowledge (Latin) d8, Notice d4, Persuasion d4, Shooting d4

Defining Interests: Archaeology, Book Restoration, Etiquette, Painting

Languages: Arabic, French, German, Hebrew

Pace 6

Parry: 4 Charisma +2 Toughness 5

Sanity 5 Corruption 0

The second addition is the Sanity factor, which works much like Toughness. When inflicted physical damage exceeds a character’s Toughness, he can be “Shaken.” If the damage exceeds a character’s Toughness by a large amount, then he can be Wounded. When faced with a shocking incident or entity, a character will often be asked to make a Guts skill check. This is modified by the Terror or Fear strength of the situation or entity faced (Terror is actually explained on p.117 of Realms of Cthulhu, a fact that should be noted as it is not mentioned in the index and it is mentioned long before this). For example, encountering a Deep One forces a Guts skill check at a Terror penalty of –1. If the Guts skill check is failed, the mental damage inflicted on the frightened character is called Mental Anguish, which for the Deep One is “Spirit+d4” with the Deep One Spirit trait being d6. This means that both dice are rolled and result compared to the character’s Sanity. For every four points that the Mental Anguish roll exceeds his Sanity by, then the character suffers a point of Madness. A player character can suffer no more than four points of Madness before going insane. Each point of Madness inflicts a –1 penalty on a character’s Pace (movement) and all trait and skill rolls. This Madness can be addressed within the hour with immediate rest, reassurance, and the application of the Knowledge (Psychology) skill, success leading to the positive loss of points of Madness, or in time with recuperation. If driven insane though, a base Spirit roll is required by the character. Essentially, this roll is in effect made to determine how long the Mental Disorder suffered lasts for.

Although Realms of Cthulhu adds a number of new skills, edges, and hindrances, perhaps the most important addition is Knowledge (Mythos) – the equivalent of the Cthulhu Mythos skill in Call of Cthulhu. The treatment of knowledge of the Mythos in Realms of Cthulhu is perhaps where this version of Lovecraftian investigative horror roleplaying begins to diverge radically from the base line that is Call of Cthulhu. In Realms of Cthulhu, Knowledge (Mythos) is treated like any other skill, except that it is initially gained through certain circumstances during the play of the game, such as being sent insane for the time after encountering a Mythos entity or reading a Mythos Tome. Just as in Call of Cthulhu. Yet where in Call of Cthulhu an investigator receives “Cthulhu Mythos 05%,” in Realms of Cthulhu, he receives Knowledge (Mythos) d4. This does not sound like much, but when you consider that the base target for any skill roll in Savage Worlds

 is 4, then the character has a 1 in 4 chance of rolling that on his skill of Knowledge (Mythos) d4. This high degree of knowledge is further exacerbated because of how player characters make rolls in Savage Worlds. In the game, player characters are special and known as Wild Cards, and Wild Cards always roll an extra d6 – known as the “Wild Die” – and the highest die roll counts towards the total, then it is clear that even for a relatively minor encounter with the Mythos, an investigator can gain an awful lot of knowledge. This is further confirmed by the Realms of Cthulhu/Call of Cthulhu conversion guide, which lists a skill of d4 of being equal to 25% in Call of Cthulhu. That is a lot of Cthulhu Mythos…!

By reading further Mythos tomes or critically failing a Guts skill check as a result of an encounter with the Mythos, a character can gain further points of Knowledge (Mythos). Initially this will grant him a +1 bonus to any Knowledge (Mythos) check, but each time the bonus rises to +2, it changes the die type of the skill, from d4 to d6, to d8, and so on. Each rise in die type increases an investigator’s Corruption. Each point of Corruption decreases an investigator’s Sanity, further weakening his resolve against the Mythos. It is possible to increase an investigator’s Sanity, but it is difficult.

The given means of handling shock and horror in Savage Worlds has never been truly satisfying, and the Sanity mechanic in Realms of Cthulhu provides a more robust treatment of the subject. What the acquisition of the Knowledge (Mythos) skill demonstrates is the effect on Lovecraftian investigative horror from one system to another, from one ethos to another, from one style to another. The move from Call of Cthulhu to Savage Worlds is one of Purism to Pulp, of a binary yes/no realism to something a little more forgiving in terms of mechanics and player character survivability, and most of all, one of a granular mechanic and feel to one that is broader, but with a corresponding loss of detail. Which to be fair, is to be expected, given that Savage Worlds is a cinematic, Pulp genre, action orientated RPG. Yet the designer of Realms of Cthulhu gives the very means to counter this shift in tone and ethos.

Realms of Cthulhu gives the Keeper the tools to set the tone of his campaign, by setting its Physical and Mental play factors, either Gritty or Pulpy. The Pulpy option is essentially the Savage Worlds default, but the Gritty option gives a more Purist, harsher, and less survivable gaming experience. By setting the two play factors, a Keeper can access four different play styles, from the Physical Pulpy/Mental Pulpy of Heroic Horror with its high action adventure to the Physical Gritty/Mental Gritty of Dark Spiral, with its dangerous descent into madness and maiming when faced with the Mythos. Obviously, the first represents the Pulpy style of play, whilst the latter is Purist. Between two are the Slippery Slope (Physical Pulpy/Mental Gritty) and Dangerous Action (Physical Gritty/Mental Pulpy) styles. The first of these allows for investigators who can take a punch or two, but not the stress of encountering the Mythos, whilst the second is deadlier, but the Mythos has a less deleterious effect. These are only the base lines for the four campaign style, the Keeper being given a number of further options with which to tweak his campaign’s style.

The four styles are further discussed in the Keeper’s Section, primarily in the context of period – the 1890s, the 1920s, and the here and now – and the bond which brings the investigators together. Supporting this discussion is a quartet of Campaign Frameworks, one for each of the three eras and one that could be run in any era. The more original of the four lie at the extremes. The Heroic Horror framework is “Seekers of Lost Fortune,” in which the investigators must obtain and destroy dangerous artefacts in the 1920s; while the pleasing “The Frequency of Madness” is a Dark Spiral framework that can be set in any period and casts the investigators as incarcerated asylum inmates who have experience of the Mythos and escape to save not just mankind, but themselves too. Every character in this framework starts play with both the Knowledge (Mythos) skill and a mental disorder.

As expected for an RPG of Lovecraftian investigative horror, Realms of Cthulhu includes the expected sections on magic and spells, tomes, and Mythos entities. Oddly the spells section includes those such as Armour, Bolt, Greater Healing, and Stun, all listed under Combat Spells and all taken from the Savage Worlds rules. Unless the style of game is extremely Pulpy, these are really out of place within Lovecraftian investigative horror, and even if the Keeper deems them appropriate, it is suggested that they are kept well away from player access.

Where Realms of Cthulhu is really useful for the Keeper is in the next set of tools it gives him. These are Mythos generators, which with a few rolls, a Keeper can create a Mythos Tale, a Mythos Creature, and a Mythos Tome. Or rather the broad outline, as the Keeper still has to flesh each of these out. For example, generating a Mythos Tome, which is detailed first in Realms of Cthulhu has the Keeper roll for its language, period of publication, Arcane Lore (essentially how easy it is to learn from it), and possible number of spells and type of spells – the Keeper will need to refer to the book’s chapter on magic for actual details of the tome’s spells. Beyond these basics, the Keeper will need to decide the book’s author, year of publication, title, and content. The Keeper will need to do the same when generating a Mythos Tale or Mythos Creature, the latter covering not just “Tainted” humans (as in my example), complete with “Dark Gifts,” but also Servitors and Independent Races, and who if at all, they serve. Pleasingly, with a few rolls and a bit of thought, a Keeper can switch back and forth between the three sets of tables using the results of each create a Tome, a Creature, and a Tale. 

The Lure of the Long Beasts

Hook: Caught up in Events

Lynchpin: Person

Location: Important Building/Landmark
Plot Type: Descension
Ally: Policeman
Plot Complication: Discovery
The investigators are on holiday in the county of Derbyshire. Following a tourist guide they decide to visit the world famous Blue John Caves near the town of Castleton, but get caught up in a disagreement between the locals and a visiting team of archaeologists from nearby Victoria University of Manchester, led by Professor Terence Chile Oakley. The professor is interested in the folklore and pre-Christian history of the area after reading a monograph entitled Secretis Druidum. The locals object to the professor’s interests and his plans to enact Druidic rites near the caves and the situation has developed into a stand-off between the two groups. The archaeologists have reported attacks in the night and possessions being stolen, and some of the students report suffering from headaches, but the local constable, Herbert Atteberry is at a loss as to what is going on.

Secretis Druidum: Trans Specubus veracis Populis Western Britanniam
Privately published in 1912, this monograph describes the folklore of the rural inhabitants of the British Isles, particularly around mountainous or hilly regions known for their network of caves. It includes several legends about enormous serpents that live underground and who worship one giant serpent, and how in the past the druids actually worshipped and sacrificed to both. The author lists several chants that he states that he was warned against uttering at particular cave mouths at certain times of the year. The author was last seen in the Derbyshire Peak District in England in 1914. The book is bound in oddly translucent leather. The only copy known to exist can be found in the anthropology section of the library of Victoria University of Manchester.
Author: Nicholas Checkley

Language: Latin

Year: c. 1912

Arcane Lore: +2

Spells: Claudens diu bestia (Elder Sign), Fascino lamina (Enchant Blade), Vocate ad diu bestia (Contact Chthonian), Longa ferae Domini invocabo (Contact Shudde M’ell)

Jack Royse (Seasoned)

Agility d8 Smarts d4 Spirit d4 Strength d8 Vigor d8

Edges: Brawny, Mighty Blow, Quick

Hindrances: Death Wish, Mean

Gifts: Immunity to Cold (Minor), Low Light Vision (Minor)

Skills: Climbing d8, Fighting d8, Guts d4, Intimidation d8, Knowledge (Mining) d6, Knowledge (Mythos) d6, Repair d4, Stealth d6

Pace 6

Parry: 6 Charisma -2 Toughness 7

Sanity 2 Corruption 2

A native of Derbyshire, Jack Royse is a “Tainted” human who worships the long beasts below and follows their directives exactly. A miner by trade, under his masters’ influence he will do anything. Some would say that he has spent too much time in the caves below, but not to his face. He almost never seems to blink, but dislikes bright light and he seems unnaturally muscular.

In terms of actual Mythos Tales, Realms of Cthulhu is a mixed bag, consisting of four short two-page Tales and one long twelve-page one. The first two-page tale is “Fragments of Mu,” which is nothing more than an slightly extended encounter in purely Pulp vein, whilst “Paradise Lost” is a more pleasing Lovecraftian encounter with a classic feel, though despite what it says, it is set in the Arctic – no Eskimos in the Antarctic! “False Idols” feels more like a modern, grittier affair, but at two pages feels like it was shoehorned into place. The last of the quartet of shorts is the best, “Bayhaven Lights,” a still slight tale, but one with a weird vibe and a subtlety that is missing from the others. The Mythos Tales are rounded with “Mysteries of Drake Manor,” which describes the estate and inhabitants of Drake Manor, as well the mysteries that surround both before describing a few short tales that suggest how the set up can be used. Unfortunately, there is no subtlety to “Mysteries of Drake Manor” which overeggs both the mysteries and the Mythos content. If there is a real issue with these Mythos Tales, it is that apart from “Paradise Lost” all are set in Charleston, South Carolina. There is nothing intrinsically wrong with this, as Lovecraftian investigative horror only infrequently strays below the Mason–Dixon Line, and visiting a new city is always interesting. What is wrong with this choice is that the designer tells us nothing about Charleston whatsoever when a single page of information could have covered all three periods…

Physically, Realms of Cthulhu is a relatively thin if sturdy hardback. The book on the whole is well written and decently presented in full colour with some nice illustrations. Some of the content could have been better organised though, some terms and elements being mentioned far before they are actually explained, this not being helped by a sometimes unhelpful index.

Overall, Realms of Cthulhu is a likeable, if far from perfect product. One of the issues with Realms of Cthulhu is the lack of advice on investigator generation. This is necessary because creating and playing an investigator is very different to doing either in most other RPGs. There is advice, it is true, but it amounts to list of roles that a player could create rather than actual, useful advice on doing so. The most useful advice on investigator generation is placed some twenty pages away from the rules on actual character generation, all but an afterthought. Another issue is that it is Americentric when Lovecraftian investigative horror tends to be more Anglophile in outlook. Realms of Cthulhu does feel in places as if it is written solely with an American audience in mind.

Perhaps the biggest issue with Realms of Cthulhu is in its choice of rules system. This is not denigrate the Savage Worlds rules, as they offer solid mechanics that emulate a slightly Pulp style, cinematic style of play, and there is, of course, nothing wrong in that. The issue is more whether or not the Savage Worlds rules can handle Lovecraftian investigative horror, and arguably, they cannot. At least not without a degree of tweaking and adjustment to advance the rules to a grittier style of game, and with that tweaking and adjustment comes more rules and more complexity, both of which are at odds with the “Fast! Furious! and Fun!” the Savage Worlds rules. Even with said degree of tweaking and adjustment, Realms of Cthulhu is still not a wholly Purist RPG of Lovecraftian investigative horror. There is still a little of the Pulp left, which is unsurprising given that it is written into the soul of the Savage Worlds rules.

Yet when Realms of Cthulhu reins in Savage Worlds back towards its natural inclination, the result does not feel as forced. In its natural state it can do “Pulp Cthulhu” and do it well, offering a means handle a more action orientated game that offers its player characters a degree of survivability and elasticity in their actions that the binary mechanics of Call of Cthulhu lacks. The investigators are no longer ordinary men and women, but more special, more heroic. In addition, for the Savage Worlds GM, Realms of Cthulhu also grants access to the Cthulhu Mythos, its contents easily plugging into Pinnacle Entertainment Group’s Weird Wars: Tour of Darkness and Weird Wars: Weird War II supplements, as well as the Savage Worlds versions of Modiphius Press’ Achtung! Cthulhu line. And of course, Realms of Cthulhu does give Savage Worlds a bona fide Sanity mechanic, something that it has lacked since its first edition.

In terms of support for the Keeper and the player, Realms of Cthulhu is underwhelming, this most obvious in the given Mythos Tales and the advice for the player. Where Realms of Cthulhu works is not just as a cinematic, action-orientated treatment of Lovecraftian investigative horror, but as a set of tools to create and run a roleplaying game of Lovecraftian investigative horror in the Pulp mode.

Brains, Bullets, & Sanity

Guns. Guns. Guns. They are a gamer’s best friend. When it comes to roleplaying in any historical period from the nineteenth century onwards, in the contemporary here and now, or some way into the future, one of the common questions a roleplayer will find himself asking is, “Can I have a gun?” followed by, “What is the coolest gun that I can have?” Never more so than in Call of Cthulhu, a game in which, if set in its classic period of the 1920s, has fewer limitations upon gun ownership and use than there are today. Of course, when it comes to Call of Cthulhu, guns are really only a sort of psychological crutch. Yes, they and the bullets that they fire will work against those insane enough to worship the creatures and entities that lie just beyond the true nature of reality, and it is possible that some of the lesser creatures that the player characters might encounter as part of their investigations, might be susceptible to a case or two of high velocity, hot leading poisoning, but not all. And certainly not the utterly alien, utterly incomprehensible “gods” that threaten to return to our world again.

Still, players do like their player characters to have their guns. Even if it is have one last bullet with which to apply an emergency trepanation so as to save their characters from madness. Which leaves the Keeper with a tiny headache – though not one caused by the emergency trepanation. Rather it is this. The Call of Cthulhu rulebook does not go into a great of depth when it comes to firearms. To be fair, it is not its focus, and when the game’s publisher has addressed the subject, it has all too often, been in a piecemeal fashion. Indeed, the only single supplement devoted to the use of firearms in Call of Cthulhu is Pagan Publishing’s The Weapons Compendium, and that has been out of print for almost two decades. Further, when firearms do appear in scenarios, supplements, and campaigns, they are often glossed over, mentioned by calibre and thus by damage type, rather than make or model. Now some Keepers will argue that such details do not matter. That firearms do not matter. Which is an admirable point of view, and one that could not be more wrong. Firearms do matter because they matter to the investigators. If they matter to the investigators, then the futility of their reliance upon them can be demonstrated in the game. They also matter because if detailed correctly and handled correctly, not only can this futility be demonstrated more readily, their presence can add verisimilitude to a game.

The answer to this omission for Call of Cthulhu comes courtesy of the first release from British publisher, Sixtystone Press Limited. Investigator Weapons, Volume 1: The 1920s & 1930s is written by, Hans-Christian Vortisch, who as a firearms expert has authored Cthulhu – Waffen-Handbuch, the only other firearms supplement available for Call of Cthulhu, but unfortunately only available in German, as well as GURPS High-Tech, GURPS Martial Arts: Fairbairn Close Combat Systems, and GURPS Tactical Shooting for Steve Jackson Games. It carries the subtitle, “the Complete guide to Bean-shooters, choppers, gats, heaters, mohsakas, pieces, rods and roscoes” and describes and gives game statistics for some twenty-five handguns, nine rifles, eight shotguns, two submachine guns, two machine guns, and their variants, as well as explosives, flamethrowers, and grenades. It contains not just these weapons, but also expanded rules for their use, expanded background that examines how to obtain them and the legal aspects of doing so, and in purely game terms, suggests the guns that not only each Occupation would typically wield, but also those that cultists might arms themselves with, continent by continent.

It is specifically written for use with Call of Cthulhu, Sixth Edition, and makes use of the 1920s Investigator’s Companion, the 1990s Handbook, and both the Keeper’s Companion and Keeper’s Companion 2 as well as various other supplements and sourcebooks. That said, this book is compatible with any version of Call of Cthulhu and with any Basic Role Play driven RPG.

Before I continue with the review, it should be pointed out that my name is listed in the credits. My contribution to the book was as part of a Peer Review group that read and reviewed each part of the book as it was written. That said, my influence over and input into this volume bar working through my Call of Cthulhu library in the name of research is minimal, enough such that I am comfortable in reviewing it.

Investigator Weapons, Volume 1: The 1920s & 1930s comes as a one-hundred-and-thirty-two page, 19.06 Mb PDF done in black and white with a colour cover. Chris Huth’s cover feels a little too cartoon-like, but it nevertheless captures the desperate flavour and feel of a Call of Cthulhu shoot out. Inside, the book is cleanly laid out and suitably illustrated with a range of photographs and period adverts. If there is an issue with the writing, it is that it is a little stilted in places, but to be fair, the author’s English is infinitely superior to either my Danish or my German. Nevertheless, the rules write-ups for each weapon and each variant are very clear and easy to read, and avoid any problems that could come with listing one similar firearm after another. A nice touch is that the weapons listed on the contents page are linked directly to their actual entries, so the reader can go straight to them with a simple click.

Every gun is presented in a standard format. Accompanied by an illustration and appropriate quote, each firearm is given a full write-up that covers everything from its history and list of users to its dimensions and suitability as an investigator’s weapon of choice. In addition, a simple guide to using the gun is given along with a discussion of the major variants and a list of films in which it can be seen being used. Each firearm and variant is accorded one stat. A line below this gives the weapon’s appropriate Skill, Base Chance, Damage, Base Range, Rate of Fire, Capacity, Hit Points, and Malfunction. As mentioned above, these lines are very easy to read, even when there are multiple variants, such as the seventeen given for the Mauser Gewehr 98 or the eighteen for the Mauser C96.

As to the guns themselves, the entries include the familiar, from the Colt Government (M1911) and Mauser C96 to the Colt M1918 BAR and Holland & Holland Royal Double (the so-called “elephant gun”) via the Enfield SMLE Mk III and the Auto-Ordnance Model 1921 Thompson. They also include the less familiar Colt Vest Pocket, Nambu Shiki, Remington MK III, Riverside Arms Model 315, and Bergmann M.P.18,I. Call of Cthulhu player favourites are also listed, for example, the Webley-Fosbery Automatic revolver also so beloved of fans of The Maltese Falcon, whilst other more obscure entries, such as the Lebman Machine Pistol, a fully automatic version of the Colt Government (M1911) deserve to become a player favourite.

The mix of firearms listed means that a Keeper should be able to easily arm the antagonists in his scenario wherever they happen to be encountered, whether that be Germany or Canada. This is intentional, not just in terms of actual global geography, but also in terms of Call of Cthulhu’s geography. The USA figures strongly here, since most of the scenarios for the game are set there, but Call of Cthulhu also happens to take the investigators to the United Kingdom, Australia, India, China, Africa, and numerous points elsewhere. In this way, it also supports the various points of call that the typical Call of Cthulhu campaign, such as the Complete Masks of Nyarlathotep, takes its investigators to. Besides the actual guns themselves, this aspect of the supplement is expanded upon with a lengthy section devoted to firearms and the law, detailing weapons permits and how to obtain a gun in various countries, the pitfalls of travelling with a gun, the exchange rates for various currencies in 1925, as well as actually giving the addresses of various major gun dealers from San Francisco to Shanghai and all points in between – in both directions! What this brings to the fore is the fact that buying and obtaining a firearm can actually be very simple or quite difficult, depending upon the desired firearm.

Dotted around all of the weapon entries are separate sections that detail new skills like Craft (Gunsmith) and Demolitions, describe the National Rifle Association in the 1920s – which it turns out, was a very handy place to learn Martial Arts (!), body armour, weapon lights, sound suppressors, and more. Besides all of the background detail, the Investigator Weapons, Volume 1: The 1920s & 1930s addresses the rules for their use in Call of Cthulhu. Primarily these are with a series of optional rules that cover skill competencies, concealment, quick draw, called shots, and automatic fire, as well as rules for shooting under various environmental conditions. All in cases, these rules are clear and simple, and supported with examples.

First though, the author addresses the confusing, frightening, and often deadly nature of gunfights. There are some radical suggestions here, most notably the rules for an investigator being surprised when fired upon from ambush, the likelihood that an investigator will simply fire as many shots as possible in the confusion of a gunfight, and imposing Sanity checks upon an investigator when he shoots someone. These are not unreasonable suggestions. After all, they add to the realism of the game, divorcing it from the concept of the Hollywood shootout, and they add another element of horror to the game.

So far, the Investigator Weapons, Volume 1: The 1920s & 1930s has been useful for both player and Keeper, but the Keeper also receives a section all of his very own. This addresses how guns can be brought to bear on the Mythos and their effects on its creatures and entities, which to be honest, can be best summed up as “woeful.” It suggests that some Mythos creatures should be able to dodge, just as the investigators can, and that any kind of aimed shooting at any Mythos entity, should involve a Sanity check. That is, if the investigator has not made one already. It also looks at how other types of ammunition might affect these beings and how certain types of magic might be applied to firearms. This option though, is really for a more Pulp style game.

Rounding out the supplement is a full set of tables that list every weapon and variant in the game. These are followed by summaries of its new rules and a new investigator sheet specifically designed for use in combat. These also come separately when the PDF version of the book is purchased.

It should be noted that although the Investigator Weapons, Volume 1: The 1920s & 1930s is written with Call of Cthulhu in mind, when divorced of the mechanics, the supplement’s descriptive and background detail should be useful for any RPG set in the period. This of course, includes other games of Lovecraftian investigative horror, such as Realms of Cthulhu, Trail of Cthulhu, or Cthulhu Hero. Perhaps, there is a possibility in there being a version of this supplement for each of these rules?

A perennial problem when it comes to running Call of Cthulhu is how exactly the rules for firearms work. Not that they do not work, but rather that players disagree how they should work. Much of it born of the fact that they have experience themselves with guns, but that is not necessarily the experience of their investigators. Investigator Weapons, Volume 1: The 1920s & 1930s addresses this problem, adding realism and detail in how Call of Cthulhu is played when it comes to guns and in the process adding flavour too. It does so in an immensely readable and informative fashion, and its contents are not only a ready resource for Call of Cthulhu players and Keepers alike, they are also useful for Call of Cthulhu writers and editors too. Whilst not every Keeper’s Call of Cthulhu campaign necessarily focuses on this aspect of the game, without a doubt, Investigator Weapons, Volume 1: The 1920s & 1930s is the definitive sourcebook when it comes to classic Call of Cthulhu and firearms.

Tome Team

As the effects of Depression spread across England, the great families of the land, the aesthetes, and the bibliophiles have fallen on hard times. Turning to assets of least consequence, they ransack their libraries to pay the bills or death duties, resulting in a flood of horrid heirlooms and terrible tomes on the book trade. Ready to pick up the rarest and hopefully the most profitable of the titles are the Book Scouts, Book Sellers, and Catalogue Agents, working to get a cheap price and a high sale, no matter the book’s title, content, or provenance, let alone the nature of the purchaser. If it happens that this means that there is one more copy of William Pynchon’s 1539 “Monstres And Their Kynde” on the streets of London by their hand – the hand of an “artist” rather than a forger – what matter? And if the latest sale involves knowledge that no man should ever hunger for, what matter that either?

This is the set up for Bookhounds of London, Kenneth Hite’s new campaign setting for Pelgrane Press’ Trail of Cthulhu, the GUMSHOE System powered, clue orientated RPG of Lovecraftian investigative horror. As a setting, it brings to the fore one of the major elements of the genre, the Mythos Tome and all of the eldritch innards that lie between its covers. Not that books will be the only dangers faced by the bookhounds of the game’s title – there are rivals after the same books for sale; forgers are all too willing to “find” them the exact title that they are after; “occult” collectors equally as willing to do more (or even less) than pay to obtain certain titles; and of course, some of the all too dark secrets bound up in London’s history that might be revealed in the hunt for one book or another.

In Bookhounds of London, the player characters take the roles of the titular bookhounds, looking to make ends meet under the fog bound haze of smoking chimney stacks in the heart of an empire that has forgotten so many of its ancient secrets. This is a London that hides a rot behind a metropolitan façade and a bureaucratic indifference, a setting inspired by Alan Moore’s From Hell and the Roman Polanski film, Ninth Gate.

For its Occupations, Bookhounds of London suggests Antiquarian, Criminal, Dilettante, and Tramp (known as the Hobo in other campaign frames) as being suitable, whilst adding several new, altered, and particularly English Occupations suited to the setting: Book Scout, Book Seller, Catalogue Agent, Forger, and Occultist. Greed is added as a new Drive along with new abilities, including Auction, Bibliography, Document Analysis, and The Knowledge (of London).

So far, so English, but what is more interesting about the default Bookhounds of London campaign framework is that its set up provides the investigators with a base of operations – their shop. Best created collectively by the players, it becomes almost a character in itself, granting not just investigative points for the investigators to spend on clues, but also a means to create scenario hooks in the game. A really nice touch is that Hite acknowledges that the idea for the book shop did not come from him, but from a playtest group and was incorporated into the framework.

Naturally, the Book Trade is explored in detail, including ordinary titles and Mythos Tomes as well as the libraries of London and how to handle an auction in dramatic fashion. The latter, as with the running of the investigators’ bookshop, handled in such a way as to avoid their getting bogged down in the minutiae of half-crowns and ha’pennies. Libraries and in particular, the libraries of London are covered in some detail, including what they stock, how an investigator can gain access, and what bonuses such an access might grant.

Pride of place naturally goes to an exploration of the book, detailing in turn their format and condition, and both Occult and Mythos Tomes. Surprisingly, just seven Mythos Tomes are described in detail, but using the earlier detailing of the book formats and their conditions together with his knowledge of the genre, a Keeper should come up with more. Failing that, Trail of Cthulhu has more information on Mythos Tomes as does the Keeper’s Companion for Call of Cthulhu.

Beyond the shelves of the investigators’ bookshop, Bookhounds of London takes the reader on a flavoursome exploration of London in Thirties. This is broken down by area and supported by detailed contact types and rumours plus asides for various topics such as legendary London, law enforcement on the streets, the Underground and London underground, and London’s clubs. London’s physicality is delightfully captured with a stunning set of period maps, not just of her streets, but of her major buildings also. Many of them are done in full colour and like much of the material in Bookhounds of London, will find a use in Trail of Cthulhu in general as well as other RPGs set within the period.

As the heart and crossroads of the Empire, it is no surprise that London is home to numerous cults and secret societies. The presence of many of these, like the Ahnenerbe operating out of the German Embassy and the infamous Brotherhood of the Black, are no surprise, Bookhounds of London expanding upon their descriptions given in Trail of Cthulhu. Added to the expected cults and secret societies are the Hsieh-Tzu Fan, a network of terrorists, smugglers, slavers, and rebels headed by “The Scorpion,” which based out of a Limehouse opium den is most certainly a nod to the Si-Fan of Doctor Fu Manchu fame; and the Keirecheires, an insidious and highly placed cult devoted to Y’golonac. In each case, how the cults and organisations might be encountered in the book trade is discussed as well as how they might react to the investigators’ meddlings.

In addition to the London’s cults and monsters – the emphasis with the latter as is traditional in Trail of Cthulhu being upon their description more than their game stats -- the Keeper can further bring out the strangeness of London with “Megapolismancy,” a magic that uses the city itself as an engine to fuel its sorcery. Inspired by Fritz Leiber’s novel Our Lady of Darkness and developing from the rules given in Hite’s Rough Magicks, it is also a means by which the investigators can involve themselves in the ancient architecture of the city – if they possess the right Lore – or a means by which a Megapolismancer “madman” can turn the city against them.

Where Trail of Cthulhu offers two campaign styles – Pulp and Purist, Bookhounds of London, as part of its campaign advice, introduces three that they can be combined with. The “Arabesque” gives London a Dreamlands-like quality, described as “Baghdad on the Thames;” the “Sordid” offers a city of sin at its worst; whilst the “Technicolour” brings out London’s vibrancy, offering a hyperrealism that owes as much to Hammer Horror movies as it does the works of Dennis Wheatley and Sax Rohmer. Curiously, of the three, it is the Technicolour that is the most easily expanded upon within Trail of Cthulhu, its lurid colours easily bleaching away as the investigators journey into Shadows Over Filmland, a dream-like world merely a penny away. The Keeper is under no obligation to adhere to just the one of these new styles and can easily slip between the three depending on the nature of the dangers that the investigators face. Either way, these options enable the Keeper to flavour his game and serve to mark a Bookhounds of London campaign as being very different to a standard one.

The three campaign styles are supported with a hextet of ready-to-play NPCs. These include rivals and connections both, each including notes that enable the Keeper to configure them not only to the three campaign styles, but also to re-configure them so that they can be reused under different names and slightly different personalities. Each of their descriptions includes a singular element, that of how they might be tainted by through contact with the Cthulhu Mythos. It is a commendable method of presenting NPCs and the format begs, if not for the inclusion of more NPCs within this book, then for a sourcebook all of its very own.

Beyond the three new campaign styles, Bookhounds of London brings a new style of campaign to Trail of Cthulhu. In traditional Lovecraftian investigative horror, the Keeper presents the clues to the threat and the players react to it with their investigators. Here, with the placing of the campaign within a geographical location, it means that the investigators can literally go out and find the adventure. After all, the bookhounds do have to go out in search of a “Squiz,” and who knows what else they might turn up? Bookhounds of London explores this through its advice on running player driven campaigns in relatively short a fashion. Essentially it is a collaborative process, but if that fails, the advice comes down to aping Raymond Chandler’s suggestion of having “two men (or Things) with wavy daggers burst through the window.”

Rounding out Bookhounds of London is “Whitechapel Black-Letter,” a scenario that naturally has the investigators on the trail of a particular book. At the Keeper’s option, it can be tinged with the Ripper murders, but primarily it is a sandbox scenario in which the characters can explore an Occult London and uncover some of its dreadful secrets.

If there is an issue with Bookhounds of London, it is that in places it feels concise. For the most part, this leaves the reader wanting more rather than feeling that the author has not given him enough, except that is, for the somewhat mechanistic Megapolisomantic workings. The section feels as it does need more flesh, though the scenario does include a fully worked through example. Physically, the book is beautifully done, with Jérôme Huguenin’s artwork being excellent as ever.

Given the lack of a sourcebook detailing London within the genre of Lovecraftian investigative horror, Bookhounds of London is a much, much needed resource. Although its focus is primarily the book and the booktrade, the information on outré tomes is equally as relevant to Call of-, Realms of-, and Shadows of Cthulhu as they are Trail of Cthulhu. The background to London is equally as relevant and useful to all of these games.

To draw an analogy, Bookhounds of London is to Trail of Cthulhu as Star Trek: the Next Generation is to Star Trek: Deep Space Nine. It gives the campaign and its investigators a base of operations, in the form of their bookshop, so that adventures and characters can legitimately come to them as much as they can go to the adventures, whether those created by the Keeper or driven by the investigators in a Sandbox style campaign. The book itself brims with detail that supports the setting and brings it alive, though in places it feels perhaps a little too concise, as if it needs just a little more information. Otherwise, Bookhounds of London is another beautiful book for Trail of Cthulhu that brings the Old Smoke and its dissolution to life with the investigators on its intellectual coattails.

The Box of Delights

To date Graham Walmesley has written three scenarios for Pelgrane Press’ Trail of Cthulhu. Beginning with The Dying of St. Margaret’s and continuing with The Watchers in the Sky and The Dance in the Blood, each has been an exercise in the Purist style of Lovecraftian horror, using the GUMSHOE mechanics of Trail of Cthulhu to push and pull the investigators into the situation of each scenario before intentionally driving them mad. In terms of narrative though, there is nothing to connect these scenarios in the traditional sense to be found in the classic and linear Call of Cthulhu campaigns of Lovecraftian investigative horror. Then again, there is as yet no such campaign for Trail of Cthulhu, primarily because writing such a beast is a more demanding and lengthier project. That said, this will change with the release of Walmesley’s own forthcoming Cthulhu Apocalypse, and also Eternal Lies, the campaign written by Jeff Tidball and Will Hindmarch of gameplaywright, for which there is already a musical suite composed by James Semple.

Digression aside, there is a point about making the comparison, for Graham Walmesley’s Purist scenarios do actually form a campaign. They might not have an obvious connection beyond the fact that they are in turn one shot affairs with dark, inevitably nihilistic endings, but they do form a campaign. Even though they are designed to be played through in any order using different characters for each scenario, they nevertheless form a campaign. This being a Purist campaign, it not surprisingly, an unconventional campaign, for what actually makes it campaign is the fourth and last scenario in Walmesley’s Purist series, The Rending Box. What The Rending Box does is provide an explanation that caps the series while still providing another bleak story. What sets it apart from the previous three though is that it actually comes with a climatic ending. Well, a potential climatic ending right before the Mythos delivers its quietly uncaring riposte…

The Rending Box opens with the investigators receiving a postcard from a long-time acquaintance. Doctor Jakob Tulving, an academic with an interest in English folklore asks them to collect and deliver an antique box to him at the hotel he is staying at in the English Lake District. The box becomes an object of curiosity for investigators, its strangeness soon a source of questions that mere research cannot or does not want to answer. Perhaps the good doctor has them? Yet when they arrive at his hotel, it is cold and dark, almost deserted. What has Tulving got them involved in?

Thematically, as the capping scenario to the Purist Quartet, The Rending Box is all about revelations and the truth. Obviously, this being a scenario about Lovecraftian investigative horror, such revelations and truths can only have a negative impact upon the sanities of the characters, and this certainly proves to be the case as Walmesley takes the “Drive Yourself Crazy” mechanic he employed in the previous scenarios and pushes it as far it will go. In The Rending Box, the aim is not for the investigators to drive themselves crazy, but to drive themselves insane. As more and more of the truth around them is revealed, the investigators gain more knowledge about the Mythos and the spiral downwards into insanity grows faster and faster, but unlike in most Trail of Cthulhu or even Call of Cthulhu scenarios, the characters, even insane, remain functional for a time able to act in spite, or perhaps because of their madness. One more push, or revelation rather, is enough to break an investigator of his ability to carry on…

In addition to providing an explanation for the scenarios that have gone before, The Rending Box also provides another link to each one. It is possible through research to discover clues that refer back to events in those scenarios, the author suggesting that the clues be altered to account for what the investigators played by the players did in each one.

Physically, there is a conceit to The Rending Box that will be lost once it is properly published. Made only available at Dragon Meet 2010 as a limited edition of twenty copies, The Rending Box itself comes in a small three-inch square box, black with coloured markings. Inside can be found two six-sided dice that match the colour of the markings, along with four booklets and two sheaves of paper. The first of the sheaves contains the handouts, the second a set of five pre-generated investigators. Simply done in black and red with red highlights, the sheaves of each of the booklets have a rough feel to it. This is due to the fact that each copy of the boxed The Rending Box has been hand assembled. The result is that The Rending Box feels and is, quite rough around the edges, though there is a certain charm in that. The format of the four small booklets also means that not everything is quite where you want it to be, especially on an initial read through which has you looking for things that appear a few tiny pages later. The rough feel to The Rending Box is also due to the fact that this is a playest scenario, so there is the possibility that there may be changes to made it prior to publication. Certainly I think that at least one of the provided pre-generated investigators needs a hook into the scenario. Perhaps these small things will be fixed by the time that the scenario comes to be published, though in the meantime, the author is planning to release another set of twenty boxes – the collector in me hopes that they will be marked slightly differently to the edition that I already have.

In comparison with its predecessors, it is not as strong or as atmospheric an adventure, and it is certainly not as bleak or as grey as the first and best in the series, The Dying of St. Margaret’s. The horror of The Rending Box is also placed much more on show than in the previous scenarios, but that is due to its revelatory nature as much as any other factor. Nevertheless, there is the potential for some nice little moments in The Rending Box, most of them to do with the box itself. Despite its roughness, The Rending Box brings Walmsley’s Purist Quartet to a fittingly downbeat close.